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This article explores the enduring fascination with Johannes Vermeer's "Girl with a Pearl Earring" (1665–67), examining the mystery of the unknown subject and the painting's history. It debunks popular theories about the sitter's identity, clarifying that the work is a "tronie"—a formal study of facial features, not a portrait—and traces Vermeer's life, his limited output of 34 known paintings, and his posthumous obscurity for 200 years before rediscovery in the mid-19th century.

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A rare jewellery box identified in Vermeer paintings sheds new light on the artist’s connections

New research by curator Alexandra van Dongen of Rotterdam’s Boijmans Van Beuningen Museum reveals that a rare Indo-Portuguese jewellery casket depicted in two Johannes Vermeer paintings—Mistress and Maid and A Lady Writing (both 1664-67)—is a real, surviving object. Van Dongen tracked down the sole known example in the Távora Sequeira Pinto collection in Porto, with help from Amsterdam dealer Dickie Zebregs. Her findings, published in the book De tastbare wereld van Johannes Vermeer, suggest the casket likely belonged to Vermeer’s patron Maria de Knuijt, a wealthy Dutch East India Company shareholder who may have asked the artist to include it in her paintings.

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