He has long hair, a common style of the time. Vermeer seems somewhat torn over his lifestyle, and often does things alone. He died at the age. 3.) Catharina: Catharina is the wife of Johannes Vermeer. She is a catholic and a member of the middle class. At the time of Vermeer's death, she had given birth to 11 children. The movie portrays her as a mean and jealous woman, always suspicious of Johannes' motives with other women. 4.) Maria thins: Maria is Catharina's mother-in-law.
Girl with a pearl Earring: Dutch paintings from the
She hides the remaining five in a secret place, and never spends them. 5 pages, as Griet poses for the renowned painter, johannes Vermeer, she is speechless, yet overcome with agony in her pierced earlobes and in her heart. For her stunningly beautiful plan portrait, johannes Vermeer. The girl with the pearl Earring. Main characters:.) Griet: Griet is a protestant girl from Holland who goes to work as a maid in Vermeer's home after her father has an accident that leaves him blind. She is a young girl with fair skin and blonde hair. She wears the clothes qualitative of a servant. She is working to help her family, therefore, is not as submissive as the other servants around her. 2.) Vermeer: Johannes Vermeer is a respected artist in Holland. Known for his perfectionism, he often takes months to complete a painting. In the movie, he is often seen wearing black clothes and a black hat.
Confused, Griet asks about the whereabouts of her portrait. They explain that Van ruijvens daughter now owns it; however, on his deathbed, vermeer asked for it to be loaned back to him. Maria greets Griet and sends her in to see catharina and van leeuwenhoek, who is the executor of Vermeer's will. They explain that before his death, vermeer made a request, and Catharina is now going to honor. Griet is shocked when Catharina gives her the pearl earrings; she tries to object, but she leaves with ilahi them. On the way out, cornelia maliciously suggests that Griet give her the earrings; Griet slaps her. When she leaves, Griet is unsure what to do with the earrings. She goes to a pawnshop and sells them, receiving twenty guilders in exchange. She gives fifteen to pieter, explaining that Catharina has finally settled the debt.
Van ruijven has also died. Vermeer has recently died, leaving vegetarianism behind Catharina and eleven children, as well as sizable debts. Over the years, Griet has had only sporadic contact with the family, mostly through. When she married pieter, the vermeer family abruptly switched butchers, leaving an unpaid bill of fifteen guilders. In part, they blame her for the loss of a child: on the day of the confrontation in the studio, catharina went into premature labor, and the infant later pelleas died. Unexpectedly, tanneke seeks out Griet and asks her to come to the vermeer house. Griet goes to the house later the day, and is met by some of the younger children. Franciscus comments on her being the lady in the painting.
Griet denies stealing the earrings, but also does not reveal the whole story. Enraged, catharina grabs a knife and tries to stab the painting, but Vermeer prevents her. As the pregnant Catharina becomes increasingly agitated, Griet realizes there is no future left for her in the house. She calmly walks out. Once outside, she considers the options for her future and makes a choice. The narratives action resumes ten years later, in February 1676. Griet is now married to pieter and works beside him at the butcher's stall. She is also the mother of two young sons. Her father has died, but her mother helps her to take care of the children.
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She tells him she will not discuss the question, and she hurries back to the studio. Inside, griet tells Vermeer to insert the earring for her, which he does. He then tells her she must wear the other one as well. Griet objects at first but then consents and pierces her other ear, wearing both earrings while he paints her. Afterwards, she returns the earrings to maria to be replaced in the jewel box. Vermeer leaves the house, and Catharina comes home.
A short time later, Griet realizes that Cornelia has led her mother upstairs to see the portrait. There is an outburst, and a message is sent for Vermeer to return home. Griet waits while he comes back and joins his reviews wife in the studio. Cornelia then comes down and brings Griet up to the studio, where catharina, vermeer, and Maria are assembled. Catharina is furious and wants to know whether Griet has stolen the earrings that she is depicted wearing in the portrait. Neither Maria nor Vermeer speaks up to explain what really happened.
And most dangerously, van ruijven has not lost interest in Griet, and continues to insist on the possibility of posing for a painting alongside her. To avoid this, vermeer reluctantly agrees to paint a portrait of Griet alone, which he begins early in 1666. As Vermeer paints Griet's portrait in the winter months of 1666, the erotic tension between the two increases. Griet is terrified of what would happen if Catharina knew that her portrait was being painted, and she is also uncomfortable with van ruijven's increasingly aggressive advances; however, she clings to the pleasure of interacting with Vermeer. The sexual awakening this triggers in her leads her to finally have sex with pieter. As the portrait nears completion, vermeer remains unsatisfied; ultimately, griet and Vermeer realize that the portrait is in need of the inclusion of a piece of jewelry: namely, catharina's pearl earrings.
