Notable work Movement Johannes Vermeer (; Dutch:; October 1632 – December 1675) was a Dutch who specialized in domestic interior scenes of life. He was a moderately successful provincial in his lifetime but evidently was not wealthy, leaving his wife and children in debt at his death, perhaps because he produced relatively few paintings. Vermeer worked slowly and with great care, and frequently used very expensive. He is particularly renowned for his masterly treatment and use of light in his work. Vermeer painted mostly domestic interior scenes. 'Almost all his paintings are apparently set in two smallish rooms in his house in Delft; they show the same furniture and decorations in various arrangements and they often portray the same people, mostly women.'
He was recognized during his lifetime in and, but his modest celebrity gave way to obscurity after his death. He was barely mentioned in 's major source book on 17th-century Dutch painting ( Grand Theatre of Dutch Painters and Women Artists), and was thus omitted from subsequent surveys of Dutch art for nearly two centuries. In the 19th century, Vermeer was rediscovered by and, who published an essay attributing 66 pictures to him, although only 34 paintings are universally attributed to him today. Since that time, Vermeer's reputation has grown, and he is now acknowledged as one of the greatest. Like some major Dutch Golden Age artists such as and, Vermeer never went abroad. And like Rembrandt, he was an avid art collector and dealer.
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Replica of the St. Luke Guildhouse on Voldersgracht in Delft It is unclear where and with whom Vermeer apprenticed as a painter. There is some speculation that may have been his teacher, based upon a controversial interpretation of a text written in 1668 by printer Arnold Bon. Art historians have found no hard evidence to support this. Local authority acted as a friend, but their style of painting is rather different.
Liedtke suggests that Vermeer taught himself, using information from one of his father's connections. Some scholars think that Vermeer was trained under Catholic painter.
Vermeer's style is similar to that of some of the, whose works are depicted as paintings-within-paintings in the backgrounds of several of his compositions. : A View of Delft after the Explosion of 1654 On 29 December 1653, Vermeer became a member of the, a trade association for painters. The guild's records make clear that Vermeer did not pay the usual admission fee.
It was a year of, and economic crisis; Vermeer was not alone in experiencing difficult financial circumstances. In 1654, the city suffered the terrible explosion known as the, which destroyed a large section of the city. In 1657, he might have found a patron in local art collector, who lent him some money. It seems that Vermeer turned for inspiration to the art of the from Leiden. Vermeer was responding to the market of 's paintings, who sold his paintings for exorbitant prices. Dou may have influenced and, too. (1660–61): 'He took a turbulent reality, and made it look like Heaven on earth.'
The influence of Johannes Vermeer on Metsu is unmistakable: the light from the left, the marble floor. Waiboer, however, suggests that Metsu requires more emotional involvement of the viewer.) Vermeer probably competed also with, who produced in a similar style. In 1662, Vermeer was elected head of the guild and was reelected in 1663, 1670, and 1671, evidence that he (like Bramer) was considered an established craftsman among his peers. Vermeer worked slowly, probably producing three paintings a year on order. Visited him in 1663 to see some of his work, but Vermeer had no paintings to show. The diplomat and the two French clergymen who accompanied him were sent to, a baker who had a couple of his paintings as collateral.
In 1671, organised the auction of 's collection and offered 13 paintings and some sculptures to. Frederick accused them of being counterfeits and had sent 12 back on the advice of. Van Uylenburg then organized a counter-assessment, asking a total of 35 painters to pronounce on their authenticity, including, and Johannes Vermeer. Wars and death. 1st Memorial (1975) of Johannes Vermeer in Oude Kerk. Delft, Netherlands In 1672, a severe economic downturn (the ') struck the Netherlands, after and a French army invaded the from the south (known as the ).
During the, an English fleet and two allied German bishops attacked the country from the east, causing more destruction. Many people panicked; courts, theaters, shops and schools were closed. Five years passed before circumstances improved.
In 1674, Vermeer was listed as a member of the. In the summer of 1675, Vermeer borrowed 1,000 guilders in Amsterdam from, an Amsterdam silk trader, using his mother-in-law's property as a.
