That man in the red hat
That man in the red hat
. … that man in the red hat?
. … that man in the red hat?
Кто тот мужчина в красной шляпе Who.
Plays, he, the, that, the, is, trumpet, man?
Plays, he, the, that, the, is, trumpet, man?
Like to tell about the man, whose name is known all over the world?
Like to tell about the man, whose name is known all over the world.
Помогите пожалуйста : complete the sentences as in the example
Подчеркните подходящее слово для того, чтобы дополнить предложение : 1?
Подчеркните подходящее слово для того, чтобы дополнить предложение : 1.
Here’s the book (that \ who \ whose) I told you about.
2. That’s the man (who \ which \ whose) was arrested.
3. The fans (that / who / when) had been waiting for hours, finally met the TV star.
4. Police are looking for a woman (which \ who \ whose) briefcase was found at the airport.
5. Is that the restaurant (which / where / that) we went to on my birthday?
6. September, (which / when \ that)i went on holiday, was a wonderful month.
7. France was (where \ which \ that)that made the film.
8. The year 2001, (which \ when \ that) was a busy one for me, was when I met Alex.
Составить предложения с словами which / that ; who / that ; whose ; where ; when?
Составить предложения с словами which / that ; who / that ; whose ; where ; when.
Помогите составить по 2 предложения с местоимениями who whom whose that which?
Помогите составить по 2 предложения с местоимениями who whom whose that which.
Проверьте, пожалуйста, правильность употребления глаголов?
Проверьте, пожалуйста, правильность употребления глаголов.
– You (see) that man over there?
The man in the brown jacket?
– No, I (talk) about the man who (wear) the blue shirt.
– No, I (think, not) so.
Are you seeing that man over there?
The man in the brown jacket?
— No, I am talk about the man who wears the blue shirt.
— Do you know him?
No, I am not think so.
— I’m not know him either.
Всем Привет))) Помогите?
Всем Привет))) Помогите!
1) Kate and Joe made a model of an airplane by.
A) that / who B) whom / that C) whose / that D) that / whose.
3. Подчеркните правильный союз?
3. Подчеркните правильный союз.
1. That’s the film who / that I’ve just seen.
2. The pens which / who are red are on the table.
3. I know the man who / which helped me.
4. The boy that / who showed him the way was very polite.
1) we were waiting for the train on the platform. 2)we ussuslly have a breakfast at 9 o’clock. 7) lf they ho to Kyiv, they will visit many musseums. 8) l will dance if they played my favourite song 9)Go to the kitchen.
Ex 2 1. D 2. E 3. B 4. A 5. F 6. C Ex 3 2. Shorter 3. Bigger 4. Older / Elder 5. Younger 6. More comfortable.
1. Kazakhstan, Astana. 2. very big country 3. Many 4. Kazakh.
1) Great Britain / London 2) busy city 3)8 million 4) english.
1 1) If it (is not) too cold, I (not put) on my coat. 2) I (will write) the composition if you (do not disturb) me. 3) His vocabulary (will increase) greatly if he ( reads) fifty pages. 4) You (will go) to the Philarmonic much more often if you re..
1) used to go swimming 2) was dancing 3) were you laughing 4) used to drink 5) rode 6) was writing 7) was raining 8) used to play 9) Sang 10) was cleaning.
Are is are aren’t are isn’t is aren’t are isn’t is is.
1)I spend the time of my life right 2)The wall is very dense 3)The mouth of the river is its end 4)We make our way through the storm 5)We will win and get the main winning.
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whose that man in the red hat
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in the same room.
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06. back in the red
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06. back in the red
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man in the kitchen.
Russian
Мужчина на кухне.
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the man in the street
Russian
Прохожий с улицы
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a man in the shadow
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5.dance in the red
Russian
5.dance in the red
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08. man in the mirror
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08. man in the mirror
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Мужчина в автомобиле – ср.
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album: man in the moon
Russian
Альбом: man in the moon
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in the red guard royone
Russian
В красногвардейском ройоне
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this last man in the world
Russian
Это последний человек в мире
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who is that man in the background of the picture
Russian
Кто тот человек на заднем плане картины
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richest man in the valley
Russian
Самый богатый человек в долине
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the company is in the red.
Russian
Фирма имеет долги.
Last Update: 2014-02-01
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the key is in the red zone.
Russian
Важное тут в красной колонке.
Last Update: 2015-10-13
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in the red planet unmistakable mile
Russian
в красной планете безошибочно км
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man in the world of chimp
Russian
Человек в мире шимпанзе
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tom is the only man in the room
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tom was the only man in the room
Russian
Том был единственным мужчиной в комнате
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Results for whos that man in the red hat translation from English to Russian
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whos that man in the red hat
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in the same room.