Despite Griet's objections, vermeer is insistent, and she pierces her ear in preparation for posing. On her eighteenth birthday, maria tells her that Catharina has gone out for the day and that the session with the earring will take place while she is gone. She gives Griet the earrings and sends her upstairs; by this time, the attention of the girls has been attracted. As Griet starts to prepare to pose, she is interrupted by the news that she has a visitor. She goes outside to speak with pieter, aware that Tanneke, the girls, and Vermeer are all watching from inside the house. She tries to delay, but pieter insists on making his proposal of marriage.
Jan Vermeer, online - artCyclopedia
She enjoys the work and the opportunity it gives task her to learn from and interact with the painter, but keeping the work secret involves several deceptions and help from Maria thins. Griet also becomes more confident about expressing her opinions and suggestions, which often impress Vermeer. The time spent with Vermeer also begins to foster an attraction towards him, but, unable to express her desire, griet channels this attraction into her encounters with pieter instead. Catharina eventually becomes aware that Griet is assisting Vermeer, and reluctantly accepts this state of affairs. Indeed, Griet comes to occupy a position of some authority in the household. Griets new identity within the vermeer family increasingly creates a wedge between her and her parents. Pieter's plans for their future make her uncomfortable, as she cannot help but feel some repulsion due to his working class background and unfavorable contrast resume with Vermeer. Cornelia still seeks out opportunities to get her in trouble.
The son is clearly attracted to her, language but Griet is hesitant about encouraging these feelings. She experiences further unsettling feelings as her experience working at the vermeer household makes her question her family's class position and their insistence on a protestant faith. However, she begins to be exposed to a new world of challenging and exciting information through her interactions with Vermeer and his friend van leeuwenhoek. Two crises arise in the fall and winter of 1664. Plague breaks out in the neighborhood where Griet's family lives, and her sister Agnes falls ill and dies, permanently altering her family dynamic. Griet also catches the eye of Vermeer's wealthy patron van ruijven, who is notoriously lecherous. Towards the end of the year, catharina gives birth to a healthy son named. In early 1665, Griet takes on a new role in the household when she secretly begins to work as Vermeer's assistant, fetching supplies, grinding colors, and doing other tasks.
Griet is hired. The household also contains Catharina's mother, maria thins, and her maid, tanneke. Griet is tasked with a great deal of work, and there are also immediate interpersonal tensions. One of the children, cornelia, clearly dislikes Griet and wants to make her life miserable; Catharina also seems to feel jealousy and resentment of Griet. This is exacerbated by the nature of one of the tasks Griet has been hired to perform. She is responsible for cleaning the studio where vermeer works; it is extremely important to him that nothing be moved or altered in this room, and Griet must work very meticulously. Catharina, due to her clumsiness, is not permitted to enter the studio lest she unsettle something. Despite these challenges, Griet is able to make herself indispensable in the household due to her shrewd bargaining and domestic management. Since she is responsible for purchasing meat for the family's meals, she begins to interact frequently with pieter the butcher and his son pieter the younger.
The novel is narrated in the first person by a sixteen-year-old girl named. Griet, who lives in the dutch city of Delft. The story opens in the year 1664 when Griet is abruptly informed that retrolisthesis she will be starting work as a maid in the home of the dutch painter Vermeer and his wife catharina. The economic situation of her own family has become precarious since her father, a tile-painter, was blinded in a workplace accident. Frans has begun an apprenticeship but is not yet earning any wages. Griet is reluctant to take on the position since her younger sister. Agnes is angry with her for leaving, and because she is hesitant about working in a catholic household.
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The dutch painter Vermeer has remained one of letter the great enigmas of 17th-century dutch art. While little is known of his personal life, his extraordinary paintings of natural and domestic life, with their subtle play of light and colour, have come to define the dutch Golden Age. The mysterious portrait of the anonymous Girl with a pearl Earring has fascinated art historians for centuries, and it is this magnetic painting that lies at the heart of Tracy Chevalier's second novel of the same title. Girl with a pearl Earring centres on Vermeer's prosperous household in Delft in the 1660s. The appointment of the quiet, perceptive heroine of the novel, the servant Griet, gradually throws the household into turmoil as Vermeer and Griet become increasingly intimate, an increasingly tense situation that culminates in her working for Vermeer as his assistant, and ultimately sitting for him. Chevalier deliberately cultivates a limpid, painstakingly observed style in homage to vermeer, and the complex domestic tensions of the vermeer household are vividly evoked, from the jealous, vain, young wife to the wise, taciturn mother-in-law. 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. Chevalier acknowledges her debt to simon Schama's classic study of the dutch Golden Age, the Embarrassment of Riches, and the novel comes hard on the heels of Deborah Moggach's similar tale of domestic intrigue behind the easel of 17th-century dutch painting, tulip fever. Girl with a pearl Earring is a fascinating piece of speculative historical fiction, but how much more can novelists extract from the dutch Golden Age?