In December 1675, Vermeer died after a short illness. He was buried in the Protestant on 15 December 1675. In a petition to her creditors, his wife later described his death as follows.during the ruinous war with France he not only was unable to sell any of his art but also, to his great detriment, was left sitting with the paintings of other masters that he was dealing in. As a result and owing to the great burden of his children having no means of his own, he lapsed into such decay and decadence, which he had so taken to heart that, as if he had fallen into a, in a day and a half he went from being healthy to being dead. Catharina Bolnes attributed her husband's death to the stress of financial pressures. The collapse of the art market damaged Vermeer's business as both a painter and an art dealer.
She had to raise 11 children and therefore asked the to relieve her of debts owed to Vermeer's creditors. Dutch, who worked for the city council as a, was appointed. The house had eight rooms on the first floor and was filled with paintings, drawings, clothes, chairs, and beds.
In his, there were two chairs, two painter's easels, three palettes, 10 canvases, a desk, an oak pull table, a small wooden cupboard with drawers, and 'rummage not worthy being itemized'. Nineteen of Vermeer's paintings were bequeathed to Catharina and her mother. The widow sold two more paintings to to pay off a substantial debt. Vermeer had been a respected artist in Delft, but he was almost unknown outside his hometown. A local patron named Pieter van Ruijven had purchased much of his output, which reduced the possibility of his fame spreading.
Several factors contributed to his limited body of work. Vermeer never had any pupils, so there was no school of Vermeer.
His family obligations with so many children may have taken up much of his time, as would acting as both an art-dealer and inn-keeper in running the family businesses. His time spent serving as head of the guild and his extraordinary precision as a painter may have also limited his output. 1672) Vermeer may have first executed his paintings tonally like most painters of his time, using either monochrome shades of grey (') or a limited palette of browns and greys ('dead coloring'), over which he would apply more saturated colors (reds, yellows and blues) in the form of transparent glazes. No drawings have been positively attributed to Vermeer, and his paintings offer few clues to preparatory methods. There is no other 17th-century artist who employed the exorbitantly expensive pigment (natural ) either so lavishly or so early in his career. Vermeer used this in not just elements that are naturally of this colour; the earth colours and should be understood as warm light within a painting's strongly lit interior, which reflects its multiple colours onto the wall.
In this way, he created a world more perfect than any he had witnessed. This working method most probably was inspired by Vermeer’s understanding of observations that the surface of every object partakes of the colour of the adjacent object. This means that no object is ever seen entirely in its natural colour.
A comparable but even more remarkable, yet effectual, use of natural ultramarine is in The Girl with the Wine Glass. The shadows of the red satin dress are in natural ultramarine, and, owing to this underlying blue paint layer, the red lake and mixture applied over it acquires a slightly purple, cool and crisp appearance that is most powerful. Even after Vermeer’s supposed financial breakdown following the so-called (year of disaster) in 1672, he continued to employ natural ultramarine generously, such as in Lady Seated at a Virginal. This could suggest that Vermeer was supplied with materials by a collector, and would coincide with ’ theory that was Vermeer’s patron.
Vermeer's works are largely and portraits, with the exception of two cityscapes and two. His subjects offer a cross-section of seventeenth-century Dutch society, ranging from the portrayal of a simple milkmaid at work, to the luxury and splendour of rich notables and merchantmen in their roomy houses. Besides these subjects, religious, poetical, musical, and scientific comments can also be found in his work. Painting materials One aspect of his meticulous painting technique was Vermeer's choice of pigments.
He is best known for his frequent use of the very expensive ( ), and also ( ), ,. He also painted with,. The claim that he utilized Indian yellow in has been disproven by later pigment analysis. In Vermeer’s oeuvre, only about 20 pigments have been detected. Of these 20 pigments, seven principal pigments which Vermeer commonly employed include lead white, yellow ochre, vermilion, madder lake, green earth, raw umber, and ivory or bone black.
Theories of mechanical aid Vermeer's painting techniques have long been a source of debate, given their almost attention to detail, despite Vermeer's having had no formal training, and despite only limited evidence that Vermeer had created any preparatory sketches or traces for his paintings. In 2001, British artist published the book Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters, in which he argued that Vermeer (among other Renaissance and Baroque artists including and ) used optics to achieve precise positioning in their compositions, and specifically some combination of,. This became known as the, named after Hockney and, another proponent of the theory.
Professor Philip Steadman published the book Vermeer's Camera: Uncovering the Truth behind the Masterpieces in 2001 which specifically claimed that Vermeer had used a camera obscura to create his paintings. Steadman noted that many of Vermeer's paintings had been painted in the same room, and he found six of his paintings that are precisely the right size if they had been painted from inside a camera obscura in the room's back wall.
