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It seems Vermeer was influenced by earlier works on the same subject by [[Gerard ter Borch]], and ''[[The Procuress (Dirck van Baburen)|The Procuress]]'' (c. 1622) by [[Dirck van Baburen]], which was owned by Vermeer's mother-in-law [[Maria Thins]] and hung in her home.<ref name="jmm">{{cite book|last=Montias|first=John Michael|title=Vermeer and His Milieu: A Web of Social History|date=1991|publisher=Princeton University Press|page=146}}</ref> Some critics thought the painting is atypical of Vermeer's style and expression, because it lacks the typical light. Pieter Swillens wrote in 1950 that—if the work was by Vermeer at all—it showed the artist "seeking and groping" to find a suitable mode of expression. Eduard Trautscholdt wrote 10 years before that "The temperament of the 24-year-old Vermeer fully emerges for the first time".<ref name="Liedtke">{{cite book|last1=Liedtke|first1=Walter|title=Vermeer and the Delft School|last2=Plomp|first2=Michiel C.|last3=Ruger|first3=Axel|date=2001|publisher=Yale University Press|isbn=0-87099-973-7|location=New Haven and London|pages=372, 374}}.</ref> |
It seems Vermeer was influenced by earlier works on the same subject by [[Gerard ter Borch]], and ''[[The Procuress (Dirck van Baburen)|The Procuress]]'' (c. 1622) by [[Dirck van Baburen]], which was owned by Vermeer's mother-in-law [[Maria Thins]] and hung in her home.<ref name="jmm">{{cite book|last=Montias|first=John Michael|title=Vermeer and His Milieu: A Web of Social History|date=1991|publisher=Princeton University Press|page=146}}</ref> Some critics thought the painting is atypical of Vermeer's style and expression, because it lacks the typical light. Pieter Swillens wrote in 1950 that—if the work was by Vermeer at all—it showed the artist "seeking and groping" to find a suitable mode of expression. Eduard Trautscholdt wrote 10 years before that "The temperament of the 24-year-old Vermeer fully emerges for the first time".<ref name="Liedtke">{{cite book|last1=Liedtke|first1=Walter|title=Vermeer and the Delft School|last2=Plomp|first2=Michiel C.|last3=Ruger|first3=Axel|date=2001|publisher=Yale University Press|isbn=0-87099-973-7|location=New Haven and London|pages=372, 374}}.</ref> |
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The [[three-dimensional]] jug on the [[oriental rug]] is a piece of [[Westerwald Pottery]]. The [[kelim]] thrown over a bannister, probably produced in [[Uşak]], covers a third of the painting and shows [[ |
The [[three-dimensional]] jug on the [[oriental rug]] is a piece of [[Westerwald Pottery]]. The [[kelim]] thrown over a bannister, probably produced in [[Uşak]], covers a third of the painting and shows [[medallion]]s and [[leaves]].<ref>{{cite book|last=Ydema|first=Onno|title=Carpets and their Datings in Netherlandish Paintings, 1540–1700|date=1991|publisher=Antique Collectors' Club|isbn=90-6011-710-7|pages=43, 44, 145}}</ref> The instrument is probably a [[cittern]]. The dark coat with five buttons was added by Vermeer in a later stage. The man in the red jacket, a soldier, is fondling the young woman's breast and dropping a coin into her outstretched hand.<ref>{{cite book |first=W. |last=Liedtke |date=2007 |title=Dutch Paintings in the Metropolitan Museum of Art |url=https://books.google.com/books?id=jtnQ7PIT8mcC&pg=PA873 |publisher=Metropolitan Museum of Art |isbn=9781588392732|page=873}}.</ref> |
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According to Benjamin Binstock this "dark and gloomy" painting could be understood as a psychological portrait of his adopted family<ref name="bin">{{cite book|last=Binstock|first=Benjamin|title=Vermeer's Family Secrets. Genius, Discovery, and the Unknown Apprentice|date=2009|publisher=Routledge|isbn=9781136087066}}</ref>{{rp|81}} and does not represent a didactic message.{{r|bin|pp=123, 85}} In his rather fictional book Binstock explains Vermeer used his family as models; the procuress could be Vermeer's wife Catherina{{r|bin|page1=231}} and the lewd soldier her brother Willem.{{r|bin|pp=81–82}}[[File:The Procuress.jpg|thumb|[[Dirck van Baburen]], ''[[The Procuress (Dirck van Baburen)|The Procuress]]'', 1622, oil on canvas, Museum of Fine Arts, Boston. The painting was owned by Maria Thins, mother-in-law of [[Johannes Vermeer]], who reproduced it within two of his own paintings.<ref>[http://essentialvermeer.com/catalogue/procuress.html In the catalogue of ''Essential Vermeer''] (click on the woman in black)</ref> ]] |
