plate no. 6810

The Concert

oil, canvasBaroquegenre paintingfiguresinteriormusicpaintingsfloor tilestable

recreation guide

The Concert (c. 1664) is a quintessential example of Dutch Golden Age genre painting, depicting a musical performance by three figures: a woman at a harpsichord, a man playing the lute, and a singing woman (Source 2). The work is characterized by its sophisticated use of light and color, hallmarks of the Baroque style which Vermeer helped define through dramatic chiaroscuro and rich, deep colors (Source 3). The composition features specific symbolic elements, including a harpsichord with an Arcadian landscape on its lid, contrasting with a wild pastoral landscape and Dirck Van Baburen’s The Procuress hanging on the walls (Source 2). These background elements suggest themes of love and seduction, though the domestic setting creates an ambiguous tone (Source 2). Vermeer’s practice involved working slowly, likely producing only three paintings a year, indicating a high level of craftsmanship and attention to detail consistent with the fijnschilders tradition (Source 4).

estimated time

40-60 hours over 8-12 sessions

materials

7 items

steps

7 in sequence

materials

item	purpose	modern equivalent
Oil paints	Primary medium for the painting, allowing for the illusion of natural appearances and subtle light effects.	High-quality tube oils (linseed or walnut oil base)
Canvas	Support for the oil paint, consistent with the artwork's medium.	Linen canvas, primed
Lead White	Essential for Vermeer’s palette to achieve bright highlights and luminous skin tones.	Titanium White or Zinc White (for safety), though Lead White is historically accurate.
Ultramarine (Lapis Lazuli)	For deep blues in clothing and shadows, a key component of Vermeer’s rich color palette.	Natural Ultramarine or high-quality synthetic Ultramarine Blue
Yellow Ochre / Raw Sienna	For earth tones in the floor, walls, and skin undertones.	Yellow Ochre, Raw Sienna
Verdigris or Green Earth	For the green tones in the harpsichord lid landscape and clothing accents.	Viridian or Terre Verte
Red Lake / Vermilion	For accents in clothing and the Procuress painting in the background.	Quinacridone Rose or Cadmium Red

preparation

surface prep

Prepare a linen canvas with a white or light-toned gesso ground. Vermeer’s works often feature a bright, reflective quality, suggesting a light ground that allows light to bounce back through transparent glazes. While specific preparation details for this exact canvas are not in the sources, Dutch Golden Age painters typically used a smooth, white lead-based ground to enhance luminosity (Source 4, general practice).

underdrawing

Vermeer likely used a charcoal or chalk underdrawing, possibly transferred via pouncing or tracing, given his precision. However, sources note he was a 'sound craftsman' who valued the knowledge of his medium (Source 1). There is no specific source detailing his underdrawing for The Concert, so proceed with a loose, light sketch to establish the positions of the three musicians and the background paintings, ensuring the proportions match the described 28.5 by 25.5 inches (Source 2).

underpainting

Apply a monochromatic underpainting (grisaille or verdaccio) to establish values and composition. This aligns with the Baroque emphasis on dramatic light and shadow (chiaroscuro) (Source 3). This step helps in planning the 'intense light and dark shadows' characteristic of the style (Source 3).

color palette

White

Lead White

Highlights on the harpsichord, the woman’s dress, and the marble floor.

Deep Blue

Ultramarine mixed with Black or Burnt Umber

The man’s clothing and shadows, consistent with Vermeer’s rich, deep colors (Source 3).

Yellow/Gold

Yellow Ochre, Raw Sienna, and Lead-Tin Yellow

The harpsichord lid landscape, the lute, and skin tones.

Red

Vermilion and Red Lake

Accents in the background paintings and clothing details.

