The Milkmaid is an oil-on-canvas painting of, in fact, a domestic kitchen maid, by the Dutch artist Johannes Vermeer. It is now in the Rijksmuseum in Amsterdam, the Netherlands, which regards it as “unquestionably one of the museum’s finest attractions.”
Despite its traditional title, the picture clearly shows a kitchen or housemaid, a low-ranking indoor servant, rather than a milkmaid who actually milks the cow, in a plain room carefully pouring milk into a squat earthenware container (now commonly known as a “Dutch oven”) on a table. Also on the table are various types of bread. She is a young, sturdily built woman wearing a crisp linen cap, a blue apron and work sleeves pushed up from thick forearms. A foot warmer is on the floor behind her, near Delft wall tilesdepicting Cupid (to the viewer’s left) and a figure with a pole (to the right). Intense light streams from the window on the left side of the canvas.
The painting is strikingly illusionistic, conveying not just details but a sense of the weight of the woman and the table. “The light, though bright, doesn’t wash out the rough texture of the bread crusts or flatten the volumes of the maid’s thick waist and rounded shoulders”, wrote Karen Rosenberg, an art critic for The New York Times. Yet with half of the woman’s face in shadow, it is “impossible to tell whether her downcast eyes and pursed lips express wistfulness or concentration,” she wrote.
“It’s a little bit of a Mona Lisa effect” in modern viewers’ reactions to the painting, according to Walter Liedtke, curator of the department of European paintings at The Metropolitan Museum of Art, and organizer of two Vermeer exhibits. “There’s a bit of mystery about her for modern audiences. She is going about her daily task, faintly smiling. And our reaction is ‘What is she thinking?’”
Salomon van Ruysdael - Winter Landscape [c.1658] by Gandalf Via Flickr: In this painting, Ruysdael depicts a crisp, clear day with townspeople enjoying all manner of winter activity on a frozen river. Several horse-drawn sleighs are filled with passengers, while skaters propel themselves along on the ice. In the centre foreground, a man sits in a prikslee, a small sledge designed for one rider who pushed it along with short poles. Others gather by a tent at right for refreshment or watch the action from above. While Ruysdael’s palette in the three earlier winter landscapes was more monochromatic, reflecting the influence of artists such as Esaias van de Velde and Pieter van Santvoort, in these later ice scenes he introduced more colour such as, here, the bright blue of the sky streaked with bands of pink which are reflected in the ice.
[Sotheby’s, New York - Oil on panel, 75.3 x 106 cm]
The Suitor’s Visit (c.1658). Gerard ter Borch (Dutch, 1617-1681). Oil on canvas. National Gallery of Art, Washington.
Ter Borch’s paintings often allude to music, a common 17th-century metaphor for love and harmony between family members, lovers, or friends. In The Suitor’s Visit, the arrival of a gentleman has interrupted a duet. A young woman has risen to greet him, leaving her bass viol and sheet music on the table, while her seated friend continues to strum a lute.