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Examination of Vermeer's Girl with a Pearl Earring

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Examination of Vermeer's Girl with a Pearl Earring Vandivere Herit Sci (2020) 8:26 https://doi.org/10.1186/s40494-020-00370-7 EDITORIAL Open Access The technical (re‑)examination of Vermeer’s Girl with a Pearl Earring Abbie Vandivere* What makes Johannes Vermeer’s Girl with a Pearl Ear- What is the chemical and physical condition of the ring (c. 1665, Mauritshuis, Fig. 1) so intriguing? In 1881, painting? the Girl was purchased at auction for two guilders (plus Over the course of two weeks, Girl with a Pearl Ear- a thirty cent commission) [1]. Now visitors from all over ring underwent a complete ‘body scan’ with the most the world come to the Mauritshuis to experience this advanced non-invasive imaging techniques, including: painting. Seeing the Girl in person, you become capti- technical photography, refectance and molecular fuo- vated by her presence, her gaze, the way she opens her rescence imaging spectroscopy (RIS, FIS), fbre optic mouth as if to speak, and how her earring shines against refectance spectroscopy (FORS), multispectral infrared the shadow of her neck. Visitors often have questions: refectography (MS-IRR), macroscopic X-ray fuores- Was she a real person? Why did Vermeer paint her? cence (MA-XRF), macroscopic X-ray powder difraction Although we might not be able to fully answer these (MA-XRPD), multi-scale optical coherence tomography questions using scientifc means, we can discover how (MS-OCT), 3D scanning, 3D digital microscopy, and Vermeer brought the Girl to life. computer-assisted thread-level canvas analysis (Fig. 2). In 2018, Girl with a Pearl Earring underwent a tech- Tese revealed the chemical composition of the paint lay- nical examination in front of the museum public at the ers; visualised the underlayers, surface topography and Mauritshuis. Te Girl in the Spotlight project involved diferences in opacity; and provided a visual image of the an international team of scientists and conservators. Te entire painting at 4.4 µm/pixel. Te research team also overall goal was to fnd out more about the materials, investigated the layers of the painting by analysing micro- techniques that Vermeer used to create this masterpiece, samples using: scanning electron microscopy–energy and to document the current condition of the painting dispersive X-ray analysis (SEM–EDX), focused ion since its last treatment in 1994 [2–4]. Te research ques- beam–scanning transmission electron microscopy (FIB– tions that guided the 2018 technical examination were: STEM), Fourier transform infrared–attenuated total What steps did Vermeer take to create the painting? refectance spectroscopy (FTIR–ATR), ultra-high-perfor- What can we fnd out about layers beneath the surface? mance liquid chromatography (UHPLC), gas chromatog- Which materials did Vermeer use and where did they raphy mass spectrometry (GCMS), synchrotron radiation come from? X-ray techniques (µ-XRPD/µ-XANES), and lead isotope Which techniques did Vermeer use to create subtle analysis. Te macro-imaging and micro-analyses comple- optical efects? mented each other to provide a full picture of the materi- What did the painting look like originally, and how has als and techniques that Vermeer used to create Girl with it changed? a Pearl Earring. About the project Te research project Te Girl in the Spotlight is a Maurit- *Correspondence: [email protected] shuis initiative and involves a team of internationally recog- Conservation Department, Mauritshuis, Plein 29, 2511 CS The Hague, The Netherlands nised specialists associated with the Netherlands Institute © The Author(s) 2020. This article is licensed under a Creative Commons Attribution 4.0 International License, which permits use, sharing, adaptation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons licence, and indicate if changes were made. The images or other third party material in this article are included in the article’s Creative Commons licence, unless indicated otherwise in a credit line to the material. If material is not included in the article’s Creative Commons licence and your intended use is not permitted by statutory regulation or exceeds the permitted use, you will need to obtain permission directly from the copyright holder. To view a copy of this licence, visit http://creat​iveco​ mmons​.org/licen​ses/by/4.0/. The Creative Commons Public Domain Dedication waiver (http://creat​iveco​mmons​.org/publi​cdoma​in/ zero/1.0/) applies to the data made available in this article, unless otherwise stated in a credit line to the data. Vandivere Herit Sci (2020) 8:26 Page 2 of 4 Fig. 1 Johannes Vermeer, Girl with a Pearl Earring, c. 1665. MH670, Mauritshuis, The Hague. Visible light photograph: René Gerritsen Art & Research Photography, reused with permission Fig. 2 Composite image of Girl with a Pearl Earring from images made during the Girl in the Spotlight project: a MA-XRF, b computer-assisted thread-level canvas analysis, c MS-OCT, d UV-induced fuorescence photograph, e RIS false-colour refectance image, f polarised