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English
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06. back in the red
Russian
06. back in the red
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English
man in the kitchen.
Russian
Мужчина на кухне.
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English
the man in the street
Russian
Прохожий с улицы
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a man in the shadow
Russian
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5.dance in the red
Russian
5.dance in the red
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English
08. man in the mirror
Russian
08. man in the mirror
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English
Russian
Мужчина в автомобиле – ср.
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English
album: man in the moon
Russian
Альбом: man in the moon
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in the red guard royone
Russian
В красногвардейском ройоне
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this last man in the world
Russian
Это последний человек в мире
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richest man in the valley
Russian
Самый богатый человек в долине
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who is that man in the background of the picture
Russian
Кто тот человек на заднем плане картины
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English
the company is in the red.
Russian
Фирма имеет долги.
Last Update: 2014-02-01
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the key is in the red zone.
Russian
Важное тут в красной колонке.
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what’s in the red package
Russian
Что в красном пакете
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luckiest man in the world!
Russian
Самый удачливейший человек в мире!
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in the red planet unmistakable mile
Russian
в красной планете безошибочно км
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man in the world of chimp
Russian
Человек в мире шимпанзе
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The Man In The Red Hat
Cardinal Theodore E. McCarrick would never hint at a preference in the presidential race, but if John Kerry wins in November, he will be the first Catholic in the White House in four decades–and part of McCarrick’s flock.
That the President would be a controversial Catholic doesn’t faze McCarrick. In the nearly four years that he has headed the Archdiocese of Washington, McCarrick has become the nation’s most interviewed and quoted cardinal. Whether Kerry becomes president or not, the battles within the Catholic Church are likely only to intensify. As one longtime observer says of McCarrick, «He’s between the rock of Peter and a hard place.»
If it’s a hard place, it is also a high one. McCarrick is a significant force in the Church. He has been close to Pope John Paul II for many years and has served as his emissary on international issues. The Pontiff assigned him to the Washington Archdiocese four years ago to put him at the center of national and world politics. Because of his stature in the College of Cardinals, Vatican watchers believe McCarrick will be a dominant force in the election of the next pope.
McCarrick first met the Pope when he was still Cardinal Wojtyla, the archbishop of Kraków. The Polish cardinal had come to Philadelphia in 1976 for a Eucharistic Congress and was a guest of New York cardinal Terence Cooke’s. One morning at breakfast McCarrick, then one of Cooke’s secretaries, jokingly complained that he had given up his vacation so he could be at the conference.
Two years later, at the new Holy Father’s first general audience at the Vatican, Pope John Paul II stopped McCarrick in the receiving line and asked, «Did you ever get that vacation?»
MCCARRICK, WHO HAS appeared on Meet the Press and been quoted extensively in the media, has angered some conservative Catholic groups who feel he is publicly too tolerant of politicians like Kerry. When some conservative church leaders said that Kerry, because of his pro-choice position, should not present himself at the altar rail for Communion, which Catholics believe is the body and blood of Christ, McCarrick responded, «I do not favor a confrontation at the altar rail with the Sacred Body of the Lord Jesus in my hand. There are apparently those who would welcome such a conflict, for good reasons I am sure, or for political ones, but I would not.»
McCarrick says his position is in line with Catholic teachings: «The individual should be the one who decides whether he is in communion with the church, and if you are in communion with what the church teaches, then you have the right to receive Holy Communion.»
A master of the nuanced response and a shrewd diplomat, McCarrick is hard to corner or define. People who know him say it is a mistake to pigeonhole McCarrick as a Catholic liberal. He is orthodox in his adherence to Roman Catholic dogma, which means he opposes abortion and supports such issues as an all-male priesthood and the sanctity of heterosexual marriage.
A slight, vigorous 74-year-old, McCarrick is a thoughtful, energetic man with a self-effacing sense of humor. In his office suite in the Pastoral Center just across the Maryland line from Catholic University, he explains that his primary duties as Archbishop of Washington are pastoral and his political duties are secondary.
But he is clearly aware of his political role. Shortly after arriving here, he invited newly inaugurated President Bush and his wife, Laura, to dinner at the Pastoral Center. It was an invitation they couldn’t refuse, knowing that they have strong support among upscale, church-attending Catholics.
Also aware of the cardinal’s influence, presidential candidate Kerry sought a meeting recently with McCarrick. They talked in the small sitting room the cardinal likes to use for intimate meetings.
McCarrick argues that there is no such thing as a Catholic vote–or that it is more divided now than it was when John F. Kennedy ran for president in 1960. He says the Catholic vote is probably more conservative now «because of what I think a lot of us feel are attacks against a culture that we feel is important to us–the culture of our family, the culture of marriage, the culture of life, the culture of honesty.»
