Mahon et al. Herit Sci (2020) 8:30 https://doi.org/10.1186/s40494-020-00375-2 RESEARCH ARTICLE Open Access Johannes Vermeer’s Mistress and Maid: new discoveries cast light on changes to the composition and the discoloration of some paint passages Dorothy Mahon1, Silvia A. Centeno2* , Margaret Iacono3, Federico Carό2, Heike Stege4 and Andrea Obermeier4 Abstract Among the thirty-six paintings ascribed to the Dutch seventeenth century artist Johannes Vermeer (1632–1675), Mistress and Maid, in The Frick Collection, stands out for the large-scale fgures set against a rather plain background depicting a barely discernible curtain. Although generally accepted as among the late works of the artist and dated to 1667–1668, for decades scholars have continued to puzzle over aspects of this portrayal. When the painting was cleaned and restored in 1952, attempts to understand the seeming lack of fnish and simplifed composition were hampered by the limited technical means available at that time. In 1968, Hermann Kühn included Mistress and Maid in his groundbreaking technical investigation ‘A Study of the Pigments and the Grounds Used by Jan Vermeer.’ In the present study, imaging by infrared refectography and macro-X-ray fuorescence (MA-XRF) revealed signifcant com- positional changes and drew focus to areas of suspected color change. Three of the samples taken by Hermann Kühn, and now in the archive of the Doerner Institut in Munich, were re-analyzed, along with a few paint samples taken from areas not examined in the 1968 study, using scanning electron microscopy–energy dispersive X-ray spectros- copy (SEM–EDS) and Raman spectroscopy. These analyses made it possible to further visualize detailed compositional elements in the background of the painting that were later painted out, and to characterize darkening and color changes in diferent paint passages. Keywords: Johannes Vermeer, Mistress and Maid, Darkening, Color change, Underlying composition, MA-XRF, Raman spectroscopy, SEM–EDS Introduction New York mansion, where it has remained on view for When Henry Clay Frick purchased Vermeer’s Mistress the most part since the collection opened to the public in and Maid (Fig. 1a) in 1919, it joined two other paint- 1935, there have been perennial questions about aspects ings in his collection by this esteemed artist. By this of this painting. In 2017 Mistress and Maid was sent to time, the tacking margins had been removed and the Te Metropolitan Museum of Art (Te Met) for technical original canvas support had been lined to a linen fabric examination to clarify long standing issues in preparation with an aqueous glue/paste adhesive and stretched onto for an in-focus publication [2]. a keyable stretcher [1]. Despite its prominent placement Vermeer chose a large canvas for his composition, today as the sole Vermeer in the West Gallery of Frick’s which presents two women pondering a newly arrived letter. Te seated woman, dressed in elegant attire, is dra- *Correspondence: [email protected] matically lit by an unseen light source that illuminates 2 Department of Scientifc Research, The Metropolitan Museum of Art, her marble-like skin and yellow mantle. Set before her is 1000 Fifth Avenue, New York, NY 10028, USA Full list of author information is available at the end of the article a table spread with a cloth on which lie a sheet of paper, © 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. Mahon et al. Herit Sci (2020) 8:30 Page 2 of 11 Fig. 1 Johannes Vermeer (1632–1675), Mistress and Maid, 1666–1667. Oil on canvas, 35 1/2 31 in. (90.2 78.7 cm). The Frick Collection, New York; × × Henry Clay Frick Bequest (a). X-radiograph (b) a veneered box, and a collection of glass writing accesso- for example, Girl with a Pearl Earring, 1665–1667 [6], in ries places atop a silver tray. A modestly costumed maid the collection of the Maurithuis, Te Hague, and Study emerges from the dark background to deliver a written of a Young Woman, 1665–1667 [6], in Te Met. When message. Te mistress’s reaction, expressed by her hand the painting was cleaned and restored in 1952, the con- stroking her chin, suggests her intense interest in the servator William Suhr added his opinion to the debate missive’s arrival. Te letter’s inscrutable contents and the as to whether the painting