Experts argue over Vermeer’s paintings and their authenticity

In London, a new exhibition titled 'Double Vision: Vermeer' opened at Kenwood House, showcasing two nearly identical works attributed to Johannes Vermeer. The paintings, 'The Guitar Player' and 'Lady with a Guitar', have sparked debate amongst art historians for decades. This exhibition brings together both versions, allowing visitors to explore the controversial relationship between them. Arie Wallert, a former specialist from the Rijksmuseum in Amsterdam, asserted that the established painting at Kenwood House and another in the Philadelphia Museum of Art present key differences worth analyzing. Notably, the hairstyles in the two works differ significantly. The Kenwood painting is signed by Vermeer, establishing its authenticity, while the Philadelphia version is unsigned and has undergone scrutiny over its origins. It appeared in the private Cremer collection in Brussels in the 19th century before being acquired by Pennsylvania lawyer John Johnson in 1917. The Kenwood painting was part of Lord Iveagh's collection, bequeathed to the house in 1927, which raises questions about the timeline and ownership of both works. Recent technical assessments have revealed that the preparation layers and materials differ between the two paintings. The Kenwood piece uses a singular pale gray-brown ground while the Philadelphia painting has a dark brown base. Furthermore, the Kenwood artwork employs ultramarine paint—indicative of Vermeer’s true technique—absent in the other version. This evidence has led some experts to suggest that the unprovenanced painting in Philadelphia may indeed be an early copy rather than an original work, thus reigniting the long-standing debate over Vermeer’s oeuvre. The exhibition aims to engage the public in discussions regarding the integrity of attributed art, inviting them to consider how art history, science, and connoisseurship contribute to the understanding of 17th-century painting techniques. It offers a tangible experience of art history, whilst acknowledging the complexities surrounding attribution and authenticity in art, especially in pieces as revered as those by Vermeer. Scholars and enthusiasts alike are encouraged to dissect these findings and draw their conclusions on the veracity of the respective paintings' origins.