According to Benjamin Binstock this "dark and gloomy" painting could be understood as a psychological portrait of his adopted family<ref name="bin">{{cite book|last=Binstock|first=Benjamin|title=Vermeer's Family Secrets. Genius, Discovery, and the Unknown Apprentice|date=2009|publisher=Routledge|isbn=9781136087066}}</ref>{{rp|81}} and does not represent a didactic message.{{r|bin|pp=123, 85}} In his rather fictional book Binstock explains Vermeer used his family as models; the procuress could be Vermeer's wife Catherina{{r|bin|page1=231}} and the lewd soldier her brother Willem.{{r|bin|pp=81–82}}[[File:The Procuress.jpg|thumb|[[Dirck van Baburen]], ''[[The Procuress (Dirck van Baburen)|The Procuress]]'', 1622, oil on canvas, Museum of Fine Arts, Boston. The painting was owned by Maria Thins, mother-in-law of [[Johannes Vermeer]], who reproduced it within two of his own paintings.<ref>[http://essentialvermeer.com/catalogue/procuress.html In the catalogue of ''Essential Vermeer''] (click on the woman in black)</ref> ]] |
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| The Procuress | |
|---|---|
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| Artist | Johannes Vermeer |
| Year | 1656 |
| Medium | Oil on canvas |
| Movement | Dutch Golden Age painting |
| Dimensions | 143 cm × 130 cm (56 in × 51 in) |
| Location | Gemäldegalerie Alte Meister, Dresden |
The Procuress (Dutch: De koppelaarster) is a 1656 oil-on-canvas painting by the then 24-year-old Johannes Vermeer. It can be seen in the Gemäldegalerie Alte MeisterinDresden. It is his first genre painting and shows a scene of contemporary life, an image of mercenary love[1] perhaps in a brothel. It differs from his earlier biblical and mythological scenes. It is one of only three paintings Vermeer signed and dated (the other two are The Astronomer and The Geographer). In 1696 the painting, being sold on an auction in Amsterdam, was named "A merry company in a room".
The woman in black, the leering coupler, "in a nun's costume",[2]: 224 could be the eponymous procuress, while the man to her right, "wearing a black beret and a doublet with slashed sleeves",[2]: 172 has been identified as a self portrait of the artist.[3] There is a resemblance with the painter in Vermeer's The Art of Painting. Vermeer is in the painting as a musician, in the employ of the madam.
It seems Vermeer was influenced by earlier works on the same subject by Gerard ter Borch, and The Procuress (c. 1622) by Dirck van Baburen, which was owned by Vermeer's mother-in-law Maria Thins and hung in her home.[4] Some critics thought the painting is atypical of Vermeer's style and expression, because it lacks the typical light. Pieter Swillens wrote in 1950 that—if the work was by Vermeer at all—it showed the artist "seeking and groping" to find a suitable mode of expression. Eduard Trautscholdt wrote 10 years before that "The temperament of the 24-year-old Vermeer fully emerges for the first time".[5]
The three-dimensional jug on the oriental rug is a piece of Westerwald Pottery. The kelim thrown over a bannister, probably produced in Uşak, covers a third of the painting and shows medallions and leaves.[6] The instrument is probably a cittern. The dark coat with five buttons was added by Vermeer in a later stage. The man in the red jacket, a soldier, is fondling the young woman's breast and dropping a coin into her outstretched hand.[7]
According to Benjamin Binstock this "dark and gloomy" painting could be understood as a psychological portrait of his adopted family[2]: 81 and does not represent a didactic message.[2]: 123, 85 In his rather fictional book Binstock explains Vermeer used his family as models; the procuress could be Vermeer's wife Catherina[2]: 231 and the lewd soldier her brother Willem.[2]: 81–82
The painting was in the Waldstein collection in Dux (now Duchcov), then bought in 1741 for August III of Poland, the Elector of Saxony.[5]
The painting was exhibited in 1980 at the Restaurierte Kunstwerke in der Deutschen Demokratischen Republic exhibit in the Staatliche Museen zu Berlin, Altes Museum.[5]
This painting should not be confused with another painting by the same name, by Dirck van Baburen, nor with a fake version once attributed to Vermeer, of which technical analysis in 2011 revealed that there is Bakelite in the paint, definitively proving that the painting is a modern forgery. It was most probably executed by the notorious forger, Han van Meegeren, who was responsible for producing several fake Vermeers and known to use said resin to harden the paint.
The technical investigation of this painting was done in 1968 by Hermann Kühn.[9] The pigment analysis revealed Vermeer's use of his usual pigments such as ultramarine in the blue wine jug and lead-tin-yellow in the jacket of the woman. He also employed smalt in the green parts of the tablecloth and in the greenish background which is less usual for him.[10]
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