was fnished by asserting mistress’s ambiguous response evoke a sense of mystery that the mistress’s “face and neck, the left arm and hand and uncertainty. [were] just underpainted, and the eye merely blocked Depicting an interior domestic scene like so many of in [1]”. Using his skills as a connoisseur, Suhr goes on to Vermeer’s images, the painting explores the relation- assert that “the background is original and is a curtain” ship between mistresses and maids and the writing and although he considers that it was never fnished and that receiving of letters, two popular themes in the art and it consists of a glaze, dark brown in color [1]. He observes literature of the period. It also demonstrates Vermeer’s that “some of the mistress’ curls and the ribbon of the technical virtuosity: bravura strokes suggest the pleating pearl necklace…are painted over this brown.” of the yellow mantle and the tablecloth’s folds; shorter, Hermann Kühn was commissioned by the National bold strokes signify the fickering light refected on the Gallery of Art, Washington, to carry out a technical study glassware; and dots of impasto convey the shimmer of of Vermeer that was published in 1968 [7]. Tis ground- the pearls. breaking investigation included thirty of the thirty-fve Tere has been much debate among art historians as paintings considered at that time to be by Vermeer, and to whether or not the painting is fnished [2–4]. Com- was limited to samples taken from the edges of the paint- mentary includes suggestions that the appearance of the ings studied. In 1965, Kühn took samples from Mistress background, dark and empty except for a hint of a cur- and Maid from four locations: the ebony veneered box, tain, indicate that it was left unfnished in Vermeer’s stu- the tablecloth, the mistress’ yellow robe, and the fur trim. dio at this death and quickly fnished up by another hand Samples taken from the frst three locations listed were to make it saleable. Tis notion is reinforced by a 1809 mounted in cross-section. Te sample taken from the fur line engraving by Jean-Baptiste-Pierre Lebrun published trim was a scraping. In addition to his assessment of the by Didot-Jeune, Paris, that records the composition in layer structure of the cross-sections, the pigment scrap- reverse, in which no curtain appears [5]. While a nearly ing from the fur trim and the unmounted material from featureless background is unusual for a genre scene by the other three locations were analyzed. Kühn’s analytical Vermeer, similar backgrounds are found in his tronies, methods included light microscopy, microchemical tests, Mahon et al. Herit Sci (2020) 8:30 Page 3 of 11 powder X-ray difraction and emission spectrographic samples were lightly repolished using Micromesh® cloth analysis (ESA). In Mistress and Maid, Kühn identifed 8000 or 12,000, depending on the condition and size of chalk, lead white, charcoal black, Cu resinate, natural the sample. ultramarine, and lead–tin yellow. Kühn also reported for all samples a thin brown–black layer applied over the Optical microscopy ground layer, containing charcoal black. At the Doerner Institut, an Axioskop 20 (Zeiss) micro- Mistress and Maid has also been included in “Counting scope was used, with 50×, 100×, 200×, 500× and 1000× Vermeer: Using Weave Maps to Study Vermeer’s Can- magnifcations, a DIC incident light flter, 02 and 18 vases,” a the comprehensive multidisciplinary study of UV flter sets, a 12 V–100 W halogen lamp as VIS light Vermeer’s canvases [8]. source, a LQ-HXP 120 (Leistungselektronik Jena) with a In our study, with the aim to investigate the changes to HXP-R120W/45C VIS lamp (Osram) as UV light source, the composition and the discoloration of some paint pas- a 0.63× converter, a digital AxioCAM MRc (Zeiss) sages mentioned above, the cross sections taken by Her- microscope camera with an AxioVision 4.9 software. For mann Kühn in 1965 were re-examined. X-radiography, the examination of samples cross-sections at Te Met, a infrared refectography, and macro-XRF were used to Zeiss Axio Imager M2m microscope was used, with 50×, image the entire painting, and three new samples from 100×, 200× and 500× magnifcations, an Axiocam HRc the background, an area not included in the Kühn’s study, digital camera and AxioVision 4.X.X software.