Vermeer painted the Girl with a Pearl Earring around 1665 without a title and without a recorded sitter. The picture disappeared for two centuries, was bought at a Hague estate sale in 1881 for two guilders, and is now the most reproduced face in Western art. How it survived, how it acquired a story, and what the 2018 Mauritshuis lab studies revealed about the pearl that isn't a pearl.

Johannes Vermeer painted somewhere between thirty-four and thirty-six pictures across a working life of twenty-two years. Almost every one of them is now considered a small masterpiece of light, glass, and stillness. Nine of the paintings — the milkmaid, the girl with the pearl, the geographer at his window, the music lesson in a Delft interior — and what each picture is actually doing.

A young woman in a blue and yellow turban, in three-quarter view against a black ground, turning toward the painter with her mouth half-open as if she has been called for. No story, no setting, no narrative. Reading the small Dutch picture that has become one of the four or five most reproduced paintings in the world.

Searching for Vermeer's Girl with a Pearl Earring? This is the painting: 44.5 by 39 centimetres of oil on canvas, called the Mona Lisa of the North. A girl in a yellow jacket and blue-yellow turban turns her head over her shoulder and looks directly at the viewer. What the painting shows, why she is so well lit, and how to bring the fine print home.