Art of Painting (c1667). Oil on canvas. 130 x 110. The Art of Painting, also known as The Allegory of Painting, or Painter in his Studio, is a 17th-century oil on canvas painting by Dutch painter Johannes Vermeer. It is owned by the Austrian Republic and is on display in the Kunsthistorisches Museum in Vienna. This illusionistic painting is one of Vermeer's most famous. In 1868 Thoré-Bürger, known today for his rediscovery of the work of painter Johannes Vermeer, regarded this painting as his most interesting. Svetlana Alpers describes it as unique and ambitious; Walter Liedtke as a virtuoso display of the artist's power of invention and execution, staged in an imaginary version of his studio. According to Albert Blankert No other painting so flawlessly integrates naturalistic technique, brightly illuminated space, and a complexly integrated composition. Many art historians think that it is an allegory of painting, hence the alternative title of the painting. Its composition and iconography make it the most complex Vermeer work of all. After Vermeer's Christ in the House of Martha and Mary it is his largest work. The painting depicts an artist painting a woman dressed in blue posing as a model in his studio. The subject is standing by a window and a large map of the Low Countries hangs on the wall behind. It is signed to the right of the girl I Ver. Meer, but not dated. Most experts assume it was executed sometime between 1665/1668, but some suggest the work could have been created as late as 1670-1675. In 1663 Vermeer had been visited by Balthasar de Monconys, but had no painting to show, so it was possibly done in order to have an outstanding specimen of his art in his studio. Vermeer obviously liked the painting; he never sold it during his lifetime. According to Alpers it stands as a kind of summary and assessment of what has been done. The painting has only two figures, the painter and his subject, a woman with downcast eyes. The painter was thought to be a self-portrait of the artist; Jean-Louis Vaudoyer suggested the young woman could be his daughter. The painter sits in front of the painting on the easel, where you can see the sketch of the crown. He is dressed in an elegant black garment with cuts on the sleeves and on the back that offers a glimpse of the shirt underneath. He has short puffy breeches and orange stockings, an expensive and fashionable garment that is also found in other works of the time, as in a well-known self-portrait by Rubens. The tapestry and the chair, both repoussoirs, lead the viewer into the painting. As in The Allegory of Faith the ceiling can be seen. Experts attribute symbols to various aspects of the painting. A number of the items, a plaster mask, perhaps representing the debate on paragone, the presence of a piece of cloth, a folio, and some leather on the table have been linked to the symbols of Liberal Arts. The representation of the marble tiled floor and the splendid golden chandelier are examples of Vermeer's craftsmanship and show his knowledge of perspective. Each object reflects or absorbs light differently, getting the most accurate rendering of material effects. The map, remarkable is the representation of light on it, shows the Seventeen Provinces of the Netherlands, flanked by 20 views of prominent Dutch cities. It was published by Claes Janszoon Visscher in 1636. This map, but without the city views on the left and right can be seen on paintings by Jacob Ochtervelt and Nicolaes Maes. Similar maps were found in the Bibliothèque Nationale in Paris and in the Swedish Skokloster. In the top left of the map two women can be seen; one bearing a cross-staff and compasses, while the other has a palette, brush, and a city view in the hand. Vermeer had a theoretical interest for painting. The subject is presumed to be Fama, Pictura, or Clio, the Muse of History, evidenced by her wearing a laurel wreath, holding a trumpet, possibly carrying a book by Herodotus or Thucydides, which matches the description in Cesare Ripa's 16th century book on emblems and personifications entitled Iconologia. However, according to Ripa History should look back and not down as in this painting. Following Vermeer's contemporary Gerard de Lairesse, interested in French Classicism and Ripa, there is another explanation; he mentions history and poetry as the main resources of a painter. The woman in blue could be representing poetry, pointing to Plutarch who observed that Simonides calls painting silent poetry and poetry painting that speaks, later paraphrased by the Latin poet Horace as ut pictura poesis. If so, the map is representing history.