IN THE HIERARCHY OF ROMAN Catholicism, cardinals are the princes of the Church; at one time they carried diplomatic status equal to princes. Men of power and influence, they are addressed as «your eminence.» They advise the Pope and serve on the various congregations, or internal governing bodies, that establish the rules controlling the world’s largest denomination. With 64 million members, it is the largest in the United States; second is the Southern Baptist Convention, with more than 16 million members.
The church has 189 cardinals, including McCarrick’s predecessor, Cardinal James A. Hickey, who is in a nursing home here under the care of the Little Sisters of the Poor.
Next July, when McCarrick reaches 75, under canon law he must submit his resignation, then continue to serve at the pleasure of the Pontiff. On his 80th birthday, he loses the right to vote in the College of Cardinals, who meet in secret conclave at the death of the Pope to select a new leader. Currently 122 cardinals are eligible to elect a new pope.
Because Pope John Paul II is in failing health and under an unofficial death watch, McCarrick is likely to be a part of the next conclave sealed in the Sistine Chapel to select a new successor to St. Peter. And his role there may be more significant than most Americans realize.
David Gibson, author of The Coming Catholic Church and a religion reporter who has covered the Vatican and knew McCarrick for the 18 years he was Archbishop of Newark, describes him as a «pope maker.» Over the years, Gibson says, McCarrick «has been the Pope’s point man on international issues, developing a number of international political contacts, including important ones in the church hierarchy.»
McCarrick’s travels for the Vatican have taken him through Asia, Africa, Europe, and South America. Most of the cardinals haven’t traveled as much and don’t know many of the other cardinals. They will look to McCarrick to help bring them together behind a candidate. «He will have an important say on who the new pope will be,» Gibson says.
BORN IN 1930, McCarrick was raised in Manhattan’s Washington Heights neighborhood, the son of a sea captain from Norfolk and a beautiful mother who’d worked as an artist model. His father, who contracted the Spanish flu in the Navy during World War I and had weakened lungs, was later stricken with tuberculosis and died when McCarrick was three years old.
He doesn’t reminisce much about being an only child in a one-parent household except to say that he identified more with the Church of the Incarnation parish than with his neighborhood. He says he wasn’t lonely. «If you are an only child, you develop a lot of family,» he says. «Your cousins become your brothers and sisters.»
This summer the cardinal attended the annual gathering in New Jersey of all those cousins and their offspring; the event is affectionately called Uncle’s Day. About 80 family members were on hand, he says.
In his cluttered office, McCarrick points out a bookcase filled with family photos, plus a few of him with famous people. Gesturing toward a photo of him with Fidel Castro, he says, «He’s not family.»
McCarrick brightens when he speaks of his mother, who went to work in an auto-parts factory and relied on her mother and other relatives to help take care of her son after her husband’s death. «We were very poor,» he remembers. He tells a story about how, when he was a «dumb little kid,» his mother worked in a factory in the Bronx. «If she got overtime, I’d get a nickel,» he recalls. «I didn’t know what overtime was. I thought that on Friday as she was leaving he boss would say, ‘Here, you’ve got overtime.’ «
When he met her at the trolley coming home from work he would ask, «Did you get overtime?» If she had, he would get the nickel. It was always for a toy, not for candy. «Candy you lose,» he explains. «Toys you keep. You’ve got to have something to hold onto. When you are poor, you buy something you’ll have for a while.»
When President and Laura Bush came to the Pastoral Center for dinner, McCarrick showed them a portrait of his mother–a large pastel drawing of a young woman with delicate features and long red hair flowing almost to her waist. (The portrait now hangs in his Kalorama apartment.)
«The President said she was beautiful,» McCarrick says, gazing up at the portrait. «I said, ‘Mom, wherever you are, you’ll know that on this day the President of the United States personally admired your painting.’ Now I’m sure that in heaven somewhere Mom must have enjoyed that very much.»
AT A CONFERENCE of the Anti-Defamation League of this region, McCarrick speaks of growing up in New York. Sitting in a circle of about 50 people in one end of the ballroom at the Mayflower Hotel, he says he grew up in a neighborhood that was largely Irish Catholic, about 40 percent Jewish, with a few Italians. He gets a laugh when he says he thought the whole world was that way–that it wasn’t until he was in college that he began to meet Protestants.
Except for the ring Pope John Paul II gave him and the chain of his pectoral cross, usually tucked out of view under his jacket, there is no outward symbol that he is a cardinal. He wears the colors and the red cap of the cardinal only on special occasions and at some services.
ADL regional director David Friedman says McCarrick is committed to working with the Jewish community. «He’s much more an internationalist than Hickey, who didn’t travel much, and very outgoing. The first time I met him he slapped me on the back and said, ‘Hi, Dave.’ As two New Yorkers, we related well.»
