It is unclear where and with whom Vermeer apprenticed as a painter.
There is some speculation that Carel Fabritius may have been his teacher, based upon a controversial interpretation of a text written in 1668 by printer Arnold Bon.
Art historians have found no hard evidence to support this.
Local authority Leonaert Bramer acted as a friend, but their style of painting is rather different.
Liedtke suggests that Vermeer taught himself, using information from one of his father's connections.
Some scholars think that Vermeer was trained under Catholic painter Abraham Bloemaert.
Vermeer's style is similar to that of some of the Utrecht Caravaggists, whose works are depicted as paintings-within-paintings in the backgrounds of several of his compositions.

On 29 December 1653, Vermeer became a member of the Guild of Saint Luke, a trade association for painters.
The guild's records make clear that Vermeer did not pay the usual admission fee.
It was a year of plague, war, and economic crisis; Vermeer was not alone in experiencing difficult financial circumstances.
In 1654, the city suffered the terrible explosion known as the Delft Thunderclap, which destroyed a large section of the city.
In 1657, he might have found a patron in local art collector Pieter van Ruijven, who lent him some money.
It seems that Vermeer turned for inspiration to the art of the fijnschilders from Leiden.
Vermeer was responding to the market of Gerard Dou's paintings, who sold his paintings for exorbitant prices.
Dou may have influenced Pieter de Hooch and Gabriel Metsu, too.
Vermeer also charged higher than average prices for his work, most of which were purchased by an unknown collector.

The influence of Johannes Vermeer on Metsu is unmistakable: the light from the left, the marble floor. (
A. Waiboer, however, suggests that Metsu requires more emotional involvement of the viewer.)
Vermeer probably competed also with Nicolaes Maes, who produced genre works in a similar style.
In 1662, Vermeer was elected head of the guild and was reelected in 1663, 1670, and 1671, evidence that he (like Bramer) was considered an established craftsman among his peers.
Vermeer worked slowly, probably producing three paintings a year on order.
Balthasar de Monconys visited him in 1663 to see some of his work, but Vermeer had no paintings to show.
The diplomat and the two French clergymen who accompanied him were sent to Hendrick van Buyten, a baker who had a couple of his paintings as collateral.

In 1671, Gerrit van Uylenburgh organised the auction of Gerrit Reynst's collection and offered 13 paintings and some sculptures to Frederick William, Elector of Brandenburg.
Frederick accused them of being counterfeits and had sent 12 back on the advice of Hendrick Fromantiou.
Van Uylenburg then organized a counter-assessment, asking a total of 35 painters to pronounce on their authenticity, including Jan Lievens, Melchior de Hondecoeter, Gerbrand van den Eeckhout, and Johannes Vermeer.
It is unclear where and with whom Vermeer apprenticed as a painter. There is some speculation that Carel Fabritius may have been his teacher, based upon a controversial interpretation of a text written in 1668 by printer Arnold Bon. Art historians have found no hard evidence to support this. Local authority Leonaert Bramer acted as a friend, but their style of painting is rather different. Liedtke suggests that Vermeer taught himself, using information from one of his father's connections. Some scholars think that Vermeer was trained under Catholic painter Abraham Bloemaert. Vermeer's style is similar to that of some of the Utrecht Caravaggists, whose works are depicted as paintings-within-paintings in the backgrounds of several of his compositions.
On 29 December 1653, Vermeer became a member of the Guild of Saint Luke, a trade association for painters. The guild's records make clear that Vermeer did not pay the usual admission fee. It was a year of plague, war, and economic crisis; Vermeer was not alone in experiencing difficult financial circumstances. In 1654, the city suffered the terrible explosion known as the Delft Thunderclap, which destroyed a large section of the city. In 1657, he might have found a patron in local art collector Pieter van Ruijven, who lent him some money. It seems that Vermeer turned for inspiration to the art of the fijnschilders from Leiden. Vermeer was responding to the market of Gerard Dou's paintings, who sold his paintings for exorbitant prices. Dou may have influenced Pieter de Hooch and Gabriel Metsu, too. Vermeer also charged higher than average prices for his work, most of which were purchased by an unknown collector.
The influence of Johannes Vermeer on Metsu is unmistakable: the light from the left, the marble floor. (A. Waiboer, however, suggests that Metsu requires more emotional involvement of the viewer.) Vermeer probably competed also with Nicolaes Maes, who produced genre works in a similar style. In 1662, Vermeer was elected head of the guild and was reelected in 1663, 1670, and 1671, evidence that he (like Bramer) was considered an established craftsman among his peers. Vermeer worked slowly, probably producing three paintings a year on order. Balthasar de Monconys visited him in 1663 to see some of his work, but Vermeer had no paintings to show. The diplomat and the two French clergymen who accompanied him were sent to Hendrick van Buyten, a baker who had a couple of his paintings as collateral.
In 1671, Gerrit van Uylenburgh organised the auction of Gerrit Reynst's collection and offered 13 paintings and some sculptures to Frederick William, Elector of Brandenburg. Frederick accused them of being counterfeits and had sent 12 back on the advice of Hendrick Fromantiou. Van Uylenburg then organized a counter-assessment, asking a total of 35 painters to pronounce on their authenticity, including Jan Lievens, Melchior de Hondecoeter, Gerbrand van den Eeckhout, and Johannes Vermeer.
Johannes Vermeer