Much of the magic of Vermeer’s paintings arises from the visual restraint of his images, which gives them a timeless character despite the immediacy of his scenes. Similarities also exist in his manner of modeling of the satin skirt, the reflective front of the virginal, the distinctive geometry of the music stand, and the radiant white wall that serves a luminous backdrop for the figure. Aside from its comparable subject matter, this elegantly subtle painting shares with these other late works Vermeer’s sensitivity to light and his subtle rendering of flesh tones. 1673–75, also in The National Gallery ( fig 3). 1670–72, The National Gallery, London ( fig 2) and A Young Woman Seated at a Virginal, ca. 1670, Kenwood House, London ( fig 1) A Woman Standing at a Virginal, ca. In style and execution this small masterpiece is similar to other of Johannes Vermeer’s late depictions of young women playing musical instruments, including The Guitar Player, ca. As she gently and tenderly fingers the keyboard of her virginal, she leans slightly forward in her chair while looking out with a sympathetic expression, as though desiring to share the dulcet sounds of her instrument with the viewer. This entrancing picture, the only one of Vermeer’s mature works remaining in private hands, captures the quiet joy of a young woman in harmony with her music.
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