A friend of the family helped get him into another Catholic school, Fordham Prep, after he lost an academic year. Something in his attitude changed, and he excelled at Fordham. «I guess I realized how unhappy I had made my mother and my family,» he says. He was elected student-council president and was even an outstanding student in Air Force ROTC.
After graduation McCarrick spent a year with a friend in Switzerland, where he began working on his language skills. He is fluent in Spanish, German, French, and Italian. At a religious retreat in a monastery in the Alps on his 20th birthday, he made the decision to become a priest.
He entered St. Joseph’s Seminary in New York and was ordained in 1958 by Cardinal Francis Spellman. That year he became an assistant chaplain at Catholic University here, where he later served as dean of students and director of development and earned a doctorate in sociology. Seven years later he became president of Catholic University in Ponce, Puerto Rico, and then monsignor.
In 1969 Cardinal Terence Cooke brought him back to New York to be assistant secretary of education for the archdiocese. Two years later, Cooke made him his priest secretary, a position McCarrick held until 1977, when he was named auxiliary bishop of New York. Four years later, Pope John Paul II named him the first bishop of Metuchen, New Jersey, and five years later archbishop of Newark, where he remained until he was named archbishop and sent to head the archdiocese of Washington.
AS ARCHBISHOP HERE, McCarrick is responsible for the 560,000 Catholics in the Washington archdiocese, which includes 140 parishes in DC and in Montgomery, Prince George’s, Charles, Calvert, and St. Mary’s counties in Maryland. Nearly 200,000 of those Catholics are Hispanic, the fastest growing segment. More than 100,000 are African-American, Caribbean, or African.
Washington is much smaller than the 1.3-million member Newark archdiocese that McCarrick led before coming here in 2000. Historically, Baltimore has been the major regional archdiocese, the mother of the Catholic church in the United States. Washington became a separate archdiocese in 1939 because of its national role. For that reason, Maryland is the only state with two cardinals. Virginia has two dioceses–Richmond and Arlington–headed by bishops.
McCarrick makes clear that even though Washington is the nation’s capital, his first responsibility is taking care of his Catholic flock. His second is to take care of the poor, Catholic and non-Catholic; third, to see that there are enough priests and nuns; and fourth, to make sure there is the money to do what is necessary.
As a former educator, he has tried to make his influence felt in the DC school system. After arriving here, he spoke to DC’s superintendent of schools: «I said, ‘You want somebody to fight for public school education? He’s sitting right here.’ I will always fight for public-school education for a number of reasons. One of them is selfish–most of my kids are in public schools, and I want those schools to be good.»
McCarrick is a strong advocate of the school-voucher program, which he calls a «scholarship» program. He notes the heavy tuition costs of attending Catholic schools and says if the state gives the money to families who then make the choice–public, Catholic, or whatever–it resolves the «separation of church and state» issue.
There are 33,500 students in Catholic schools in the archdiocese; 44 percent are nonwhite and 25 percent non-Catholic. An archdiocesan report says that nearly all graduates of Catholic high schools go to college. (Highly regarded high schools such as Gonzaga, Georgetown Prep, and St. John’s are run by religious orders, not by the archdiocese.)
Last among his priorities, McCarrick says, is being the church’s chief representative in the nation’s capital, which is also the headquarters of the country’s ruling Catholic authority, the US Conference of Catholic Bishops, located near the Catholic University campus.
«When the bishops ask you to do something,» he says, «to do it with the government, you make sure you’re on good terms with the government–with whoever’s in power.»
AS A BOY, MCCARRICK SAYS, he once plotted on a world map all the places he would go. He couldn’t have known then how much of that world he would one day see representing the Catholic Church.
McCarrick says he has been the Vatican’s point man on a number of international issues simply because of his facility with languages, which he attributes to being a good mimic. But it is also an outgrowth of his years with Cardinal Cooke, with whom he traveled to Vietnam in 1971. McCarrick was one of the first Westerners in Rwanda after the genocide there in 1984, and he almost became a hostage in Bosnia during the conflict there.
«When the Iron Curtain fell,» he recalls, «the bishops in the United States said so many of our people have come from Eastern Europe we have to help them, and I became the chair for about seven years of that group and went to help people in Eastern Europe. So today, if there’s a problem there they say, ‘Send McCarrick over. We know him.’ «
The international issues that concern him the most, McCarrick says, revolve around the Holy Land. «I would hate to be an Israeli citizen and not know when my brother or myself was going to be blown up. And I would hate to be a Palestinian knowing that if some nutty Palestinian did something, the Israeli army’s going to come in and bomb my home. This is the place where Jesus was born and raised–the Prince of Peace.»