Supporters of these theories have pointed to evidence in some of Vermeer's paintings, such as the often-discussed sparkling pearly highlights in Vermeer's paintings, which they argue are the result of the primitive lens of a camera obscura producing. It was also postulated that a camera obscura was the mechanical cause of the 'exaggerated' perspective seen in (London, ).
In 2008, American entrepreneur and inventor developed the theory that Vermeer had used a camera obscura along with a 'comparator mirror', which is similar in concept to a but much simpler and makes it easy to match color values. He later modified the theory to simply involve a concave mirror and a comparator mirror. He spent the next five years testing his theory by attempting to re-create The Music Lesson himself using these tools, a process captured in the 2013 documentary film. Several points were brought out by Jenison in support of this technique: First was Vermeer's hyper-accurate rendition of light falloff along the wall.
Neurobiologist, in an interview with Jenison, notes that human vision cannot process information about the absolute brightness of a scene. Another was the addition of several highlights and outlines consistent with matching the effects of, particularly noticeable in primitive optics. Last, and perhaps most telling, is a noticeable curvature in the original painting's rendition of the scrollwork on the harpsichord. This effect matched Jenison's technique precisely, caused by exactly duplicating the view as seen from a curved mirror. This theory remains disputed.
There is no historical evidence regarding Vermeer's interest in optics, aside from the accurately observed mirror reflection above the lady at the virginals in. The detailed inventory of the artist's belongings drawn up after his death does not include a camera obscura or any similar device. However, Vermeer was in close connection with pioneer lens maker and Leeuwenhoek was his executor after death. In the 17th century, Johannes was a popular name, and spelling was not consistent. The name could be spelled in the Dutch (Johan or Johannes), French (Joan), Italian (Giovanni), Greek (Johannis), or other style depending on background, education, or family tradition. His name was Reijnier or Reynier Janszoon, always written in Dutch as Jansz.
Or Jansz; this was his. As there was another Reijnier Jansz at that time in Delft, it seemed necessary to use the 'Vos', meaning Fox. From 1640 onward, he had changed his alias to Vermeer. In 1647 Geertruy, Vermeer's only sister, married a frame maker. She kept on working at the inn helping her parents, serving drinks and making beds.
Catholicism was not a forbidden religion, but tolerated in the. They were not allowed to build new churches, so services were held in hidden churches (so-called ). Catholics were restrained in their careers, unable to get high-ranking jobs in city administration or civic guard. It was impossible to be elected as a member of the city council; therefore, the Catholics were not represented in the provincial and national assembly. A Roman Catholic chapel now exists at this spot. The parish registers of the Delft Catholic church do not exist anymore, so it is impossible to prove but likely that his children were baptized in a hidden church.
The number of children seems inconsistent, but 11 was stated by his widow in a document to get help from the city council. One child died after this document was written. Identifiable works include compositions by Utrecht painters and. He was baptized as Joannis, but buried under the name Jan.
When Catharina Bolnes was buried in 1688, she was registered as the 'widow of Johan Vermeer'. Van Ruijven's son-in-law owned 21 paintings by Vermeer, listed in his heritage in 1695. These paintings were sold in Amsterdam the following year in a much-studied auction, published. References. Further reading. (2009). New York: The Metropolitan Museum of Art.
Rijswijk: Quantes. Pp. 54, 218 and 220 give examples of Van Meegeren fakes that were removed from their museum walls.
Pages 220/221 give an example of a non-Van Meegeren fake attributed to him. Archived from on 29 August 2010. Retrieved 21 September 2009. Schneider, Nobert (1993).
Vermeer.: Benedikt Taschen Verlag. Sheldon, Libby; Nicola Costaros (February 2006).
'Johannes Vermeer's 'Young woman seated at a virginal'. The Burlington Magazine (vol. CXLVIII ed.) (1235). Eye of the Beholder: Johannes Vermeer, Antoni van Leeuwenhoek, and the Reinvention of Seeing.
Steadman, Philip (2002). Vermeer's Camera, the truth behind the masterpieces. 'Contours of Vermeer'. Gaskel and M. Vermeer Studies. Studies in the History of Art. Washington/New Haven: Center for Advanced Study in the Visual Arts, Symposium Papers XXXIII.
