Vermeer's Palette

The number of pigments available to the seventeenth-century Dutch painter were few indeed when compared to those available to the modern artist. While the current catalogue of one of the most respected color producers (Rembrandt) displays more than a hundred pigments, about only 20 pigments have been detected in Vermeer's oeuvre.^{This examination of Vermeer's pigments is principally based on Herman Kühn, "A Study of the Pigments and Grounds Used by Jan Vermeer," Reports and Studies in the History of Art (1968): 154–202. Because only a limited number of paint samples were taken, and only from the outer edge of the canvas, the study provides partial knowledge of the pigments Vermeer used and his methods of employing them. Results of other studies conducted recently have been incorporated into this study.} Of these few pigments only ten seemed to have been used in a more or less systematic way.

In Vermeer's time, each pigment was different in regards to permanence, workability, drying time, and means of production. Moreover, many pigments were not mutually compatible and had to be used separately or in a particular manner. The following study examines the history and origin of each pigment and how they were employed by Vermeer and his contemporaries.

Colors were commonly laid out along the edge of the palette, often in rows or a semi-circular pattern. This arrangement kept the central area free for mixing paints. The pigments were usually organized from light to dark or arranged according to the color spectrum. For example, an artist might start with whites and yellows, proceed through reds and browns, and end with blues and blacks.

This systematic layout allowed painters to quickly locate and mix colors, maintaining efficiency and consistency in their work (fig. 1). While there was no strict standardization, and individual preferences varied, the orderly placement of pigments was a common practice among artists of that era. Contemporary painting manuals and treatises sometimes provided guidance on palette arrangement, reflecting its importance in the artistic process. Sometimes seventeenth-century portrait painters prepared their palettes with pre-mixed gradations of flesh tones (fig. 2) . This practice was common among artists who sought to achieve subtle variations in skin tones in their portraits. Pre-mixing flesh tones was not only a matter of convenience but also a reflection of the meticulous preparation that characterized the working methods of many master painters of the period. It allowed them to work more fluidly and responsively, making adjustments on the canvas with greater control over the final outcome.

Vermeer's principal pigments

A significant lacuna in the seventeenth-century painter's palette was the lack of the so-called "strong colors." Only a handful of bright, stable and workable colors existed. Mixing to create new tints did not significantly alleviate the problem. When pigments are physically mixed amongst themselves, the new color is inevitably less brilliant than either one of the original components and, more importantly, in the case of some older pigments, they were not even compatible.

One thorn in the side of the seventeenth-century painter was the chronic shortage of strong, opaque yellows and reds which could be to model form with a certain ease. The exceptionally brilliant red and yellow cadmiums, now obligatory paints in any contemporary painter's studio, had not been commercialized until the 1840s. For centuries the only strong opaque red adapted for modeling was vermilion. Vermilion is a very opaque pigment with excellent handling properties but nonetheless, it possesses a fiery, orange undertone and must be glazed to protect it from degrading. Strong yellows, in particular, were scarce and the only brilliant green was the problematic verdigris. In order to overcome the lack of suitable purple pigments and to economize, artists had learned to first model form in tones of ultramarine and white and then glaze over the dried layer of red madder obtaining a lively purple tint.

Moreover, strong colors were not always readily available on the erratic marketplace and had to be used with utmost economy. For example, natural ultramarine, the most precious of all blues for the artist, had become so expensive that painters usually used it as a glaze over a monochrome underpainting. Vermeer used natural ultramarine in just this way.

Economic considerations played a decisive role of the artist's working procedures. If the complete range of pigments, each already ground in oil, had to be available for use at all times, large amounts of painting would have to be thrown away unused. Metal tubes were employed only in the mid-nineteenth century. Excess paint which had not been used during a single painting session was kept temporarily in pig's bladders or the whole palette could be emerged in water over night to prevent contact with oxygen which induces drying.

It is extremely unlikely that Vermeer had on his palette in any given work session all the pigments that were available to him. Painters were known to use specific palettes set out each day according the passage to be painted. The wooden palette above represents the seven principal pigments which Vermeer commonly employed.