Vermeer's The Art of Painting, also known…

Vermeer's The Art of Painting, also known as The Allegory of Painting, and or Painter in his Studio, is the largest and most complex of all of Vermeer's works.

Many art historians believe that it is an allegory of painting, hence the alternative title of the painting.

The painting is famous for being one of Vermeer's favorites, and is also a fine example of the optical style of painting, offering a realistic visual depiction of the scene and especially the effects of light streaming through the windows on various elements of the painting.

It depicts a painter painting a female subject in his studio, by a window, with a large map of the Netherlands on the wall behind.

The painting has only two figures, the painter and his subject.

The painter is thought to be a self-portrait of the artist, though the face is not visible.

A number of the items shown in the artist's studio are thought to be somewhat out of place.

The marble tiled floor and the golden chandelier are two examples of items which would normally then be reserved for the houses of the well-to-do.

Experts attribute symbolism to various aspects of the painting.

The subject is the Muse of History, Clio.

This is evidenced by her wearing a laurel wreath, holding a trumpet (depicting fame), possibly carrying a book by Thucydides, which matches the description in Cesare Ripa's sixteenth century book on emblems and personifications titled Iconologia.

The double headed eagle, symbol of the Austrian Habsburg dynasty, former rulers of Holland, which adorns the central golden chandelier, may have represented the Catholic faith.

Vermeer is unusual in being a Catholic in a predominantly Protestant Netherlands.

The absence of candles in the chandelier might represent the suppression of the Catholic faith.

The map on the back wall has a rip that divides the Netherlands between the north and south.

(West is at the top of the map, as was the custom.)

The rip symbolizes the division between the Dutch Republic to the north and the Habsburg controlled Flemish provinces to the south.

The map by Claes Jansz Visscher (Nicolaum Piscatorem) shows the earlier political division between the Union of Utrecht to the north, and the colonies to the south.