Rijksmuseum's Most successful Exhibition in its history: Vermeer
Rijksmuseum, Amsterdam, 2023
Two years ago, I embarked on a pilgrimage to Amsterdam for what was truly a once-in-a-lifetime experience: the monumental Vermeer exhibition at the Rijksmuseum. As an art historian and artist, the chance to witness the largest assembly of Vermeer’s works ever gathered under one roof was irresistible.
A Pilgrimage to Amsterdam
The journey from New York was long, and acquiring tickets was no easy feat; they sold out almost instantly, the page crashed every time they announced new tickets; and the museum eventually extended visiting hours well into the night, past midnight, in fact, to accommodate the overwhelming demand, (I talked about the rollercoaster that was getting those tickets on my stories highlights right here). Yet, the anticipation made the arrival even sweeter. As the plane descended, the patchwork of Dutch fields unfurled beneath me, crisscrossed with canals shimmering in the sunlight. Stepping into Amsterdam felt like slipping into a dream; the canals reflecting golden light, bicycles gliding past historic facades, and the soft echo of footsteps on cobblestones setting the stage for Vermeer’s quiet world.
The Perfect Setting: The Rijksmuseum
If there was ever a museum worthy of hosting such an extraordinary exhibition, it was the Rijksmuseum. Its grand halls and serene atmosphere provided a fitting backdrop for Vermeer’s intimate masterpieces. As I wandered through the galleries, I heard a symphony of languages: French, Japanese, Italian, Spanish, and so many others. People from every corner of the globe had made the same journey I had, drawn together by the magnetic pull of Vermeer’s artistry. It was a beautiful reminder of the universality of art and its power to transcend borders.
Rijksmuseum, Amsterdam, 2023
The Paintings: A Quiet Conversation
Stepping into the exhibition felt like entering a quiet, contemplative realm. Each painting was given the space and lighting it deserved, allowing viewers to study Vermeer’s mastery of light, his refined compositions, and the quiet intimacy of his subjects. "The Milkmaid," with her serene concentration and the quiet domesticity of her task, glowed softly under the gallery lights. The vibrant blue and yellow of her attire were luminous, a testament to Vermeer’s understanding of color and his ability to elevate the mundane into the extraordinary. I stood before "The Little Street" and felt time slip away. The weathered bricks and quiet alleyway evoked a sense of longing, as though the scene had been painted just yesterday. Remarkably, these streets in Delft remain largely unchanged, preserving the atmosphere and quiet beauty Vermeer captured so effortlessly.
The Iconic Pearl Earring
At the very beginning of the exhibition stood the iconic "Girl with a Pearl Earring”. Due to tulip season in the Netherlands and the unprecedented crowds, engagement time with this enigmatic masterpiece was limited, after only a few weeks it had to go back to the Mauritshuis Museum in The Hague, as many tourists travel there during the spring for the tulip festival and to see her. I, unfortunately did not get to see her as I visited the exhibition just about a month before it closed.
The Complete List: Paintings in the Exhibition The exhibition featured an astonishing 28 of Vermeer’s known works, including:
A Lady Writing, 1664–67, National Gallery of Art, Washington
A Young Woman seated at a Virginal, c. 1670–72, The National Gallery, London
A Young Woman standing at a Virginal, 1670–72, The National Gallery, London
Allegory of the Catholic Faith, 1670–74, The Metropolitan Museum of Art, New York
Christ in the House of Mary and Martha, 1654–55, National Galleries of Scotland, Edinburgh
Diana and her Nymphs, 1655–56, Mauritshuis, The Hague
Girl Interrupted at Her Music, c. 1659–61, The Frick Collection, New York
Girl Reading a Letter at an Open Window, 1657-58, Gemäldegalerie Alte Meister, Dresden
Girl with a Flute, 1664–67, National Gallery of Art, Washington
Girl with a Pearl Earring, 1664–67, Mauritshuis, The Hague
Girl with the Red Hat, 1664–67, National Gallery of Art, Washington
Mistress and Maid, c. 1665–67, The Frick Collection, New York
Officer and Laughing Girl, 1657-58, The Frick Collection, New York
Saint Praxedis, 1655, Kufu Company Inc., The National Museum of Western Art, Tokyo
The Geographer, 1669, Städel Museum, Frankfurt am Main
The Glass of Wine, c. 1659-61, Staatliche Museen zu Berlin, Gemäldegalerie
The Lacemaker, 1666–68, Musée du Louvre, Paris
The Love Letter, 1669-70, Rijksmuseum, Amsterdam
The Milkmaid, 1658-59, Rijksmuseum, Amsterdam
The Procuress, 1656, Gemäldegalerie Alte Meister, Dresden
View of Delft, 1660-61, Mauritshuis, The Hague
View of Houses in Delft, known as ‘The Little Street’, 1658-59, Rijksmuseum, Amsterdam
Woman Holding a Balance, ca. 1662–64, National Gallery of Art, Washington
Woman in blue Reading a Letter, 1662-64, Rijksmuseum, Amsterdam
Woman with a Pearl Necklace, c. 1662-64, Staatliche Museen zu Berlin, Gemäldegalerie
Woman Writing a Letter, with her Maid, 1670–72, National Gallery of Ireland, Dublin
Young Woman Seated at a Virginal, c. 1670‐72, The Leiden Collection, New York
Young Woman with a Lute, 1662–64, The Metropolitan Museum of Art, New York
The Absences: Longing for the Lost
Still, there were notable absences. The missing "Concert", stolen from Boston's Isabella Stewart Gardner Museum in 1990, cast a shadow over the exhibition. The heist, still unsolved, saw thieves disguised as police officers making off with 13 priceless artworks, including Vermeer’s masterpiece. The empty frame back in Boston serves as a haunting reminder of what was lost.
