{"id":433652,"date":"2025-09-18T12:57:12","date_gmt":"2025-09-18T12:57:12","guid":{"rendered":"https:\/\/www.europesays.com\/uk\/433652\/"},"modified":"2025-09-18T12:57:12","modified_gmt":"2025-09-18T12:57:12","slug":"hidden-picture-beneath-vermeers-girl-with-the-red-hat-may-be-the-artists-only-existing-male-portrait-research-reveals-the-art-newspaper","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/uk\/433652\/","title":{"rendered":"Hidden picture beneath Vermeer\u2019s \u2018Girl with the Red Hat\u2019 may be the artist\u2019s only existing male portrait, research reveals &#8211; The Art Newspaper"},"content":{"rendered":"<p class=\"pt-dp-p font-text-light font-light text-lg leading-normal tracking-wide mb-base last:mb-0\" itemprop=\"text\">Three years ago it was revealed that the panel of Girl with the Red Hat (around 1664-69) at the National Gallery of Art (NGA) in Washington, DC, was overpainted on top of an earlier composition, a rather conventional portrait of a man. This earlier research suggested that the male figure was not the work of Vermeer, but by an unidentified artist. Its brushwork was loose, unlike Vermeer\u2019s refined style.<\/p>\n<p class=\"pt-dp-p font-text-light font-light text-lg leading-normal tracking-wide mb-base last:mb-0\" itemprop=\"text\">But more recent studies, using the latest imaging techniques, show that Vermeer\u2019s initial paintwork was generally looser and done quickly at the underpainting stage. The NGA specialists therefore now argue that the male portrait could be his own work; this \u201chas not yet been proven or denied\u201d.<\/p>\n<p><img alt=\"\" loading=\"lazy\" width=\"644\" height=\"813.929411764706\" decoding=\"async\" data-nimg=\"1\" style=\"color:transparent;height:auto;width:100%;background-size:cover;background-position:50% 50%;background-repeat:no-repeat;background-image:url(&quot;data:image\/svg+xml;charset=utf-8,%3Csvg xmlns='http:\/\/www.w3.org\/2000\/svg' viewBox='0 0 644 813.929411764706'%3E%3Cfilter id='b' color-interpolation-filters='sRGB'%3E%3CfeGaussianBlur stdDeviation='20'\/%3E%3CfeColorMatrix values='1 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 100 -1' result='s'\/%3E%3CfeFlood x='0' y='0' width='100%25' height='100%25'\/%3E%3CfeComposite operator='out' in='s'\/%3E%3CfeComposite in2='SourceGraphic'\/%3E%3CfeGaussianBlur stdDeviation='20'\/%3E%3C\/filter%3E%3Cimage width='100%25' height='100%25' x='0' y='0' preserveAspectRatio='none' style='filter: url(%23b);' href='data:image\/jpeg;base64,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'\/%3E%3C\/svg%3E&quot;)\"  src=\"https:\/\/www.europesays.com\/uk\/wp-content\/uploads\/2025\/09\/09fa93fea2cbe743169bc4f66804f8f8e0e25a8d-1190x1504.jpg\"\/><\/p>\n<p>Research suggests the underpainting may be by the Dutch artist himself<\/p>\n<p>National Gallery of Art\/Kathryn Dooley and John Delaney<\/p>\n<p class=\"pt-dp-p font-text-light font-light text-lg leading-normal tracking-wide mb-base last:mb-0\" itemprop=\"text\">If the underpainting is indeed by Vermeer, it would be his only known male portrait\u2014and would throw fresh light on his early career. Based on the man\u2019s costume (particularly his broad-brimmed hat and collar with a tasselled tie), the composition can be dated to 1650-55. Vermeer\u2019s earliest known picture is Christ in the House of Mary and Martha (1654-55, National Galleries of Scotland, Edinburgh), but he might have painted portraits before his religious subjects of the mid 1650s.<\/p>\n<p>Unidentified survivors<\/p>\n<p class=\"pt-dp-p font-text-light font-light text-lg leading-normal tracking-wide mb-base last:mb-0\" itemprop=\"text\">If so, some early Vermeer portraits might actually survive, unidentified as from his hand. As youthful works, they would probably be unremarkable in style, explaining why they had not been previously attributed to the master.<\/p>\n<p class=\"pt-dp-p font-text-light font-light text-lg leading-normal tracking-wide mb-base last:mb-0\" itemprop=\"text\">Equally intriguing is the suggestion that the hidden portrait behind Girl with the Red Hat could be a work by his fellow Delft artist Carel Fabritius, now best known for The Goldfinch (1654, Mauritshuis, The Hague).<\/p>\n<p class=\"pt-dp-p font-text-light font-light text-lg leading-normal tracking-wide mb-base last:mb-0\" itemprop=\"text\">A 1676 inventory compiled after Vermeer\u2019s death shows that he had then owned two male heads by Fabritius; he could also have had other panels which he reused. Only about a dozen paintings by Fabritius are known, so if the underpainting was by him then this would represent a significant addition to his oeuvre.<\/p>\n","protected":false},"excerpt":{"rendered":"Three years ago it was revealed that the panel of Girl with the Red Hat (around 1664-69) at&hellip;\n","protected":false},"author":2,"featured_media":433653,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3939],"tags":[4021,4020,4022,147342,77,4845,8335,121050,16,15],"class_list":{"0":"post-433652","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-arts-and-design","8":"tag-arts","9":"tag-arts-and-design","10":"tag-design","11":"tag-dutch-golden-age","12":"tag-entertainment","13":"tag-exhibitions","14":"tag-johannes-vermeer","15":"tag-rijksmuseum","16":"tag-uk","17":"tag-united-kingdom"},"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@uk\/115225417871560885","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/posts\/433652","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/comments?post=433652"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/posts\/433652\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/media\/433653"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/media?parent=433652"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/categories?post=433652"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/tags?post=433652"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}