Girl with a Pearl Earring FanFiction Archive | FanFiction
Griet decides that she will marry Pieter after all. After her marriage, she helps at the family butcher stall. Even though she sometimes sees Tanneke (the Vermeer . 64); Griet asks Vermeer about the Catholic nature of his paintings. people's faith: Griet agrees to thank God with the rest of the family at Franciscus' birth. The whole of the novel is focused on the ambiguous relationship, mixed with respect. But how can a painting from the 17th century make us think about the relationship between Men and image? In the movie Girl with a Pearl Earring (), Griet.
I preferred to think of him alone in his studio. Or not alone, but with only me.
Girl with a Pearl Earring by Tracy Chevalier
The soldier in The Procuress reminds me of Van Ruijven. One of the most interesting things about this painting is the precariously perched pitcher. It makes me so nervous that I want to reach into the painting and move it to somewhere safer. Van Ruijven, like odious men always seem to be, is adept at finding young women alone. He is not wanting to gossip with her or exchange thoughts about the weather or to woo her or to cajole her into parting with her charms.
His hands with fingers like hooks push against her clothes weighing the curve and shape of her. She has to fend him off without offending him. Griet has another man in her life, not one that she would choose, but one that is infatuated with her.
Being the wife of a butcher is a dream for many women because she and her family will always be well fed. A butcher is miles away from dream landscape of being the wife of a master painter. Tracy Chevalier has deftly conceived the possibility of The Girl with the Pearl Earring being a maid in the Vermeer household.Girl With A Pearl Earring #2
With each new revelation the tensions between Griet and Catharina tighten like lute strings pressing into tender flesh.
Maria Thins, a realist, runs interference between all parties as best she can, but Catharina beset by jealousy and churlishness has difficulty seeing the bigger picture. They felt that very little happened, but they must be the same people who think baseball is boring. I was on the edge of my seat while reading this book as if I were watching a ten pitch at bat in the bottom of the ninth with two outs. The first time we see Griet in both texts, she is cutting vegetables for her mother with a huge knife, arranging the pieces into a pleasing pattern.
Intensely engaged with the beauty of her creation, she is interrupted by the entrance of the Vermeers, who want to hire her as a servant. Then, two years later, when she discovers the painting of Griet in her husband's studio, Catharina grabs his palette knife and attempts to destroy "The Girl With a Pearl Earring. Pieter also wields a knife in total disregard for art. His knife, of course, is part of his profession as a butcher, and he seeks to lure Griet away from Vermeer's palate knife through a proposal of marriage, asking her to join him in his profession.
Though such a union would elevate Griet's status, it is clear that she would rather have her hands stained red by the vermilion of Vermeer's business than the blood of Pieter's, drawing attention, once again, to a tension between the illusion of art and the desires of flesh.
The film symbolizes the tension when Griet watches clouds out the kitchen window after Vermeer has taught her to see their color. The cook, seeing Griet's rapturous expression, teases, "Thinking of your butcher boy, eh?
When Griet is first hired, she worries about living with the Vermeers in "Papists' Corner, where the Catholics lived," so she returns to her family every Sunday in order to attend Protestant services in a church that Pieter starts frequenting.
However, she can't escape paintings of the Crucifixion hanging in the Vermeer house. Believing that religious paintings are idolatrous, since only "the Word" is necessary for Christian worship, Griet tries to cover a crucifixion scene by her bed with an apron. Though the offensive paintings were not by Vermeer, who was an art dealer as well as a painter, Griet asks him "Are your paintings Catholic paintings?
A painting in a church is like a candle in a dark room—we use it to see better. It is the bridge between ourselves and God. But it is not a Protestant candle or a Catholic candle.
It is simply a candle. Even a painting in a church might be used self-interestedly, to create ecstasy, for example, the way van Ruijven attempts to use Griet. Or it may be valued only for its price, reminiscent of Maria Thins. It may be regarded with indifference, as by Pieter, or resentment, as by Catharina. To see a painting as a bridge between ourselves and God, however, may be to recognize the imago Dei in its creator.
- Trapped in a painter's world
As Nikolai Berdyaev argues in The Destiny of Man"Free creativeness is the creature's answer to the great call of its creator. Man's creative work is the fulfillment of the Creator's secret will. By painting everyday things—tables and chairs, bowls and pitchers, soldiers and maids—are they not celebrating God's creation as well? However, I would suggest that the film practices what the novel preaches.
While Chevalier's book is Protestant like Griet, reliant on the word even to the point of describing famous works of art, the film is Catholic like Vermeer, reliant on the visual to mediate the message.
Indeed, the Vermeer of the film speaks one tenth as much as that of the novel and Griet, who narrates the tale, speaks hardly at all in the film. Instead, she martyrs herself for love of Vermeer and his art, pierced not in the hands and feet, but in the ears, leaving the world she loves after her martyrdom is complete.
Unlike the angular words on the pages of the novel, black on white like the severely dressed Maria Thins, the film gives us a painting that is not a painting-"a picture made of light"—its accentuated perspective, heightened colors, contrast of light and dark, and halation of highlights intensified by the darkened chamber—the camera obscura-of a movie theater.
Girl with a Pearl Earring
Crystal Downing teaches at Messiah College. Her book, Writing Performances: The Stages of Dorothy L. Sayers, was recently published by Palgrave Macmillan. While much of the detail of Vermeer's life remains opaque, his factual circumstances and the nature of the culture and society of the Netherlands during the period after the Reformation are historical givens.
Through the narrative device of the imagined identity of the model who features in the exquisite painting, this work of "faction", which shares the same name as the painting, dramatises how everyday life may have been experienced by an individual who is oppressed as both a pauper and a woman.
Basing her ideas on what is documented of the time, Chevalier has created Griet, the year-old daughter of a Delft tile painter who has been blinded in a workshop accident.
This character can cross the social boundary between the poverty-stricken Protestant home of her parents and the wealthy, Catholic environment of her employer when she is taken into service as a maid in Vermeer's household at Papists' Corner. Advertisement Griet is no ordinary drudge.
In fact her eye is so sure and her appreciation of the paintings she observes in creation so intense, that Vermeer soon allows her to make suggestions about his work and eventually to become his assistant in preparing the colours from bone and ivory. This work must be kept as a secret because there is a conflict between the needs of the household and those of the art.
Griet must work doubly hard to complete both the house cleaning and the artist's tasks.
That the artist and his assistant are closeted on the top floor of the house "perched high above the noisy household" acts as a metaphor for a situation of conflict. Both Vermeer and Griet find themselves caught between the competing needs of his ever-growing family and those of his artistic impulse. What to some may be drudgery is a labour of love for the maid who has become infatuated with the artist whose name she never uses.
In her first person narrative he is always referred to only by a third person pronoun, "he" or "his". The society of 17th-century Delft was riven by religious division, with the Catholic minority persecuted by the Protestant legal system.