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Pose and right / left camera position is good match to the painting but vertically your camera is lower to the face as if viewing her in person from upward below her eye level. The POV in the painting is more downward as seen typically by a person standing in front of a seated subject. What the higher POV changes most in the appearance of a face is how the tip of the nose is modeled, hiding the nostrils.
The "tell tale" to watch for when setting the key light is the shadow it creates on the nose. The nose shadow is one of the more obvious perceptual clues the brain uses to discern 3D shape in 2D reproductions. The subject in the painting is turned way from the key light more than your subject, with the shadow that creates modeling the 3D shape of the nose more effectively.
In terms of workflow unless the angle of the subject to the background environment is critical it's easier to just set the key light in one place, like the window Vermeer used, pose the subject's face to it, then move the camera around the face to find the ideal camera angle horizontally and vertically.
Shadow tone is a function of fill. Vermeer used none and just depicted what is adapted vision saw in the natural light in the room. A problem that can occur when using large artifical sources in small reflective rooms is that even when only one light is used the footprint of light it creates is so large it bounces off the walls and ceiling, especially the opposite wall, and creates too much fill making the shadows too light.
I solve that problem in my small finished basement studio by hanging black draping (a flat king sheet from Walmart) on the wall opposite the key light and using a medium SB with a circle mask creating footprint which illuminates the subject, but doesn't bounce unwanted "spill fill" off the ceiling. I then precisely adjust fill "to taste" as the mood of the subject I wish to convey dictates using a second fill source under the raised camera lens about chin level with the subject.