Girl with a Pearl Earring

The making of the Girl with a Pearl Earring – Meisje met de Parel – or ‘Social Media 17th Century Style’

By Pauline Loven

The background:

Recreating Johannes Vermeer’s iconic and enigmatic painting Girl with a Pearl Earring was an irresistible temptation. In fact I had been considering this for some time and had already collected a number of yellow and blue silks that were tucked away safely somewhere in my textiles stash.

The painting is housed in the Koninklijk Kabinet van Schilderijen Mauritshuis, Den Haag. The painting is oil on canvas, 46.5 x 40 cm in size and has been dated to the period 1665 to 1667. For the purposes of our project we took the date to be 1666.

Johannes Vermeer (1632-1675) - The Girl With The Pearl Earring (1665)

Having decided upon the focus of the third of our sketches based on famous paintings, as well as the topical theme we planned to use (Twitter), we now looked to see who else was sitting for a portrait in the same year. A couple of paintings immediately sprang to mind: Rembrandt’s Isaac and Rebecca and Velasquez’ Las Meninas, but reproducing either of these paintings would be complex and expensive, and neither quite fitted the theme. Then we realised, by happy co-incidence, that not only was the diarist Samuel Pepys sitting for his portrait in 1666, but he also entered the occasion in his diary:

‘Saturday 17th March 1666

Up, and to finish my journal, which I had not sense enough the last nigh to make an end of, and thence to the office, where very busy all the morning. At noon home to dinner and presently with my wife to Hale’s, where I am still infinitely pleased with my wife’s picture. I paid him 14l. for it, and 25s for the frame, and I think it not a whit to deare for so good a picture. It is not quite yet finished and dry, so as to be fit to bring home yet. This day I began to sit, and he will make me, I think, a very find picture. He promises it shall be as good as my wife’s, and I sit to have it full of shadows, and do almost break my neck looking over my shoulder to make the posture for him to work by’.


Above: Samuel Pepys by John Hayls, National Portrait Gallery, London

If anyone in the 17th c. were to have taken the idea of Twitter to their heart, we felt it would have been, like Stephen Fry today, the diarist Samuel Pepys!

The Cast:

So now I had two portraits to recreate, but first we had to find our cast. The Girl in Vermeer’s painting doesn’t have a particularly English face, so we knew that finding a lookalike this side of the channel might be difficult. We asked our local newspaper, The Lincolnshire Echo, to run a story on our search for The Girl with a Pearl Earring, which resulted in only one response, but the girl, Louise Parkin, was as near perfect a match as we could hope to find. When we placed Louise’s image over that of the portrait their eyes matched exactly – perhaps that similarity can be attributed to the fact that Louise is of Dutch decent.


Above: Louise Parkin as The Girl with a Pearl Earring

BBC Radio Lincolnshire then came forward and offered to interview Nick Loven (director), about the search for Samuel Pepys. Just before we went on air we handed a printed copy of the portrait of Samuel Pepys by John Hayles to the interviewer. She looked at it with surprise and said: ‘I know who could play the part’. The interview was interesting, but drew no offers (except, bizarrely, someone’s horse), and so the BBC passed on our request to their contact. A few days later (having decided that it wasn’t a conspiracy or practical joke) Jason Hippisley, writer, journalist and amateur actor got in touch. Pepys’ has a very distinctive face which we couldn’t hope to match, and Jason is much better looking than Pepys was, but still there was something about Jason which was compelling. With clothes, wig, make up and a fine performance (as well as a bit of post production work to make his blue eyes brown), I think you will agree he thoroughly looks the part.


Above: Jason Hippisley as Pepys

The clothes:

The Girl:

As I have already mentioned, I had been thinking about recreating the Girl with a Pearl Earring for some years and had already collected some textiles. As we couldn’t refer in person to the original we had to rely upon reproduced images which varied considerably in the colour tones – the blue varying from turquoise to cornflower blue, for example. The decision on which version was the truest was made by the director, Nick Loven, on the basis of which most reflected natural skin tones. We then had to test the selected silks on camera for colour saturation and chose the ones which best matched the original on screen rather than by the naked eye.