He says world attitudes about the United States have changed. «Twenty years ago people would say, ‘Oh, you’re American. We’re friends of the United States. What a wonderful country.’ Nowdays you say you are from the United States and they say, ‘Why are you killing Arabs like this? Why are you in Iraq? Is it just for oil?’ «
McCarrick says that some of that is the result of jealousy, but he knows that the war in Iraq and the ever-growing antipathy toward Americans in the Middle East are issues he will have to confront. His predecessor, Cardinal Hickey, avoided the political arena and left national and international issues to the Papal Nuncio, essentially the Pope’s ambassador here, and the Catholic Conference. Not McCarrick. He enjoys being in the thick of it.
BUT MCCARRICK ALSO MAKES his presence known in the archdiocese. He tries to say Mass every morning in one of the archdiocese’s 140 parishes, and three on Sundays. His schedule is published in the archdiocesan newspaper, the Catholic Standard.
Writer David Gibson says McCarrick lives for the Church and is a spiritual man who «can go from diplomat to a monk in the blink of an eye.» No matter what the political demands are, McCarrick will be out in the parishes.
Instead of residing in the Pastoral Center–where an apartment was available to him but which has all the charm of a Best Western hotel–McCarrick lives on the edge of Kalorama near Adams Morgan. He wanted a more urban environment, he says, and «being cheap,» he found that a former high school and orphanage on California Street, now Our Lady, Queen of the Americas Church parish building, had a fourth floor that was being used for storage. Cleaned out, it made a nice apartment.
The red-brick, four-story building has a daycare center on the first floor, parish offices and the church on the second and third. The top floor has been configured with four bedrooms, a chapel, an office, kitchen, living room, and dining room. McCarrick shares the apartment with auxiliary bishop Kevin Farrell and two priest secretaries.
The baronial splendor once associated with bishops and cardinals has become a thing of the past. When the imperious Cardinal Bernard Law resigned from the Boston archdiocese for mishandling sexual-abuse cases, his replacement, Archbishop Sean O’Malley, a Franciscan who once was director of the Spanish Catholic Center here, put the archdiocesan mansion up for sale.
MCCARRICK LOVES TO JOKE about his parsimony. «I’m cheap,» he says. «I haven’t bought a new suit in 20 years.» Several years ago, he says, he received some 80 black suits free from the Hertz company when it discontinued its uniformed chauffeur division. He gave most of the suits to seminarians and kept three for himself. «They’re black, they’re sturdy and still in good shape,» he says.
McCarrick isn’t seen much at the Kennedy Center, social events, or restaurants. He eats out only when fundraising. He doesn’t watch much television or go to the movies. He did see Mel Gibson’s The Passion of the Christ and describes it as a «good spiritual script.» He says his escape is prayer.
He reads Mary Higgins Clark, Tom Clancy, and Robert Ludlum novels and David Morrell thrillers; he likes the music of Willie Nelson, John Denver, and Kenny Rogers. One afternoon before a recent interview, he was sitting on the floor of his office listening to Kenny Rogers while organizing paperwork.
When he gets a day off, McCarrick heads for a marina on St. Patrick’s Creek in southern Maryland, where he keeps a 20-foot fishing boat that was given to him. He usually invites a few priests along, and they fish for striped bass, croakers, and flounder.
For the past 20 years he has vacationed for a week every year on the New Jersey shore, where a friend loans him a house. He usually takes along a group of priests and seminarians. The only requirement for guests is that someone be able to cook.
ON A RECENT SUNDAY, McCarrick is at a special Mass at newly restored St. Matthew’s Cathedral, the site of John F. Kennedy’s funeral. The Mass was celebrated by Cardinal Peter Erdo of Hungary. Cardinal Francis George of Chicago is also in attendance, as are nine bishops. They make for a colorful assembly at the main altar. McCarrick wears the red skullcap and red short cape of his office as he presides.
Taking up a pew in the congregation is a group of anti-abortion-rights activists wearing bright red T-shirts emblazoned YOU CAN’T BE A CATHOLIC & BE PRO-ABORTION. They are attending the Mass in silent protest but want a meeting later with McCarrick. Communications director Susan Gibbs refuses, saying the cardinal knows their position and has other appointments.
The group is part of the American Life League, which has been buying full-page ads in the Washington Times calling on priests to deny Holy Communion to pro-choice politicians. One ad accused McCarrick of not protecting Christ in the Eucharist from «this sacrilege.»
It is an issue that won’t go away, especially if Kerry is elected president. Which is why, McCarrick points out, Kerry faces a much different world than Kennedy faced in 1960, when stem-cell research, abortion, and gay marriage were not issues.
