A controversial theory proposes that Johannes Vermeer ‘s maps were secretly embedded in his paintings. When analyzing works like Officer and Laughing Girl *(1657), the ‘European’ backgrounds reveal startling anomalies—particularly the water-like negative space that perfectly matches America’s coastline. This evidence suggests Vermeer used his art to document* maps of Dutch colonial claims in the New Netherlands, challenging traditional art historical narratives.
Johannes Vermeer ‘s Hidden Maps: America in Plain Sight
In the course of investigating Jan Vermeer’s paintings, we grew intrigued by the maps in the backgrounds. These maps, long believed to depict sections of Europe or European cities, often appear slightly ambiguous. One compelling interpretation suggests the first clue to their true location emerges in Vermeer’s Officer and Laughing Girl (ca. 1657; Image 1), where the negative space at the center—seemingly water—may instead resemble the shape of America.
Image 2, a second map in The Art of Painting (c. 1666), appears to show the painter in front of a large chart deliberately oriented sideways—a compositional choice that some researchers interpret as disguising an enlarged depiction of New Amsterdam in the New Netherlands. Within this representation, a body of water resembling a pond can be seen inside what may correspond to the wall that later became Wall Street. This feature potentially aligns with the historical Collect Pond, which occupied the future Five Points area of early New York.
Vermeer’s Identity: From Reijnierszoon to Cartographer
Our research into archival records included searching for Jan Reijnierszoon – believed by some scholars to be Johannes Vermeer’s birth name – in both Dutch and American documents. Given the complexity of 17th century Dutch naming conventions and orthographic variations, the name appears in records with multiple spellings, including Reyndersen, Reinders, and Reidersen. In New Amsterdam court proceedings from this period, these variant spellings may refer to the same individual identified as Jan Vermeer in artistic contexts.
Our research indicates the Castello Map may represent another work by Vermeer (previously attributed to Jacque Cortelyou), which appears to document the location of what may have been his residence at No.13, as shown in Image 4.
Vermeer’s New Netherlands: Forged Dates, Secret Maps
Records suggest Reyndersen was frequently absent in Pavonia, the area across the Hudson River from lower Manhattan. Our research indicates he may have created the MAP OF RENSSELEARSWYCK farther up the North (Hudson) River – bearing an original date of c. 1632 but potentially made around 1658 (Image 5). Image 6 appears to show a self-portrait drawing in a long coat.
Vermeer’s maps appear to use dates reflecting when land rights were established, corresponding to periods when territories were acquired from Native populations. These dates may not represent when the maps themselves were created. Historical evidence suggests that around the 1650s, Vermeer likely participated in documenting Dutch property holdings to reinforce claims during the transitional period before New Amsterdam became New York. (Image 7)
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Our analysis suggests the handwriting “Het MeerV and Irocoisen” on the BLOCK MAP OF 1614 (New Netherland) shows characteristics consistent with Vermeer’s artistic style. Handwriting analysis can serve as one indicator of authorship. The central area labeled IROCOISIA appears to represent a significant fortified settlement, surrounded by waterways and earthen structures. This finding may indicate previously undocumented eastern settlement patterns of the Iroquois people.
Through collaboration with Dutch researcher Patrick Marugg, we identified records referencing “Jan Reynderszoon” – potentially Vermeer’s name during his maritime career – as captain of the ship Graf Hendrik, which arrived in New Amsterdam from Holland in 1652. Marugg’s discovery of Graef Hendriks Bay’s corresponding location on the same map provides compelling correlative evidence. (Image 8)
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Vermeer’s Handwriting Analysis: Printed vs. Cursive Letterform Comparisons
PRINTED EXAMPLES (Image 9): Displayed from top to bottom: two signature samples attributed to Vermeer’s paintings alongside cartographic materials including a Map of America (featuring California details), the Renselaerswyck Map, Block Figurative Map (two versions), and Manatus Map. In this printed grouping, observable similarities appear in the letterforms: M, V, R, N, A, S and F.
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Image 10: CURSIVE EXAMPLES: Signature samples attributed to Vermeer alongside cartographic materials including Maps of California and New Netherlands (featuring Native tribal information), Castello Plan Map of de Stadt Amsterdam in Nieuw Netherlands (inset), Block Figurative Map, Manatus Map, and Renselaerswyck Map (bottom left).
Observable comparisons include contrasts between vertical printed text and right-angled cursive/printed text. The initial capital letters consistently feature pronounced curved flourishes. While most characters remain distinct, some exhibit connecting strokes that suggest fluid word formation.
Vermeer’s cartographic work appears to document property owners’ names, Native American tribal names, and various geographic features including streams, rivers, and islands. These names seem to derive from existing sources, Native American terms, or possibly newly created designations to identify locations.
Evidence suggests Vermeer received training in calligraphy and architectural drawing, with stylistic similarities to the Utrecht Caravaggisti. His technique reflects a systematic approach to writing and design. While Caravaggio is documented using the camera obscura around 1571, Vermeer’s work demonstrates skilled quill pen calligraphy – a disciplined method characterized by consistent letterforms and precise execution. This distinctive calligraphic style may represent a unique synthesis of his training and artistic vision.
Initial evidence suggesting Vermeer may have worked in America as a cartographer emerged through analysis of the background map in Officer and the Laughing Girl. The negative space formed by water appears to deliberately echo the outline of America. This map, which some scholars associate with the Blaeu map of Holland and West Friesland, may contain a subtle reference to American geography through its water shapes.
From Delft to New Amsterdam: Vermeer’s Lost Maps Revealed
Further examination indicates the American map in question displays calligraphic features consistent with Vermeer’s distinctive style. Notably, the area typically identified as California (depicted as an island) could potentially represent an enlarged rendering of Vancouver Island.
Analysis of Vermeer’s The Artist in His Studio suggests the large background map may have been intentionally oriented sideways. This appears to correspond with the Castello Plan – a detailed map of New Amsterdam containing what some scholars identify as Vermeer’s characteristic calligraphy. The map depicts recognizable geographical features including the East River, Collect Pond, and what would become Wall Street. Notably, it also includes what may represent Vermeer’s residence at No. 13 Slych Stradt (modern South Williams Street).
Court records from New Amsterdam indicate that the property at No. 13 Slych Stradt – believed to have been Vermeer’s residence – underwent foreclosure proceedings due to outstanding payments. According to these documents, an associate represented the absent owner during the court-ordered sale of the property to settle debts.
Recent scholarship suggests these maps may require reidentification, potentially revealing Vermeer’s overlooked cartographic work. Traditionally catalogued as European maps, their dating appears to correspond with land acquisition records rather than creation dates. While currently attributed to various cartographers, analysis of their printed and cursive calligraphy reveals striking consistencies with Vermeer’s documented handwriting style.
Image Credits & Permissions:
The Vermeer signatures diagram is included with the kind permission of Jonathan Janson’s scholarly work. All other images have been selected and used by the author, Addison Thompson, under fair use principles for academic research and commentary. Amaranth Magazine respects and relies on the author’s expertise and representation regarding image permissions and fair use considerations.