Wheelock, Arthur K., Jr. New York: Abrams. External links Wikiquote has quotations related to: Wikimedia Commons has media related to.
About Johannes Vermeer., biography at Artble., website dedicated to Johannes Vermeer. in the., center with tours about Vermeer., Forum, December 30, 2016. at Colourlex.
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Previous analysis of a subset of Vermeer’s paintings revealed three weave matches: The Lacemaker (L29) and Young Woman Seated at a Virginal (L36); Young Woman Standing at a Virginal (L33) and Young Woman Seated at a Virginal (L34); Woman with a Lute (L14) and Woman Writing a Letter, with Her Maid (L31). More recently, the consideration of two Vermeer paintings, The Geographer (L27) and The Astronomer (L28), proposed by Walter Liedtke and others as a pendant pair, revealed a fourth weave match among Vermeer’s 34 paintings on canvas catalogued in Liedtke’s 2008 catalogue of Vermeer’s paintings. Our continuing examination of weave maps of the complete set of X-radiographs of all of Vermeer’s paintings reveals the fifth, Woman with a Pearl Necklace (L18) and Woman Holding a Balance (L19), and sixth, Woman with a Lute (L14) and Woman with a Pearl Necklace (L18), matches, which are described here. The route to their discovery will be used as an illustration of how a collection of weave maps of paintings on canvas by an artist can be used to assess and exploit their use of canvas from the same roll for pendants or a series of paintings. The process of finding weave matches begins with identification of all of the paintings that exhibit count matches. A count match occurs when the average thread counts in the two thread directions are a close match between two paintings. The tolerance for a match as less than 1 thread/cm difference in the warp threads and less than a bit more than 1 thread/cm for weft threads has been proposed for seventeenth-century canvases.
Here, as discussed in the previous chapter, spectral methods are used to estimate the frequency of the principal sinusoidal component of the Fourier decomposition in regions of interest, and the principal component’s frequency serves as a proxy for the actual thread count. If we examine the average ‘thread counts’ for each painting in Table 6.1, we can produce pairings that are reasonable to be considered count matches. The measure used at this point is that the average thread counts differ by no more than 1 thread/cm in one direction and by no more than 2 threads/cm in the other direction. Table 6.1: Average of the Principal Sinusoidal Component Frequency (threads/cm) Across the Patches Evaluated Covering the Full Painting (from 0.5 cm evaluation squares centered on 0.25 cm grid). Figure 6.1: Average Thread Counts of 34 Vermeer Paintings on Canvas from Table 6.1 plotted by locating the larger thread count on the vertical axis and the smaller thread count on the horizontal axis. An orange rectangle encloses a group of count matching canvases with the larger thread counts within a range of 1 thread/cm and the smaller within a range of 2 threads/cm.
A blue rectangle encloses a group of count matching canvases with the larger thread counts within a range of 2 threads/cm and the smaller within a range of 1 thread/cm (the adjacent numbers are the L numbers following Liedtke 2008). Thus, all painting locations captured by a rectangle 1 thread/cm high and 2 threads/cm wide would be count matches of each other. An orange box of these dimensions captures Woman with a Lute (L14), Woman with a Pearl Necklace (L18), Woman with a Balance (L19), and Woman Writing a Letter, with Her Maid (L31) as count matches of each other. Alternatively, all painting locations within a tall rectangle 1 thread/cm wide and 2 threads/cm tall would also be considered count matches. Such a tall blue rectangle encloses Young Woman Reading a Letter (L05), View of Delft (L12), Woman at the Virginal with a Gentleman (L15), The Lacemaker (L29), and The Love Letter (L30) as count matches of each other. While a count match does not imply a weave pattern match, a weave pattern match is implausible without a count match.
Computational methods exist for assessing the degree of weave pattern match between the weave maps of two paintings, which can narrow down the search for weave matches. For the first three matches discovered, a computational approach was used, along with observations that the canvases of paintings of interest appeared quite similar, for example as for The Lacemaker (L29) and Young Woman Seated at a Virginal (L36). Here, we will illustrate a process of directing our search for weave matches using the information in and the weave maps produced by the computational methods described in the previous chapter. Begin by comparing each of the paintings in to all of the other paintings in to see if a horizontal-to-horizontal-plus-vertical-to-vertical match is within our assigned range of a count match if the horizontal threads were in the warp direction.
