This book investigates the possibility that Johannes Vermeer’s daughter, Maria, was the actual painter behind several works traditionally attributed to her father. Benjamin Binstock, an art historian, utilizes stylistic analysis and historical records to challenge the established canon of Vermeer’s oeuvre. He argues that the inconsistencies in technique and subject matter across the artist's body of work suggest a collaborative studio environment where Maria played a significant, yet historically obscured, role. By examining the evolution of brushwork and composition, Binstock proposes a new attribution framework for the Dutch master's paintings.

Scholars and art critics frequently note the provocative nature of Binstock’s claims, often debating the validity of his stylistic evidence versus traditional provenance. While the book is recognized for its meticulous research into the Vermeer family, experts highlight that the attribution of specific paintings remains a subject of intense academic disagreement.