If Bush is reelected, some of the heat will be off McCarrick. Bush opposes abortion rights and gay marriage and supports limited stem-cell research. And he is not a Catholic.
As for what some see as religious posturing during the presidential campaign, McCarrick says he believes that both Bush and Kerry are religious men: «Even though we live in a secular society, it doesn’t mean we can’t accept religion as an important factor in the life of our country.»
McCarrick is careful with his wording. «Let me say this, and forgive me that I keep giving you answers that are basically nuanced, but it seems to me that religion has a role in the political process inasmuch as we all come to our decisions on the values that we hold, and those of us who hold religious values, obviously that comes into our persona and into what we believe and what we vote for.»
Despite his international influence, McCarrick insists that all he ever wanted to be was a parish priest, a notion that Catholic writer Gibson laughs at.
«They all say that,» he says. «McCarrick as a parish priest would have been like trying to keep a tiger in a birdcage.»
In the red cap emblematic of his office, Cardinal Theodore McCarrick, Archbishop of Washington, admires the newly restored St. Matthew’s Cathedral.
Girl with the Red Hat, c. 1666/1667
painted surface: 22.8 x 18 cm (9 x 7 1/16 in.)
support: 23.2 x 18.1 cm (9 1/8 x 7 1/8 in.)
framed: 40.3 x 35.6 x 4.4 cm (15 7/8 x 14 x 1 3/4 in.)
Copy-and-paste citation text:
Arthur K. Wheelock Jr., “Johannes Vermeer/Girl with the Red Hat/c. 1666/1667,” Dutch Paintings of the Seventeenth Century, NGA Online Editions, https://purl.org/nga/collection/artobject/60 (accessed August 15, 2022).
You may download complete editions of this catalog from the catalog’s home page.
Overview
Girl with the Red Hat is one of Johannes Vermeer’s smallest works, and it is painted on panel rather than on his customary canvas. The girl has turned in her chair and interacts with the viewer through her direct gaze. Girl with the Red Hat is portrayed with unusual spontaneity and informality. The artist’s exquisite use of color is this painting’s most striking characteristic, for both its compositional and its psychological effects. Vermeer concentrated the two major colors in two distinct areas: a vibrant red for the hat and a sumptuous blue for the robe; he then used the intensity of the white cravat to unify the whole.
Following in his father’s footsteps, Vermeer also was an art dealer in Delft. There is no documentation of his artistic training or apprenticeship, but in 1653 he became a master in the Saint Luke’s Guild in Delft; he would serve as head of that guild four times in the 1660s and 1670s. Although he was well regarded in his lifetime, he was heavily in debt when he died in 1675. Only in the late nineteenth century did Vermeer achieve widespread fame for his intimate genre scenes and quiet cityscapes.
Entry
The questions raised by the position of the chair and its spatial relationship to the girl have bothered observers of the painting in the past. [6]   [6]
Albert Blankert, Rob Ruurs, and Willem L. van de Watering, Johannes Vermeer van Delft 1632-1675 (Utrecht, 1975; English ed., Oxford, 1978), 109, in particular, emphasizes the position of the finials in his arguments against the attribution of the painting to Vermeer. Interestingly, the spatial discrepancies are not really noticeable until one begins analyzing the painting very closely. Visually, the spatial organization works; Vermeer succeeded in integrating his figure with the chair and at the same time in using the chair to help establish the specific mood he sought. [7]   [7]
The idea that Vermeer adjusted forms in such a manner is incompatible with those who believe that he totally and faithfully recorded his physical environment. P. T. A. Swillens, Johannes Vermeer: Painter of Delft, 1632–1675 (Utrecht, 1950), was the foremost proponent of this interpretation of Vermeer’s manner of painting. This attitude also underlies the writings about Vermeer by Albert Blankert.
Despite similarities in the way Vermeer adjusted his forms for compositional emphasis, the Woman Holding a Balance and this painting are undeniably different. Whereas the Woman Holding a Balance is an involved composition, imbued with complex forms and symbolism, the Girl with the Red Hat is no more than a bust, portrayed with a feeling of spontaneity and informality that is unique in the artist’s oeuvre. It is as though this small painting were a study, or an experiment. Particularly striking are the light reflections on the right lion-head finial, which have the diffused characteristic of unfocused points of light in a photograph, called “halation of highlights.” It is highly unlikely that Vermeer could have achieved this effect without having witnessed it in a camera obscura. [8]   [8]
The literature on Vermeer and the camera obscura is extensive. See in particular Arthur K. Wheelock Jr., Jan Vermeer (New York, 1981), note 41. Indeed, it may well be that in this painting Vermeer actually attempted to capture the impression of an image seen in a camera obscura.
