During the pandemic, the National Gallery of Art in Washington, D.C., used advanced imaging techniques to analyze four paintings attributed to Johannes Vermeer. Beneath the surface of *Girl with the Red Hat* (ca. 1669), conservators discovered an underpainting of a man in a wide-brimmed hat and tasseled collar, dated to 1650–55. Initially thought to be by an unidentified artist, further study suggests the underpainting may be Vermeer’s own work, making it his earliest known painting and his only known male portrait. However, specialists caution that the theory has not been proven or denied, and the hidden portrait could alternatively be by Carel Fabritius, with Vermeer painting over it.
This discovery matters because it could reshape understanding of Vermeer’s early career and artistic process, revealing that his underpaintings were looser and faster than previously assumed—a technique now taught in art schools. If confirmed as Vermeer, the hidden portrait would become his earliest known work, predating *Christ in the House of Mary and Martha* (1654–55), and provide rare insight into his development. Alternatively, if by Fabritius, it would add a significant work to the tiny known oeuvre of that Delft master. The finding also raises the possibility of other unidentified works lurking beneath Vermeer’s paintings, opening new avenues for art-historical research.