At times the relationship between servant and master seems a little anachronistic, but Girl with a Pearl Earring does contain a final delicious twist in its tail. There are no reviews yet. Be the first one to write a review. Books for People with Print Disabilities. Internet Archive Books. See the very best of literature in a whole new light with BrightSummaries.
Combining high-quality production with magnificent fine art the covers are printed on foil in five colours, embossed then foil stamped. They're powerfully practical: a pocket at the back for receipts and scraps, two bookmarks and a solid magnetic side flap. Meisje met de parel - Johannes Vermeer Pages with lines. Cool statement art notebook for art fans. By Kickazz Notebooks. Meisje met de parel - Johannes Vermeer Blank pages. Life is art, and what better way to chronicle the goings-on in your life than in our Art of Life Journal showcasing Johannes Vermeers work of art, "Girl with a Pearl Earring.
Want more? Advanced embedding details, examples, and help! Their growing intimacy sparks whispers, and when Vermeer paints her wearing his wife's pearl earrings, the gossip escalates into a full-blown scandal Accelerated Reader UG 5. There are no reviews yet. Be the first one to write a review. He suggests a book, but concludes that the problem is in her clothes. I was puzzled — we never sat together. I shivered, although I was not cold.
I gazed at the New Church tower and swallowed. I could feel my jaw tightening and my eyes widening. He asks her to sit still. She realizes that she is actually being painted by Vermeer. Only a month later did they continue the modeling. Griet, the fictional model, was highly aware of it the whole time; she knows that what really matters to him is the final result as requested by his patron.
The girl is important only as his muse and not as a woman. While she does not fight her feelings towards the painter, Griet follows the natural course of her life outside of the studio, as evidenced in the excerpt below: 22 Scripta Uniandrade, v. He looked at me as if he were not seeing me, but someone else, or something else — as if he were looking at a painting. He is looking at the light that falls on my face, I thought, not at my face itself.
That is the difference. It was almost as if I were not there. Once I felt this I was able to relax a little. As he was not seeing me, I did not see him.
My mind began to wander — over the jugged hare we had eaten for dinner, the lace collar Lisbeth had given me, a story Pieter the son had told me the day before. After that I thought of nothing. She continues the description: The painting was like none of his others.
It was just of me, of my head and shoulders, with no tables or curtains, no windows or powder-brushes to soften and distract. He had painted me with my eyes wide, the light falling across my face but the left side of me in shadow.
I was wearing blue and yellow and brown. The cloth wound round my head made me look not like myself, but like Griet from another town, even from another country altogether.
The background was black, making me appear very much alone, although I was clearly looking at someone. I seemed to be waiting for something I did not think would ever happen. He was right — the painting might satisfy van Ruijven, but something was missing from it. Vermeer includes the earring in the portrait. Griet asks him to place the jewel in her ears. Griet leaves the studio, without even taking a last look at the canvas, and proudly returns the earrings to her mistress.
After all, she had accomplished the task. Mauritshuis, The Hague. The character Griet convinces as a proud model sitting for her master with whom she is deeply involved. The pearl earring, besides balancing the light of the composition, has another prime role in the plot: it is the central element which connects and pushes muse and master away from each other.
There were five slices: red cabbage, onions, leeks, carrots, and turnips. I had used a knife edge to shape each slice, and placed a carrot disc in the center. Although the pictorial lexis is evident in the description above, there is no direct reference to a specific painting LOUVEL, , p. The text serves as a frame for the description of the painting. The narrator works with words the way a painter would work with a brush on canvas. The painter always uses the same elements of composition in his work: clothing, ornaments, furniture and props on the table; the corner of his studio and its decoration; industrious silent women in quotidian activities as theme; the way the light is reflected and attracts the eye of the observer as style.
Through words, the author is able to reproduce these same elements in the ekphrastic descriptions in the novel. All of the individual descriptions of paintings fit the one-to-one relationship. The one-to-many relationship is seen in descriptions of the same painting by different characters, such as Girl with a Wine Glass, described and commented on by van Ruijven, Tanneke and Pieter, among others. Finally the many-to-many relationship can be found in the boom of transpositions inspired by Vermeer, which took place in the nineties.
As time goes by, Griet starts filtering the kind of information she gives her family during her Sunday visits. In order to be close to the master, Griet learns to manipulate not only what she says, but especially to whom, when and how she uses words.
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