In Officer and Laughing Girl, how is the Subject and interpretation discussed?
The main subject is the woman at the center, whose face is illuminated by soft, direct light. She resembles Vermeer's wife, Catharina Bolnes, who is believed to have posed for many of his paintings. With x-ray photographs, art historians have determined that Vermeer had originally planned to paint the woman with a large white collar, which would have hidden much of her yellow dress. Also, her cap was later extended to cover all of her hair, drawing more attention to her face and expression. This yellow bodice with braiding has appeared in many of Vermeer's other portraits; it is called a schort and was usually worn as an everyday, common dress. Over her dress the woman wears a blue apron, mostly hidden in the shadows of the table. Blue aprons were common attire at that time because they hid stains well. Art historians have interpreted this to mean that the soldier has surprised the girl with an impromptu visit during her morning chores. The woman holds a wine glass, usually used for white wine. Because at that time wine cost more than beer, it indicates her wealth.
The cavalier in the foreground wears a red coat and an expensive hat, displaying his wealth and rank. His hat is wide-brimmed and made of beaver pelt, which was weather-resistant and good for snowy and rainy conditions. The pelts for these hats were imported from the New World, in this case probably from New Netherland, present-day eastern United States, which was at the time controlled by the Dutch West India Company. The red in his uniform is associated with power and passion, bringing a passionate and emotional note to the painting. His rank as an officer is indicated by the black sash he wears. His striking presence in the immediate foreground brings drama and depth to the mood of the composition. This artistic device—in which an object is placed in the foreground to increase the depth of field of the overall painting—is called a repoussoir. Caravaggio often used this technique, and Vermeer probably learned it from paintings of Caravaggio's imitators.
The nature of the interaction between the woman and the soldier can only be conjectured. Many art historians believe that it only portrays a woman being innocently and honorably courted by this soldier. However, some have suggested that her open hand and smile could indicate a discreet willingness to engage in sex."The Dutch painter Johannes Vermeer of Delft (1632-1675) holds a position of great honor among map historians. Several of his painting illustrate maps hanging on walls or globes standing on tables or cabinets. Vermeer painted these cartographical documents with such detail that it is often possible to identify the actual maps. Evidently, Vermeer was particularly attached to a Willem Blaeu - Balthasar Florisz van Berckenrode map of Holland and West Friesland, as he represented it as a wall decoration in three of his paintings... Though no longer extant, the map's existence is known from archival sources and a second edition published by Willem Blaeu in 1621, titled "Nova et Accurata Totius Hollandiae Westfriesiaeq. Topographia, Descriptore Balthazaro Florentio a Berke[n]rode Batavo". Vermeer must have had a copy at his disposal (or the earlier one published by Van Berckenrode). Around 1658 he showed it as a wall decoration in his painting "Officer and Laughing Girl", . . . Bright sunlight bathes the girl and the large map on the wall. Vermeer's gift for realism is evidenced by the fact that the wall map, mounted on linen and wooden rods, is identifiable as Blaeu's 1621 map of Holland and West Friesland. He captures all of its characteristic design, decoration, and geographic content."
West Friesland Johannes Vermeer Caravaggio Holland Dutch West India Company New Netherland Willem Blaeu repoussoir