Girl with a Red Hat, c.1665/66 Johannes Vermeer, van Delft (1632-1675)

We create our paintings with museum quality and covering the highest academic standards. Once we get your order, it will be entirely hand-painted with oil on canvas. All the materials we use are the highest level, being totally artist graded painting materials and linen canvas.

We will add 1.6" (4 cm) additional blank canvas all over the painting for stretching.

High quality and detailing in every inch are time consuming. The reproduction of Johannes Vermeer, van Delft also needs time to dry in order to be completely ready for shipping, as this is crucial to not be damaged during transportation.
Based on the size, level of detail and complexity we need 8-9 weeks to complete the process.

In case the delivery date needs to be extended in time, or we are overloaded with requests, there will be an email sent to you sharing the new timelines of production and delivery.

TOPofART wants to remind you to keep patient, in order to get you the highest quality, being our mission to fulfill your expectations.

We not stretch and frame our oil paintings due to several reasons:
Painting reproduction is a high quality expensive product, which we cannot risk to damage by sending it being stretched.
Also, there are postal restrictions, regarding the size of the shipment.
Additionally, due to the dimensions of the stretched canvas, the shipment price may exceed the price of the product itself.

You can stretch and frame your painting in your local frame-shop.

Once the painting Girl with a Red Hat is ready and dry, it will be shipped to your delivery address. The canvas will be rolled-up in a secure postal tube.

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The paintings we create are only of museum quality. Our academy graduated artists will never allow a compromise in the quality and detail of the ordered painting. TOPofART do not work, and will never allow ourselves to work with low quality studios from the Far East. We are based in Europe, and quality is our highest priority.

In this diminutive panel painting, Vermeer creates a startling visual encounter. A young woman turns to meet our gaze with an immediacy that feels almost intrusive, as if we have interrupted a private moment. The subject's posture - caught in mid-turn, her body still in profile while her face pivots toward us - lends the work its remarkable sense of spontaneity, so unlike the more formal stillness typical of portraiture of the period.

The titular red hat dominates the upper portion of the composition, its vibrant scarlet creating a bold contrast against the muted backdrop. This is not merely decorative but serves as a psychological anchor, drawing attention to the subject's face beneath its wide, feathery brim. The hat's shadow falls across her features, creating a subtle interplay of light that enhances the three-dimensionality of her expression. The parted coral-pink lips revealing a sliver of teeth suggest speech interrupted, further emphasizing the captured-moment quality of the scene.

Color plays a crucial role in the work's impact. Vermeer strategically concentrates two principal hues in distinct areas: the intense red of the hat and the sumptuous royal blue of the robe or overcoat. These bold choices are balanced by the luminous white of the cravat at the sitter's neck, which serves to unify the composition while creating a point of contrast that draws the eye. The artist's understanding of how these colors interact visually demonstrates his sophisticated grasp of optical effects, particularly in how the deep blue sets off the warm tones of the subject's complexion.

Technically, the painting showcases Vermeer's extraordinary command of light. His brushwork varies from the precisely rendered pearl earrings - captured with just a few strategic dabs of white to suggest their lustrous surface - to the more loosely painted tapestry background with its caramel and pine green tones. This background, intentionally kept hazy and indistinct, serves to push the figure forward in space. The lion finials of the chair, rendered with careful attention to how light catches on carved surfaces, anchor the composition along its lower edge.

The painting's intimate scale - among Vermeer's smallest works - requires close viewing, creating a sense of privileged access to this enigmatic encounter. Unlike his works on canvas, this panel painting allowed for different technical approaches, particularly in the capturing of light on surfaces. The precise highlights on the pearl earrings, nose, and lips demonstrate his meticulous observation of how light behaves - knowledge likely informed by his interest in optical devices.

This work exemplifies Vermeer's unique contribution to Dutch Golden Age painting: the elevation of seemingly casual moments to profound visual experiences through careful manipulation of color relationships, compositional choices, and the psychological impact of direct human engagement. The painting's enduring appeal lies in its perfect balance between technical virtuosity and emotional resonance, creating an encounter that feels both centuries old and immediately present.