Repeat for the assumption that the horizontal threads are in the weft direction. The same count match test is done in the cross-direction comparison of horizontal-to-vertical plus-vertical-to-horizontal. Each member of the group of four – Woman with a Lute (L14), Woman with a Pearl Necklace (L18), Woman Holding a Balance (L19), and Woman Writing a Letter, with Her Maid (L31) – enclosed in the orange rectangle in has a count match with every other member within the orange rectangle according to the rule that they are no more than 1 thread/cm different in one thread direction and less than 2 threads/cm apart in the other.
Incidentally, they are also the only paintings with the thread count in one direction over 20 threads/cm. For each painting in this group of four, its three count matches are with the other three paintings in this group of four. Three of the paintings – Woman with a Lute (L14), Woman with a Pearl Necklace (L18), and Woman Holding a Balance (L19) – have horizontal-horizontal-plus-vertical-vertical count matches with each other and these three have cross-direction horizontal-vertical-plus-vertical-horizontal count matches with Woman Writing a Letter, with Her Maid (L31). Interestingly, the match of Woman with a Lute (L14) horizontal to Woman Writing a Letter, with Her Maid (L31) vertical illustrated in is one of the first three Vermeer weave matches reported. The weave maps for Woman with a Lute (L14), Woman with a Pearl Necklace (L18), Woman with a Balance (L19), and Woman Writing a Letter, with Her Maid (L31) appear in Figures 6. Figure 6.2: Weave Maps of Woman with a Lute (L14) (from 0.5 cm evaluation squares centered on 0.25 cm grid).
Figure 6.3: Weave Maps of Woman with a Pearl Necklace (L18) (from 0.5 cm evaluation squares centered on 0.25 cm grid). Figure 6.4: Weave Maps of Woman Holding a Balance (L19) (from 0.5 cm evaluation squares centered on 0.25 cm grid). Figure 6.5: Weave Maps of Woman Writing a Letter, with Her Maid (L31) (from 0.5 cm evaluation squares centered on 0.25 cm grid). Directly comparing the weave density patterns in Figures 6.2 -6.5 is misleading as in these figures the maps are scaled to be the same size in one dimension, while the paintings are not. One approach to examining pairs at their actual relative size is to use the function align, which was described in the preceding chapter.
This software puts the properly-sized weave maps of the pair being examined for a weave match on screen and allows rotations and flips and translation in an attempt to visually test the possibility of a weave match. This approach was used to reveal a weave match between the horizontal thread weave density maps of Woman with a Pearl Necklace (L18) and Woman Holding a Balance (L19), as illustrated in Figure 6.6.
Figure 6.6: Fifth Weave Match Pair Among Vermeer’s Paintings on Canvas: Horizontal thread weave density maps of Woman with a Pearl Necklace (L18) (left) and Woman Holding a Balance (L19) (right) (from 0.5 cm evaluation squares centered on 0.25 cm grid). The advantage of align is that it re-draws the color-coded weave maps of, for example, Woman with a Pearl Necklace (L18) and Woman Holding a Balance (L19) in and, each of which has its own distinct color bar centered around its own map’s average thread count, to the same color bar. The averages of the thread counts for Woman with a Pearl Necklace (L18) and Woman Holding a Balance (L19) in the horizontal direction differ by just over ½ thread/cm, but this effects the sharpness of the visual similarity of the two weave patterns. Compare the relevant images in Figures,. However, the images, such as in Figures 6.2 - 6.5 that arise with displayWeaveMaps from the previous chapter, despite modest differences in the average thread count translating into modest distinctions in the color bars for the same thread count, can prove quite useful in a slightly less sophisticated proce dure. The initial step is to compile a collection (such as allVermeerMaps.pdf ) of images containing all of the horizontal and vertical weave maps for all 34 of Vermeer’s paintings on canvas with the maps at the relative size appropriate to each painting.