One of the many misconceptions about Vermeer’s painting style that has affected theories regarding his use of the camera obscura, including that of Seymour, is that Vermeer was a realist in the strictest sense, that his paintings faithfully record models, rooms, and furnishings he saw before him. [11]   [11]
This misconception lies at the basis of the interpretation of Vermeer’s use of the camera obscura advanced by Daniel E. Fink, “Vermeer’s Use of the Camera Obscura: A Comprehensive Study,” Art Bulletin 53 (December 1971): 493–505. See Charles Seymour Jr., “Dark Chamber and Light-Filled Room: Vermeer and the Camera Obscura,” Art Bulletin 46 (September 1964): 323– 331. As is evident in all his other mature works, the compositions are the product of intense control and refinement. Figures and their environments are subtly interlocked through perspective, proportions, and color. This same mentality must have dictated his artistic procedure, whether he viewed his scene directly or through an optical device such as a camera obscura. As has been seen, even in this small Girl with the Red Hat, which perhaps of all of Vermeer’s images most closely resembles the effects of a camera obscura, he shifted and adjusted his forms to maintain his compositional balance. Thus, even though he must have referred to an image from a camera obscura when painting Girl with the Red Hat and sought to exploit some of its optical effects, including the intensified colors, accentuated contrasts of light and dark, and circles of confusion, it is most unlikely that he traced the image directly on the panel. [12]   [12]
As suggested by Charles Seymour Jr., “Dark Chamber and Light-Filled Room: Vermeer and the Camera Obscura,” Art Bulletin 46 (September 1964): 323– 331. The possibility that he traced his more complex compositions is even more remote.
Vermeer’s handling of diffused highlights in his paintings, including View of Delft (Mauritshuis, The Hague) [13]   [13]
See inventory number 92, from Mauritshuis, The Hague. suggests that he used them creatively as well, and not totally in accordance with their actual appearance in a camera obscura. In Girl with the Red Hat he has accentuated the diffuse yellow highlights on the girl’s blue robes, whereas in a camera obscura reflections off unfocused cloth create blurred images. He even painted some of his diffused highlights in the shadows, where they would not appear in any circumstance.
The actual manner in which he applied highlights is comparable to that seen in The Art of Painting, c. 1667 (Kunsthistorisches Museum, Vienna). [14]   [14]
See inventory number 9128, c. 1667, from Kunsthistorisches Museum, Vienna. Not only do the specular highlights on the finial share similarities with those on the chandelier in the latter work, but also the diffused highlights on the robe in Girl with the Red Hat are comparable to those on the cloth hanging over the front edge of the table in the Vienna painting. These similarities, as well as the comparably generalized forms of the girls’ heads in the two paintings, argue for a close chronological relationship. It seems probable that both works were executed around 1666 to 1667, slightly before The Astronomer (Louvre, Paris), which is dated 1668.
Vermeer usually painted on canvas, and it is interesting to speculate on the rationale behind his decision to paint on panel in this particular instance. [15]   [15]
The only other panel painting attributed to Vermeer is the National Gallery of Art’s Girl with a Flute . The explanation may simply be that for such a small study panel was a more appropriate support than canvas. The choice of support, however, may also relate to the use of the camera obscura. He may have chosen a hard, smooth surface to lend to his small study the sheen of an image seen in a camera obscura as it is projected onto a ground glass or tautly stretched oiled paper.
Vermeer selected for his painting a panel that had already been used. The image of an unfinished, bust-length portrait of a man with a wide-brimmed hat lies under Girl with the Red Hat. It is visible in the X-radiograph [see X-radiography X-radiography
  A photographic or digital image analysis method that visually records an object’s ability to absorb or transmit x-rays. The differential absorption pattern is useful for examining an object’s internal structure as well as for comparing the variation in pigment types. ] of the panel ( [fig. 4]   
[fig. 4] X-radiograph composite, Johannes Vermeer, Girl with the Red Hat, c. 1666/1667, oil on panel, National Gallery of Art, Washington, Andrew W. Mellon Collection, 1937.1.53 ) and with Infrared Reflectography Infrared Reflectography
  A photographic or digital image analysis method which captures the absorption/emission characteristics of reflected infrared radiation. The absorption of infrared wavelengths varies for different pigments, so the resultant image can help distinguish the pigments that have been used in the painting or underdrawing. ( [fig. 5]   
[fig. 5] Infrared reflectogram, Johannes Vermeer, Girl with the Red Hat, c. 1666/1667, oil on panel, National Gallery of Art, Washington, Andrew W. Mellon Collection, 1937.1.53 ). Because the man is in the reverse position of the girl, it is possible to examine his face in the X-radiograph without too much interference from the surface image ( [fig. 6]   
[fig. 6] Upside-down X-radiograph composite, Johannes Vermeer, Girl with the Red Hat, c. 1666/1667, oil on panel, National Gallery of Art, Washington, Andrew W. Mellon Collection, 1937.1.53 and [fig. 7]   
[fig. 7] Upside-down infrared reflectogram, Johannes Vermeer, Girl with the Red Hat, c. 1666/1667, oil on panel, National Gallery of Art, Washington, Andrew W. Mellon Collection, 1937.1.53 ). The painting style of this face is very different from that of Vermeer. The face is modeled with a number of bold rapid strokes that have not been blended together. The infrared reflectogram composite reveals a great flourish of strokes to the right of the face that represented the man’s long curly hair.
