Vermeer created paintings that are among the most beloved and revered images in the history of art and most of his later paintings—the ones for which he is most famous—depict scenes of daily life in interior settings. These works are remarkable for their purity of light and form, qualities that convey a serene, timeless sense of dignity. Vermeer also painted cityscapes and allegorical scenes.

His compositions are mostly invented and exhibit the most discriminating formal relationships, including those of color. In addition, Vermeer’s application of paint reveals extraordinary technical ability. He worked slowly and with time-consuming care. Back then painters had to MAKE THEIR OWN PAINT. Vermeer frequently used very expensive pigments.

Natural ultramarine is made of the powder of the crushed semi-precious stone lapis lazuli which, after being thoroughly purified by repeated washings, is bonded to a drying oil through hand mulling. The exact proportions between pigment (powdered lapis lazuli) and vehicle (natural drying oil) and correct amount of hand mulling necessary to produce the highest quality paint can be only acquired by experience. The final product is a very deep transparent blue. Set aside other pigments on the artist's palette, it is one of the darkest, only black is darker. Mixed with lead white, it maintains its radiant purity and brilliance even in the palest shades.

In his best works, these qualities suit the subject matter exceedingly well. Vermeer idealized a domestic world occupied (if not animated) mostly by women, whose postures, behavior, and in some cases expressions suggest close study and sympathy. He often suggests some connection between a figure and the viewer, subtly casting the latter in the role of a spellbound voyeur. Almost all his paintings are apparently set in two smallish rooms in his house in Delft; they show the same furniture and decorations in various arrangements and they often portray the same people.