Elegance, extreme lightness and natural brilliance of colours in every detail.
Combining modernity and lightness, aluminium lamination offers a demanding clientele high resolution with brilliant and natural colours that highlight every detail of the work.
With its robust and waterproof surface, it is also suitable for wet rooms such as kitchens, bathrooms and outdoor rooms.
Added to your wishlist
Adding to your wishlist in progress
Aluminum mounting added to your wishlist
Share this work
Share with your printing options
Link to be shared
Add to my wishlist
Additional products
Canvas Print
starting at CA$ 105
Fine Art Print
starting at CA$ 27
Fine Art Print Standard frame sizes
starting at CA$ 27
Framed Giclée Print 10.5 " x 12 "
CA$ 84
More works by Vermeer
Girl with a Pearl Earring
15.3 x 18 cm
starting at CA$ 61
Girl Reading a Letter at an Op...
15.3 x 19.7 cm
starting at CA$ 61
The Milkmaid
15.3 x 17.2 cm
starting at CA$ 61
Saint Praxedis
15.3 x 18.7 cm
starting at CA$ 61
View of Delft
22.9 x 19.1 cm
starting at CA$ 68
Woman Holding a Balance
15.3 x 17.3 cm
starting at CA$ 61
Lady at the Virginal with a Ge...
15.3 x 17.5 cm
starting at CA$ 61
Description
Vermeer's Little Street is one of his most appealing paintings. It is at once picturesque and imbued with a quiet dignity. The subject is hardly the street, which is of little importance in the painting, but rather the collection of buildings and inhabitants that face it. The rows of worn cobblestones that slowly converge on the vanishing point are essential in creating a reasonable sense of depth and breaking up the stifling flatness of the main façade that dominates the picture plane. See more
The scene Vermeer depicts is entirely shaded by clouds that appear to be cumulus clouds illuminated by the sun shining on the left. The main pigment of the blue sky is azurite, now extinct, the most common blue on the palette of 17th century Dutch painters. The clouds are executed by delicate but quick diagonal brushstrokes of white with small mixtures of red ochre and azurite.
In the 1660s, Vermeer became increasingly aware of the role of natural light in defining space and enhancing the mood of his paintings. In this painting, light does not play as active a role. In addition, by the 1660s Vermeer had perfected a series of techniques to suggest the different textures of objects, many of which involved the use of rich impasto paint. These textural effects are not evident in La Petite Rue, despite Vermeer's obvious interest in rendering the different surfaces of buildings.