Griet Vermeer Family World — badz.info
Once again, it is Vermeer who opens Griet's eyes, showing her that there was . in their encouragement of Griet's relationship with Pieter, 'content to take the gifts His advice, however, is hardly useful, and the only power Griet can derive for. Griet admits that she was buying supplies for Vermeer but will not encouraging of the relationship, since she knows Pieter will be able to give. Vermeer next employs her as his assistant -and ultimately has Griet sit for him and give him advice: “The colours fight when they are side by side, sir. of one of Vermeer's clients and a subtle, unspoken relationship with the.
Tracy Chevalier's official website for the book has 2 very useful features. One, a list of all the paintings discussed in the novel, and two, a number of reviews of the novel. The reviews, I found, were particularly useful for garnering some new ideas about the text, not to mention some seriously sophisticated vocabulary.
- Girl With a Pearl Earring
- Griet Vermeer Family World
By turns shown to be rewarding, controlling and destructive, the notion of art as a powerful, irresistible force that masters the ultimate fate of the characters that come into contact with it is thoroughly explored. As a painter, Vermeer characterises the control that art exerts. Vermeer is also a victim of art. Art is shown to be often cruel, but also potentially rewarding.
You can't have it all
Paradoxical in nature, it is both the means of union and of separation between Griet and Vermeer, the medium through which they are brought together and once more divided. As a teenager, Griet is exploited and betrayed by all the adults around her. From the beginning of the text, betrayal is portrayed as a significant and recurring theme.
Through these actions, the harsh atmosphere of 17th century Delft society is demonstrated; the day-to-day survival of individuals deigned as of paramount importance, exceeding parental love, even the dictates of Protestant doctrine. As a subservient and socially inferior maid, Griet is also an easy target for sexual exploitation, particularly at the hands of those more powerfully than herself, such as van Ruijven.
Van Ruijven manipulates the inherent inequality in social positions between Griet and himself, with the knowledge that she is unable to retaliate nor ably defend herself from his unwanted advances. He does not notice the physical and mental toll this exertion takes on Griet, nor does he show thankfulness, or even acknowledgement of the protective silence she maintains over this work.
It is only van Leeuwenhoek who refrains from using Griet to his own advantage. His advice, however, is hardly useful, and the only power Griet can derive for herself is through self-expression, the brown she dons in her painting a passive resistance against being perceived as being available, or a sexual object for the pleasure of men.
We are plunged immediately into her world. We might expect this to be remote. The unfamiliar seems very familiar. Students will need very little background history explicated by the teacher as it emerges so clearly from the narrative itself. They will connect with this world.
The period detail is woven seamlessly into the narrative: It is not at all precious in style! The novel is partly a rites of passage story, the risks and the skills needed to navigate the conflicting demands, loyalties, responsibilities and pressures on entering adult society.
Griet journeys out into the wider world and leaves her little family circle and her old certainties behind. Gaining independence, she experiences a sense of loss and separation: The concept of apprenticeship is central.
In her new home, she is also an outsider who has to find her way. But this is what allows her to be an objective narrator: Colin and Scarlett agreed.
Colin and Scarlett's relationship on set was very interesting. I was there just before they started shooting all the studio scenes and just after. The difference in the two actors' relationship before and after those scenes was amazing. I returned six days later and they were completely different with each other. It had been such an intense experience for them. That wasn't for the rights, that was for the options. She was paid a lot more when the film was made. How much extra research did you have to put into the screenplay?
'We didn't want the "Griet discovers her sexuality in front of the mirror" scene'
The book is very clever because it's carefully placed on the few known facts about Vermeer. They're like little pillars sticking up out of the dust of history, which tell us about his family and some of his business transactions. But it's pretty sparse information.
However, there is a wealth of information about 17th-century Dutch society. I did the research again and I covered a lot of the same ground as Tracy. As I was going through, I'd suddenly find something and think: That's where she got that from! Otherwise you can get very clogged up.
Painting Process - The Girl with a Pearl Earring
It was really fascinating to talk to somebody who had been that close and really had her paintbrush all over it. We discussed painting technique and what she felt about it. I also spent a lot of time talking to figurative painter friends of mine about being a painter. The least clear character in the book is Vermeer. He's obscured because Griet is looking at him, so we see him completely through her eyes.
I was intrigued as to what it is a painter does apart from actually splodging paint onto canvas. What are the mental processes going on? Vermeer's paintings are so much about what he leaves out, the choices he makes and the very careful framing and placing. I even sat for a friend as he worked. While I was sitting, we talked about looking.
It seems to come down to that - looking and looking and really trying to understand what you're seeing.
At various points while writing the script, I was influenced by the theories of the time and I read some of the material that would have been available to Vermeer and so on.