Green

Verdigris and Yellow Ochre

The Arcadian landscape on the harpsichord lid (Source 2).

composition

The composition features three musicians: a young woman at a harpsichord, a man with a lute, and a singing woman (Source 2). The harpsichord’s upturned lid displays an Arcadian landscape, contrasting with the two paintings on the wall: The Procuress by Dirck Van Baburen on the right and a wild pastoral landscape on the left (Source 2). The floor is black and white marble, described as luxurious (Source 2). The male lute player wears a shoulder belt and sword, identifying him as upper bourgeoisie (Source 2). A viola da gamba lies on the floor (Source 2). The lighting likely comes from the left, consistent with Vermeer’s characteristic use of light from the left (Source 4).

step by step

underdrawing→underpainting→first pass→refining→finishing

underdrawing

step 01
Sketch the basic forms of the three figures and the room layout, ensuring the harpsichord is central with its lid upturned.
Tip — Ensure the proportions of the room and figures are accurate to the 28.5 by 25.5 inch dimensions (Source 2).
Preliminary sketch

underpainting

step 02
Apply a grisaille underpainting to establish the dramatic light and shadow effects (chiaroscuro) typical of Baroque painting.
Tip — Focus on the contrast between the bright harpsichord lid and the darker background elements (Source 3).
Grisaille

first pass

step 03
Block in the local colors, starting with the background paintings and the floor. Use the black and white marble pattern for the floor.
Tip — The floor is described as luxurious black and white marble (Source 2).
Blocking in

refining

step 04
Paint the figures, paying attention to the clothing details: the man’s shoulder belt and sword, and the women’s dresses.
Tip — The clothing identifies them as upper bourgeoisie (Source 2).
Modeling
step 05
Detail the harpsichord lid with the Arcadian landscape, using bright colors to contrast with the wall paintings.
Tip — The bright coloring of the lid stands in contrast to the wall paintings (Source 2).
Detailing

finishing

step 06
Apply glazes to deepen shadows and enhance the luminosity of highlights, particularly on the skin tones and the harpsichord.
Tip — Oil paint’s capacity for illusion should be used to express feeling, not just deceive the eye (Source 5).
Glazing
step 07
Add the viola da gamba on the floor and final touches to the background paintings.
Tip — Ensure the Procuress painting is recognizable on the right wall (Source 2).
Final details

critical techniques

Chiaroscuro

Used to create dramatic light and shadow effects, characteristic of Baroque painting and Vermeer’s style.

Glazing

Applied to achieve depth and luminosity, leveraging the vast capacity of oil paint to approach natural appearances.

Color Contrast

Using complementary colors and contrasting tones to enhance visual interest, such as the bright harpsichord lid against the darker walls.

common pitfalls

→Over-modeling or being too tied to outlines, which can make the painting appear stiff. Vermeer’s work is known for its naturalism and fluidity (Source 1).
→Ignoring the subtle effects of light and atmosphere, which are crucial for achieving the illusion of natural appearances in oil painting (Source 5).
→Failing to capture the luxurious quality of the marble floor and the upper-bourgeoisie clothing details (Source 2).

what the sources don't tell us

Where the corpus is silent, we say so rather than guess. These are the gaps a complete recreation guide would normally cover that our source passages don't.

·Specific pigment recipes used by Vermeer for this painting are not detailed in the sources.
·The exact method of underdrawing (e.g., pouncing vs. freehand) is not specified.
·The precise varnishing technique and materials used by Vermeer are not covered.

grounded in

The technical procedure in this guide traces to the following classical art-instruction texts.

The Practice of Oil Painting↗
- ON COPYING — applied to General advice on craftsmanship and avoiding over-modeling.
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Use of oil paint and glazing techniques.

cross-referenced from

Named facts about this artwork and artist were checked against these reference pages.

Wikipedia: The Concert (Vermeer)↗
- Description — applied to Visual details of the painting, including figures, objects, and background elements.
Wikipedia: Baroque painting↗
- Baroque painting — applied to Style characteristics, including chiaroscuro and dramatic light.
Wikipedia bio — Johannes Vermeer↗
- Johannes Vermeer — applied to Artist’s practice, patronage, and influence.
Wikipedia: Complementary colors↗
- Complementary colors — applied to Color theory and contrast.