for Conservation + Art + Science + (NICAS), and scientists light photograph, g X-radiograph, h Raking light photograph, i from the University of Antwerp, Belgium, and the National 3D scanning based on fringe-encoded stereo imaging, j MS-IRR. Gallery of Art, Washington DC, USA (Fig. 3). Tis project Imaging techniques not included: MA-XRPD, 3D microphotography. Composite image: Sylvain Fleur and the Girl in the Spotlight team, was made possible with support from the Johan Maurits used with permission Compagnie Foundation. NICAS partners – Mauritshuis: Abbie Vandivere, Annelies van Loon (Rijksmuseum/Mauritshuis) – Rijksmuseum: Robert van Langh, Annelies van Loon, Alessa Gambardella (Rijksmuseum/AkzoNobel), Vic- tor Gonzalez (Rijksmuseum/TU Delft), Robert Erd- mann (Rijksmuseum/UvA) – Delft University of Technology (TU Delft): Joris Dik, Tom Callewaert, Victor Gonzalez, Mathijs van Heng- stum, Willemijn Elkhuizen, Tessa Essers, Yu Song, Jeroen Kalkman – Cultural Heritage Agency of the Netherlands (RCE): Klaas Jan van den Berg, Bauke Zeilstra, Art Ness Proaño Gaibor, Suzan de Groot, Henk van Keulen – University of Amsterdam (UvA): Robert Erdmann. Fig. 3 Logos for the Girl in the Spotlight research partners, used with permission of the researchers afliated with these institutions Vandivere Herit Sci (2020) 8:26 Page 3 of 4 – Vrije Universiteit Amsterdam/NICAS project: Multi- isotopic analysis of early modern art (MITEEMA). Paolo D’Imporzano, Gareth R. Davies – European Synchrotron Radiation Facility (ESRF), Grenoble, France—ID21 beamline: Marine Cotte, Wout de Nolf – PETRA-III, Deutsches Elektronen-Synchrotron (DESY), Hamburg, Germany—P06 beamline: Mat- thias Alfeld, Jan Garrevoet – 3D print displayed during Girl in the Spotlight exami- nation: Océ: A Canon Company – Project team (Mauritshuis): Hedwig Wösten, Edwin Buijsen, Abbie Vandivere, Sandra Verdel, Boy van den Hoorn, Marty Plas, Julie Vegter, Lea van der Vinde. Suggested reading order Te results of the Girl in the Spotlight project have cul- minated in a special collection of articles in Heritage Science. Each article focuses on a specifc area of the painting, part of the layer structure or examination technique. Although each can stand its own, they are intended to be read in the following order: ‘From ‘Vermeer Illuminated’ to ‘Te Girl in the Spot- light’: Approaches and methodologies for the scientifc (re-)examination of Vermeer’s Girl with a Pearl Ear- Fig. 4 Abbie Vandivere looking at Girl with a Pearl Earring in the Mauritshuis. Photograph: Ivo Hoekstra, Mauritshuis, used with ring’ describes the (conservation) history of the paint- permission ing, reviews the technical examination that took place in 1994, and introduces the technologies used in the 2018 research project [5]. Other partners ‘Revealing the painterly technique beneath the surface of Vermeer’s Girl with a Pearl Earring using macro- and – National Gallery of Art, Washington DC: John Dela- microscale imaging’ provides a glimpse into the canvas, ney, Kathryn A. Dooley ground, and the initial steps that Vermeer took to create – University of Antwerp: Koen Janssens, Geert van der the Girl [6]. Snickt, Steven De Meyer, Frederik Vanmeert, Rani ‘Mapping the pigment distribution of Vermeer’s Girl Vertongen with a Pearl Earring’ shows how a combination of RIS, – Shell Technology Centre Amsterdam (STCA): Bob FIS and MA-XRF was used to locate and identify the van Wingerden, Ralph Haswell materials in diferent areas of the painting [7]. – Hirox Europe: Jyfel: Emilien Leonhardt, Vincent ‘Comparison of three 3D imaging techniques for paint- Sabatier/Hirox Japan: Mr. Takeuchi and Mr. Naka- ings, as applied to Vermeer’s Girl with a Pearl Earring’ jima describes how MS-OCT, 3D scanning and 3D digital – Statens Museum for Kunst/CATS, Copenhagen: Jør- microscopy were used to map the surface topography of gen Wadum the painting, and the advantages and limitations of each – René Gerritsen Kunst & Onderzoeksfotografe: René method [8]. Gerritsen, Jaap Hoogerdijk, assistance with photo- ‘Imaging secondary reaction products at the surface of graphic set-up: Robert Erdmann Vermeer’s Girl with a Pearl Earring by means of in situ – Maastricht University: Ron Heeren, Anne Bruinen, macro X-ray powder difraction scanning’ explains how Hans Duimel MA-XRPD identifed some of Vermeer’s original paint- ing materials and evidence of degradation processes that have occurred over time [9]. Vandivere Herit Sci (2020) 8:26 Page 4 of 4 ‘Beauty is skin deep: Te skin tones of Vermeer’s Girl the corresponding author on reasonable request. with a Pearl Earring’ focuses on the materials and layer Competing interests stratigraphy of the Girl’s face, and how Vermeer created The author declares that they have no competing interests. the soft contours and fawless transition from light to Received: 3 March 2020 Accepted: 3 March 2020 shadow [10]. ‘Out of the blue: Vermeer’s use of ultramarine in Girl with a Pearl Earring’ describes the materials and tech- niques used to paint the blue headscarf, and how changes References over time have afected its appearance [11].
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