1699. THE LESSON.
Jan Vermeer of Delft (Dutch: 1632-1675). See 1383.
See also (p. xxi)
A "symphony in black and white"; cool in effect, almost to the point of austerity and chilliness. The faces are full of expression. The master turns in expectation to the pupil, as much as to say "Come, don't you know?" The pupil is ready with his answer, and seems to appeal for encouragement: "That is right, is it not?" There is a severe absence of details; everything in the picture is made to contribute to the colour scheme. "The play of cool light on the faces and hands, on the man's black dress, and the gray tablecloth with its patches of blue shadow; the design of the man's large hat against the dark background, the almost pathetic charm of the fair-haired boy's expression, the regular black and white of the tiled floor,—all seem chosen for their pictorial value alone and skilfully composed into this grave, almost austere harmony. The largeness of design and rejection of all superfluous detail in this picture connect it with Vermeer's more daring compositions" (M. H. Witt, in the Nineteenth Century, October 1900). Only one life-size group by the master is certainly authenticated—the signed "Courtesans" at Dresden. The attribution of our picture to the master is uncertain.