Milkmaid (c1659). Oil on canvas. 45 x 41. The Milkmaid, sometimes called The Kitchen Maid, is an oil-on-canvas painting of a milkmaid, in fact, a domestic kitchen maid, by the Dutch artist Johannes Vermeer. It is now in the Rijksmuseum in Amsterdam, the Netherlands, which regards it as unquestionably one of the museum's finest attractions. The exact year of the painting's completion is unknown, with estimates varying by source. The Rijksmuseum estimates it as circa 1658. According to the Metropolitan Museum of Art in New York City, it was painted in about 1657 or 1658. The Essential Vermeer website gives a broader range of 1658-1661. The painting shows a milkmaid, a woman who milks cows and makes dairy products like butter and cheese, in a plain room carefully pouring milk into a squat earthenware container on a table. Milkmaids began working solely in the stables before large houses hired them to do housework as well rather than hiring out for more staff. Also on the table in front of the milkmaid are various types of bread. She is a young, sturdily built woman wearing a crisp linen cap, a blue apron and work sleeves pushed up from thick forearms. A foot warmer is on the floor behind her, near Delft wall tiles depicting Cupid and a figure with a pole. Intense light streams from the window on the left side of the canvas. The painting is strikingly illusionistic, conveying not just details but a sense of the weight of the woman and the table. The light, though bright, doesn't wash out the rough texture of the bread crusts or flatten the volumes of the maid's thick waist and rounded shoulders, wrote Karen Rosenberg, an art critic for The New York Times. Yet with half of the woman's face in shadow, it is impossible to tell whether her downcast eyes and pursed lips express wistfulness or concentration, she wrote. It's a little bit of a Mona Lisa effect in modern viewers' reactions to the painting, according to Walter Liedtke, curator of the department of European paintings at The Metropolitan Museum of Art, and organizer of two Vermeer exhibits. There's a bit of mystery about her for modern audiences. She is going about her daily task, faintly smiling. And our reaction is What is she thinking? The woman would have been known as a kitchen maid or maid-of-all-work rather than a specialised milkmaid at the time the painting was created: milk maids were women who milked cows; kitchen maids worked in kitchens. For at least two centuries before the painting was created, milkmaids and kitchen maids had a reputation as being predisposed to love or sex, and this was frequently reflected in Dutch paintings of kitchen and market scenes from Antwerp, Utrecht and Delft. Some of the paintings were slyly suggestive, like The Milkmaid, others more coarsely so. The leading artists in this tradition were the Antwerp painters Joachim Beuckelaer and Frans Snyders, who had many followers and imitators, as well as Pieter Aertsen, the Utrecht Mannerist painter Joachim Wtewael, and his son, Peter Wtewael. Closer to Vermeer's day, Nicolaes Maes painted several comic pictures now given titles such as The Lazy Servant. However by this time there was an alternative convention of painting women at work in the home as exemplars of Dutch domestic virtue, dealt with at length by Simon Schama. In Dutch literature and paintings of Vermeer's time, maids were often depicted as subjects of male desire, dangerous women threatening the honor and security of the home, the center of Dutch life, although some Vermeer contemporaries, such as Pieter de Hooch, had started to represent them in a more neutral way, as did Michael Sweerts. Vermeer's painting is one of the rare examples of a maid treated in an empathetic and dignified way, although amorous symbols in this work still exemplify the tradition. Other painters in this tradition, such as Gerrit Dou, depicted attractive maids with symbolic objects such as jugs and various forms of game and produce. In almost all the works of this tradition there is an erotic element, which is conveyed through gestures ranging from jamming chickens onto spits to gently offering; or so the direction of view suggests; an intimate glimpse of some vaguely uterine object, according to Liedtke. In Dou's 1646 painting, Girl Chopping Onions, a pewter tankard may refer to both male and female anatomy, and the picture contains other contemporary symbols of lust, such as onions, and a dangling bird. Milk also had lewd connotations, from the slang term melken, defined as to sexually attract or lure. Examples of works using milk this way include Lucas van Leyden's engraving The Milkmaid and Jacques de Gheyn II's engraving The Archer and the Milkmaid.