"Young Woman Seated at a Virginal" from The National Gallery in London was also absent, leaving gaps in an otherwise comprehensive gathering. Additionally, "Girl with a Flute" from the National Gallery of Art in Washington, D.C., was not included. This piece has sparked debate among scholars; while the Washington museum questions its attribution to Vermeer, many experts worldwide continue to regard it as authentic.
"A Young Woman Seated at the Virginals" (private collection). Rarely seen, this piece’s whereabouts are often shrouded in mystery.
"The Concert" (Isabella Stewart Gardner Museum, stolen). Its loss is one of the greatest tragedies in the art world.
"Young Woman Seated at a Virginal" (National Gallery, London). Omitted due to ongoing debates over its attribution.
"Girl with a Flute" (National Gallery of Art, Washington, D.C.). Contested authenticity kept it from joining the exhibition.
"The Guitar Player" (Kenwood House, London). Too fragile to travel, its absence was deeply felt.
"Study of a Young Woman" (The Metropolitan Museum of Art, New York). Stayed behind, possibly due to conservation concerns.
"The Allegory of Faith" (The Metropolitan Museum of Art, New York). Its complex iconography sets it apart from his more intimate works.
"Christ in the House of Martha and Mary" (Scottish National Gallery, Edinburgh). An early work, showing Vermeer’s experimentation with religious subjects.
"The Procuress" (Gemäldegalerie Alte Meister, Dresden). Its bold composition and subject matter distinguish it from his quieter scenes.
Click on the image to learn more about the theft at the Isabella Gardner Museum in Boston. Picture taken from IGM.
A Masterful Hand: Technique and Color Palette
Vermeer’s palette was both restrained and masterful. He employed delicate shades of ultramarine, derived from costly lapis lazuli, and ochres that added warmth to the cool northern light streaming through his studio windows. The light that gently falls across his interiors has an almost sacred quality, bathing his subjects in a soft glow that transforms simple moments into poetic narratives.
Delft: The City That Time Forgot
Vermeer had an unparalleled ability to capture the essence of his hometown. The streets he painted still look remarkably similar today, preserving the tranquility and charm of 17th-century Delft. "The Little Street" is a perfect example of this, where the play of light and shadow on the brick facades evokes a sense of timelessness. Walking through Delft today feels like stepping into one of his canvases, where life unfolds quietly behind lace-curtained windows.
Echoes Through Time: Recurring Motifs
One of the remarkable aspects of Vermeer’s work is his use of recurring motifs: the maps that hang on the walls, the checkered floors, and the heavy coats draped over chairs or worn by his subjects. These elements create a sense of continuity throughout his oeuvre, offering glimpses into his world. The window in his studio, often the single light source in his compositions, became almost a character in itself, casting long shadows and illuminating his scenes with unparalleled subtlety.
A Midnight Encounter
The Rijksmuseum's after-hours access added a dreamlike quality to the experience. Wandering the galleries late at night, with only the soft hum of fellow art lovers around me, allowed for moments of quiet reflection. Shadows stretched long across the gallery floors, the hushed atmosphere heightening the sense of intimacy between viewer and canvas. In those precious hours, it felt as though time itself had slowed, allowing Vermeer’s quiet world to envelop me completely. The entire exhibition was a testament to Vermeer’s ability to capture intimate moments and transform the ordinary into the extraordinary.
A Lasting Impression
Leaving the museum, I felt profoundly moved. The exhibition was not just a collection of paintings but a rare communion with a master whose work continues to captivate across centuries. It was a journey worth every effort, and one I am not likely to forget.
Enter here for more on the exhibition from the Rijksmuseum’s website. There you will find more details of every painting, as well as a virtual tour and a video from one of the curators.
Study of a Drapery
One of my favorite details in Vermeer’s work, is how he mastered the drapery in the clothing of the every one of his subjects.
Take a moment to gaze upon my charcoal drapery study. A quiet meditation in folds and shadows, where light gently traces each curve. Let its softness and depth find a place in your home, a timeless moment captured in shades of black and grey, waiting to be discovered.
Still Life Drapery Study. Charcoal on paper with the five value system.