Extracting individual maps and placing them in a paint program that allows their rotation and flipping and movement aids visual matching of stripe patterns in aligned maps, which was done to construct Figure 6.7. Figure 6.7: Matching Weave Maps of a Gang of Four: Woman Writing a Letter, with Her Maid (L31) upper left, Woman with a Lute (L14) below Woman Writing a Letter with Her Maid (L31), Woman with a Pearl Necklace (L18) to right of Woman with a Lute (L14), Woman Holding a Balance (L19) below Woman with a Pearl Necklace (L18) (from 0.5 cm evaluation squares centered on 0.25 cm grid). This quartet includes the sixth weave match pair ( Woman with a Lute (L14)- Woman with a Pearl Necklace (L18)) discovered among Vermeer’s canvases. The four paintings are shown in their original orientation as canvas rollmates in Figure 6.8. Figure 6.8: Four Paintings ( Woman with a Lute (L14), Woman with a Pearl Necklace (L18), Woman Holding a Balance (L19), and Woman Writing a Letter, with Her Maid (L31)) in Weave-Matching Orientation. The arrangement in suffers from some ambiguity. The relative position of each thread-sharing pair could conceivably be reversed.
For example, the horizontal thread density map of Woman with a Lute (L14) could be positioned above the vertical thread density map of Woman Writing a Letter, with Her Maid (L31) and maintain a viable weave match, as shown in in the. This would rearrange the weave maps in the right half of so the pair Woman Writing a Letter, with Her Maid (L31) and Woman Holding a Balance (L19) in the quartet would be horizontally aligned. But, the corresponding density maps do not appear to match. Plus, the difference of 1.74 in the average thread counts in what would be the shared direction, that is horizontal for Woman Writing a Letter, with Her Maid (L31) and vertical for Woman Holding a Balance (L19), from is large for a count match.
Therefore, the combination of the four paintings in is at least as long as the height of Woman Writing a Letter, with Her Maid (L31) plus the sum of the widths of Woman with a Pearl Necklace (L18) and Woman Holding a Balance (L19), which is over 160 cm. The group width, which is the sum of the heights of Woman with a Lute (L14) and Woman with a Pearl Necklace (L18), is around 100 cm, which is approximately 1.5 el, a standard strip width. One observation regarding the six weave-matched pairs, three of which appear in, is how close the thread count match is in both directions, with the thread-sharing direction being the closer fit, as apparent from Table 6.2 where the matching pairs are listed in their order of discov ery. This suggests further searching among pairs of paintings for count matches where both directions are within 1 thread/cm of each other.
Table 6.2: Count Match Fits of Known Weave Matches. Recognizing that so many of Vermeer’s canvases have thread counts with an integer portion of 14 threads/cm, consider canvases where counts in both directions are between 14 and 15 threads/cm, and thus within 1 thread/cm of each other. The resulting trio of Officer and Laughing Girl (L06), Young Woman with a Wine Glass (L10), and Girl with a Pearl Earring (L22) have thread counts in both directions between 14.38 and 14.86. One ‘almost-but-not-quite’ weave match that emerges, illustrated in Figure 6.9, aligns Officer and Laughing Girl (L06) and Young Woman with a Wine Glass (L10) vertically. An orientation matching Girl with a Pearl Earring (L22) to either Officer and Laughing Girl (L06) or Young Woman with a Wine Glass (L10) is not obvious.
This confirms that the choice of a threshold of 1 thread/cm for the thread count difference in both directions between two canvases need not be a feature that always leads to a weave match. Figure 6.9: Is this a Seventh Weave Matching Pair (Top: Officer and Laughing Girl (L06), Bottom: Young Woman with a Wine Glass (L10)) Among Vermeer’s Painting on Canvas? (from 0.5 cm evaluation squares centered on 0.25 cm grid). But, since the 1 thread/cm difference threshold for both thread directions has proven quite useful, we will suggest those pairs with count matches that satisfy this tight threshold as prime candidates for continuing the hunt for rollmates among Vermeer’s paintings on canvas. Table 6.3 lists the tighter count matches for each painting.
Table 6.3: Potential Count Matches Meeting the Less than 1 thread/cm Difference (C indicates a cross-directional match and B indicates a count match with both the horizontal-horizontal and horizontal-vertical pairings; all known matches are underlined). Christ in the House of Martha and Mary (L02) and The Procuress (L03) are the two Vermeer paintings with a seam joining two pieces.
The directional thread counts of the two pieces of canvas from each painting are within one-quarter of a thread per centimeter of each other. This suggests that the two pieces of Christ in the House of Mary and Martha (L02) are from the same roll, and similarly for the two pieces of The Procuress (L03). Thus, the single horizontal and vertical average thread counts listed in for all of Christ in the House of Martha and Mary (L02) and The Procuress (L03) are the ones used to determine their count matches.