I created the turban from a length of yellow silk taffeta that was 5 metres long and 31 cms wide. For most of the length I made it a tube for manageability, keeping half a metre or so at each end open to show the edge trim. Close scrutiny of the painting suggests that the blue trim was possibly a fringe. However, a painted version of a fringe is subtle whereas using an actual fringe just looked wrong. In the end I created a border using a band of the blue silk from the turban, covering it with a sheer, ivory coloured silk. I then hand-washed and twisted the silk to give it the look of the textile in the painting, paying particular attention to the edging, which I crushed to give the appearance of fringing. I used a piece of blue silk dupion, 1.38 by 36cms, for the final part of the turban, as its texture would help grip and hold the whole headdress in place. However, it still took me a week of studying how turbans were tied and experimenting until I could reproduce the twists and knots of the original in a way that I could repeat on the day and that wouldn’t just fall off!

Turban tying

Only part of the Girl with a Pearl Earring’s shoulder and upper arm can be seen in the painting and the full details of her clothing are hidden. I felt that the textile for her top was most likely wool, but of a good quality and possibly with a polished sheen to the surface as it reflects many colours. I consulted a number of costume friends and contacts and they agreed too that it was more likely wool than silk. It took me six months to find suitable wool with the right colour tones and a slightly polished surface. The shift and possibly kerchief that we see at the neck would have been linen.

As with most of Vermeer’s paintings, the sitter for The Girl with a Pearl Earring remains unknown and I didn’t want to make any presumptions about her status or be influenced by Tracy Chevalier’s book and the film, starring Scarlet Johansson, based upon it. I just wanted to study the painting and to let it speak for itself. However, having gone through the process of analysis and recreation, I am inclined to regard Tracy Chevalier’s interpretation as rather clever!

Samuel Pepys

Samuel’s clothes were simpler to understand and recreate. He is dressed informally in brown silk Banyan which is open to reveal a linen shirt and loosely tied cravat. However, matching the silk proved difficult until I was directed to an American company, Burnley and Trowbridge, who were able to supply a silk that was a very close match. Again, I looked at a number of contemporary portraits in order to understand the cut of the Banyan and was happy to go with a simple, but full, Japanese style of gown.


Above: The studio. Clockwise from left Jason Hippisley, Patrick Kay, Bernadette Brennan and Louise Parkin.

The Production

The sketch was shot in a studio against a black background. Nick used an old manual lens on his video camera with the iris wide open which gave the footage a bit of a haze adding to the portraity look. The lighting effect was produced by covering the windows with bubble wrap to create the diffuse white light typical of Vermeer paintings. Preparation took a while as we adjusted and altered conditions and costume, fine tuning until we matched the paintings.

Nick camera

Above: Katya Giorgio doing the make-up for Louise Parkin while Nick Loven (Director) tests the camera.

Cast and Crew

Nick Loven: Director, camera, special effects

Chris Roberts: Producer, assistant director, sound

Pauline Loven: Costume, producer, props

Sam Green: Costume assistant

Katya Giorgio: Make-up

Bernadette Brenan: Dresser

Patrick Kay: Behind the scenes camera

Louise Parkin: The Girl with a Pearl Earring

Jason Hippisley: Samuel Pepys

Further reading

Lincolnshire Echo article:

For Samuel Pepys Diary online head here:

The Diary of Samuel Pepys

For more on Johannes Vermeer:

All Things Vermeer

Silk Fabric from:

Burnley & Trowbridge Co.
108 Druid Drive
Williamsburg VA 23185
Fax 757-253-9120

Samuel Pepys by John Hayls National Portrait Gallery

Girl with a Pearl Earring by Johannes Vermeer

2 thoughts on “Girl with a Pearl Earring

  1. Pingback: Girl with a Pearl Earring! « Imagination Potential

  2. Pingback: Tweets that mention Girl with a Pearl Earring « Imagination Potential --

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