Pigment identification by spectroscopic means: evidence consistent with the attribution of the painting Young Woman Seated at a Virginal to Vermeer.

Technical examination of the painting Young Woman Seated at a Virginal by cross section and polarized light microscopy, chemical tests, surface microscopy, energy-dispersive X-ray analysis, and Raman microscopy has led to the identification of the pigments lead tin yellow (type I), lazurite, vermilion, calcite, lead white, red and yellow iron oxides, umber, lamp black, and green earth on the canvas. These pigments are entirely typical of Vermeer's palette and are consistent with a large body of other technical and art historical findings on paintings by Vermeer and other Dutch 17th century artists. While not authenticating the painting as being by Vermeer, the results provide further critical material that is consistent with this attribution. This case study also provides an opportunity to outline the role of analytical and forensic sciences in the examination and attribution of art objects.