Vermeer, Johannes (1655-6). Diana and the Nymphs [oil on canvas]. Royal Cabinet of Paintings, Mauntshuls. The Hague, Netherlands, Scala/Art Resource.

A beautiful, optically realistic painting of five young women. Their age is emphasized by the slightly diluted overall contrast and the shining glow of their skin. Directional forces of closure create graceful lines of motion in global elliptical swirls, aided by the direction of the gazes of the figures. The muted overall contrast is contradicted in a few places where color, value and purity juxtaposition is employed. |

Shapes are defined by exquisitely rendered differences in value and color purity to create larger, more recognizable shapes, such as body parts, trees and clothes. Color is muddied with some strong purity; the scheme is a primary triad. This aids the sense of plastic space of this work. The primary depth-defining measure used is expertly calibrated edge detail. Varied contrasts in value, consistently defining the light source, is a close second. Adjustments to purity contrasts (or a lack of it) support the sense of depth of this work. 

While not symmetrically balanced, this work is quite stable. Gestural and natural shapes overwhelmingly dominate. Less dominance is found in the use of high key values and muddied hues. Texture implies near equivalency between those found in nature and those artificial. No fewer than five sight lines direct the eye to the bottom-right corner of the canvas. The light source adds a sixth. Tonal contrast is strongest where red and blue elements are placed near each other. A number of closure ellipses which the eye follows are created by arms, hair, tree edges and other hazily-defined edges. 

With the possible exception of the bowl found at the extreme bottom of the picture plane, the frame is the only rigidly mechanical element of this work. This only emphasizes the biomorphic forms that dominate. The viewer’s eye level is nearly even with, but slightly below, the upright figures. The greatest strength of this work is how shape edges and the directional forces they create interweave the elements and negative space together resulting in constant, but natural, eye movement across the canvas. They interlock with more ease than that of a puzzle. This underscores the total and subtle unification that characterizes this master work.