Arthur K. Wheelock Jr.
Inscription
upper center of tapestry in ligature: IVM
Provenance
Possibly Pieter Claesz van Ruijven 1631, Delft; possibly by inheritance to his wife, Maria de Knuijt [d. 1681]; possibly by inheritance to her daughter, Magdalena van Ruijven 1667, Delft;[1] possibly by inheritance to her husband, Jacob Abrahamsz. Dissius 1671, Delft; (sale, Amsterdam, 16 May 1696, probably no. 39 or 40).[2] Lafontaine collection, Paris; (his sale, Hôtel de Bouillon, Paris, 10-12 December 1822 [postponed from 27-29 November], no. 28). Baron Louis Marie Baptiste Atthalin 1815, Colmar; by inheritance to his nephew and adopted son, Louis Marie Félix Laurent-Atthalin 1877, Colmar and Paris; by inheritance to his son, Baron Gaston Marie Laurent-Atthelin 1853, Paris and Château des Moussets, Limay, Seine-et-Oise; by inheritance to his wife, Baroness Marguerite Chaperon Laurent-Atthalin 1880, Paris;[3] (M. Knoedler & Co., New York and London); sold November 1925 to Andrew W. Mellon, Pittsburgh and Washington, D.C.; deeded 30 March 1932 to The A.W. Mellon Educational and Charitable Trust, Pittsburgh; gift 1937 to NGA.
[1] Perhaps the Girl with the Red Hat was one of the tronien listed in the April 1683 inventory of possessions accruing to Jacob Dissius after the death of his wife, Magdalena van Ruijven, on 16 June 1682. See John Michael Montias, Vermeer and His Milieu: A Web of Social History, Princeton, 1989: 359, doc. 417.
[2] John Michael Montias, Vermeer and His Milieu: A Web of Social History, Princeton, 1989: 363-364, doc. 439. Item no. 38 in the sale is described as «a tronie in antique dress, uncommonly artful»; item no. 39 as «Another ditto Vermeer»; and item no. 40 as «A pendant of the same.»
[3] Bernard Roulier, the Baroness’ great-grandson, related the family’s history of their ownership of the painting in a letter of 6 October 1983 to J. Carter Brown (copy in NGA curatorial files). Roulier suggests that Baron L.M.B. Atthalin might have purchased the painting at the 1822 sale, while his mother related to mutual friends of hers and J. Carter Brown that the baron bought the painting after seeing it in a shop window (letter, 28 June 1977, Brown to Mme Denise Kagan Moyseur, copy in NGA curatorial files).
Associated Names
Exhibition History
Technical Summary
The support is a single wood plank, probably oak, with a vertical grain. A cradle, including a wooden collar around all four sides of the panel, was attached before the painting entered the collection. A partially completed painting exists underneath the present composition oriented 180 degrees with respect to the girl. The X-radiograph reveals the head-and-shoulders portrait of a man wearing a white kerchief around his neck and a button on his garment. Infrared reflectography at 1.1 to 2.5 microns[1] shows a cape across his shoulder, a broad-brimmed hat, locks of long curling hair, and vigorous brushwork in the background.
The panel was initially prepared with a light tan double ground.[2] The male bust was executed in a dark brown painted sketch, before flesh tones were applied to the face and white to the kerchief. The portrait of the young girl was painted directly over the underlying composition, with the exception of the area of the man’s kerchief, which Vermeer apparently toned down with a brown paint.
The paint used to model the girl was applied with smoothly blended strokes. Layered applications of paint of varying transparencies and thicknesses, often blended wet-into-wet, produced soft contours and diffused lighting effects. The paint in the white kerchief around the girl’s neck has been scraped back to expose darker paint below.
The painting was treated in 1994 to remove discolored varnish and inpaint. The treatment revealed the painting to be in excellent condition with just a few minor losses along the edges. The painting had been treated previously in 1933, probably by Louis de Wild, and in 1942 by Frank Sullivan.
[1] Infrared reflectography was performed with a Santa Barbara focal plane array InSb camera fitted with H, J, and K astronomy filters.