RENEE MONTAGNE, HOST:
All right. Let's put down the remote and turn to the world of fine art. Two very special Dutch ladies are visiting the U.S. right now. "Girl With A Pearl Earring," that masterpiece by Vermeer, is at the de Young Museum in San Francisco. And another Vermeer, "Woman in Blue Reading a Letter" has recently arrived here in southern California. NPR's Susan Stamberg went to the J. Paul Getty Museum to see it.
SUSAN STAMBERG, BYLINE: The Girl with a Pearl Earring" is easy to fall in love with. She's young, dewy, beautiful. Scarlett Johansen played her in the movie. And she looks right at you. "Woman in Blue" is different. Her face is shadowed. She stands in profile, totally absorbed in her letter. Pietor Roelofs accompanied her to L.A. from the Rijksmuseum in Amsterdam.
PIETOR ROELOFS: I'm the curator of 17th century Dutch painting.
STAMBERG: And you always dress to match the paintings about which you're talking. You have a deep blue shirt and a gorgeous sky blue tie.
STAMBERG: Vermeer's "Woman in Blue" wears a short, full-cut blue jacket. Satin maybe - it has a lustrous sheen. The painter uses different shades of blue to contour the jacket - pale - almost neon in front, as she faces a window. Darker, shadowed, in back. Vermeer Made his beautiful color - celestial blue, Van Gogh called it - he made the blue paint with lapis lazuli stones.
ROELOFS: They imported it from Afghanistan, already, in the 17th century.
STAMBERG: So far away. No wonder it was expensive. The painter would grind a chunk of lapis into powder.
ROELOFS: And then he added oil as a binding material.
STAMBERG: Curator Pietor Roelofs says Vermeer mixed up just a small amount of paint every day - for the area of canvas he would work. No paint-preserving tubes in 1663. In the movie about that other young Vermeer woman, the girl with a pearl earring learns paint-making from her master.
(SOUNDBITE OF FILM, "GIRL WITH A PEARL EARRING")
STAMBERG: At the Getty, "Woman in Blue Reading a Letter" could be the pearl earring girl's slightly older aunt. Less innocent. More serious. Her mouth is slightly open. Her head bends forward a bit.
ROELOFS: It's really her and this piece of paper sent by someone, expressing a message that we do not know. We are part of the story, but we shouldn't be there, probably, and this is lovely, I think. That Vermeer, he's a master in creating these kind of connections between a person being depicted and us as being the beholders. And I think even after 350 years, it still has this same kind of artistic qualities and power to involve us and make us part of the story.
STAMBERG: But Vermeer is only telling a bit of the story. Getty curator of paintings, Anne Wollett, says there are so many questions. We don't know who the lady is. We don't know who wrote the letter.
ANNE WOLLETT: We don't really know what she's reading. Whether she's rereading a letter that came out of the box that's on the lower left, whether she's reading something that's just arrived. Perhaps she was sitting on the chair on the right and she stood up to read something important. It's all very alluring.
STAMBERG: Intriguing. Mysterious. This is cute: the Getty is inviting website visitors to imagine the letter's first line. A professional writer will pick one submission, and create the rest of the message. Which, given how intent the woman is - and those parted lips - just might be a love letter, penned in a distant place - at sea, perhaps.
And carefully composed. In those days, in Holland, good communication was highly valued. Again, Anne Wollett.
WOLLETT: There were manuals from France which gave some guidance about how to write to someone, how to write those important thoughts and feelings in an elegant way.
STAMBERG: You realize that if there'd been email in the 1600s, this intimate picture never would have been painted! Although Johannes Vermeer was awfully good at creating instant, if enigmatic, messages - you got the scene quickly. There was nothing instant about how Vermeer worked. In his brief 43 years, he created maybe 50 paintings, 35 of which are now known.
Dutch curator Pietor Reolofs says, however, that one never knows.
ROELOFS: It's still possible that you will find a Vermeer painting at your attic, for example. They still can be around.
STAMBERG: If your attic is bare, you can at least see Vermeer's "Woman in Blue Reading a Letter" at the J. Paul Getty Museum until the end of March . She's on the West coast for the very first time - and it's her only U.S. stop in what's been a world tour. I'm Susan Stamberg, NPR News.
MONTAGNE: And for those of you who can't make it to the Getty, go to npr.org to see "Woman in Blue."
STEVE INSKEEP, HOST:
It looks gorgeous. From NPR News, it's MORNING EDITION.
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