- Publisher: HarperCollins Publishers Ltd (2000)
- Language: English
- ISBN-10: 0006513204
- ISBN-13: 978-0006513209
- Product Dimensions: 19.5 x 1.5 x 12.8 cm
- Shipping Weight: 240 g
- Average Customer Review: 677 customer reviews
- Amazon Bestsellers Rank: #2,817,472 in Books (See Top 100 in Books)
GIRL WITH A PEARL EARRING. Paperback – 2000
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With precisely 35 canvases to his credit, the Dutch painter Johannes Vermeer represents one of the great enigmas of 17th-century art. The meager facts of his biography have been gleaned from a handful of legal documents. Yet Vermeer's extraordinary paintings of domestic life, with their subtle play of light and texture, have come to define the Dutch golden age. His portrait of the anonymous Girl with a Pearl Earring has exerted a particular fascination 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 centers on Vermeer's prosperous Delft household during the 1660s. When Griet, the novel's quietly perceptive heroine, is hired as a servant, turmoil follows. First, the 16-year-old narrator becomes increasingly intimate with her master. Then Vermeer employs her as his assistant--and ultimately has Griet sit for him as a model. Chevalier vividly evokes the complex domestic tensions of the household, ruled over by the painter's jealous, eternally pregnant wife and his taciturn mother-in-law. At times the relationship between servant and master seems a little anachronistic. Still, Girl with a Pearl Earring does contain a final delicious twist.
Throughout, Chevalier cultivates a limpid, painstakingly observed style, whose exactitude is an effective homage to the painter himself. Even Griet's most humdrum duties take on a high if unobtrusive gloss:
I came to love grinding the things he brought from the apothecary--bones, white lead, madder, massicot--to see how bright and pure I could get the colors. I learned that the finer the materials were ground, the deeper the color. From rough, dull grains madder became a fine bright red powder and, mixed with linseed oil, a sparkling paint. Making it and the other colors was magical.In assembling such quotidian particulars, the author acknowledges her debt to Simon Schama's classic study The Embarrassment of Riches. Her novel also joins a crop of recent, painterly fictions, including Deborah Moggach's Tulip Fever and Susan Vreeland's Girl in Hyacinth Blue. Can novelists extract much more from the Dutch golden age? The question is an open one--but in the meantime, Girl with a Pearl Earring remains a fascinating piece of speculative historical fiction, and an appealingly new take on an old master. --Jerry Brotton --This text refers to the Hardcover edition.
From Publishers Weekly
The scant confirmed facts about the life of Vermeer, and the relative paucity of his masterworks, continues to be provoke to the literary imagination, as witnessed by this third fine fictional work on the Dutch artist in the space of 13 months. Not as erotic or as deviously suspenseful as Katharine Weber's The Music Lesson, or as original in conception as Susan Vreeland's interlinked short stories, Girl in Hyacinth Blue, Chevalier's first novel succeeds on its own merits. Through the eyes of its protagonist, the modest daughter of a tile maker who in 1664 is forced to work as a maid in the Vermeer household because her father has gone blind, Chevalier presents a marvelously textured picture of 17th-century Delft. The physical appearance of the city is clearly delineated, as is its rigidly defined class system, the grinding poverty of the working people and the prejudice against Catholics among the Protestant majority. From the very first, 16-year-old narrator Griet establishes herself as a keen observer who sees the world in sensuous images, expressed in precise and luminous prose. Through her vision, the personalities of coolly distant Vermeer, his emotionally volatile wife, Catharina, his sharp-eyed and benevolently powerful mother-in-law, Maria Thins, and his increasing brood of children are traced with subtle shading, and the strains and jealousies within the household potently conveyed. With equal skill, Chevalier describes the components of a painting: how colors are mixed from apothecary materials, how the composition of a work is achieved with painstaking care. She also excels in conveying the inflexible class system, making it clear that to members of the wealthy elite, every member of the servant class is expendable. Griet is almost ruined when Vermeer, impressed by her instinctive grasp of color and composition, secretly makes her his assistant, and later demands that she pose for him wearing Catharina's pearl earrings. While Chevalier develops the tension of this situation with skill, several other devices threaten to rob the narrative of its credibility. Griet's ability to suggest to Vermeer how to improve a painting demands one stretch of the reader's imagination. And Vermeer's acknowledgment of his debt to her, revealed in the denouement, is a blatant nod to sentimentality. Still, this is a completely absorbing story with enough historical authenticity and artistic intuition to mark Chevalier as a talented newcomer to the literary scene. Agent, Deborah Schneider.
Copyright 1999 Reed Business Information, Inc. --This text refers to the Hardcover edition.
Top Customer Reviews
Chevalier fills the novel with the tasks of an everyday Delft so real, one marvels at the magnificence of her invention. Her simple concentration on Griet's cleanliness; the whitness of her cap, the studied way in which she wears it with the two ties hanging on either side of her face to hide her expression, reminds us of the Biblical maxim "Cleanliness is next to Godliness." Yet, the author ingeniously uses this bit of clothing and its accompanying characteristics to display Griet's dual nature: a Protestant girl who wears her snow white cap fears gossip in the marketplace and frowns upon what she calls "Catholic art" displayed in the Vermeer home and a girl with unruly hair that needs hiding within the cap's entrapment hints at an equally inruly spirit that would not hesitate to go into the alley with the handsome butcher's son and have him grope under her wanton skirts.
Chevalier paints a lovely portrait of a young girl's resignation to a live the limited life to which she is born yet to live again in innocence, beauty and expectation forever captured within the medium of canvas, paint and linseed oil.
I thorougly enjoyed this novel. I listened to it on unabridged audio and never once was I bored at the simple straighforward narrative told in Griet's controlled voice. Here the love affair takes place in the world of canvas; so if you are expecting romantic fireworks set in a skyrocketing July 4th tableau, forget it. This novel concentrates on a full spectrum of emotions that burn underneath the skin with the steadfastness of an eternal candle rather than the "appearances-be-damned", "no-holes-barred" passions that are snuffed out after carnal lusts are spent.
The fictional story behind Vermeer's famous painting revolves around sixteen-year old Griet, who becomes a maid in the artist's home to help her struggling family. She is a quiet, intelligent girl, fully aware of her rather helpless situation: She must do the hardest work from morning til night without sympathy or kindness in the cold house. She does, however, greatly admire the elusive Vermeer, and to her shock and secret joy, he asks her one day to be his model for a painting. She must also contend with the unwanted attentions of Vermeer's wealthy patron, and is unsure of her feelings for the amorous young butcher.
Since the uneducated Griet is the story's narrator, author Chevalier has written in a very simple, uncluttered style: There are virtually no compound sentences, few adjectives, and even fewer words describing emotions. This is because Griet's lot in life is to serve; it makes no difference how she feels about people, events, or tasks, so she doesn't dwell on them.
Griet never refers to Vermeer by name; he is always "The Master," or simply "Him." While a bit of an affectation on the part of the author, it reflects Griet's view of him as bigger than life; godlike. She never puts into words her feelings for him, nor does he for her; indeed people at that time kept their thoughts to themselves. We learn little about Vermeer, except that he took scant notice of his homelife, which was rife with conflict between the mistress, servants, and children. The book is a leisurely-paced picture of life in 17th century Delft. The last chapter was the most intense and was indeed a satisfying end to Griet's story.
Narrator Ruth Ann Phimister's voice is low and sounds too mature to be speaking the words of a sixteen-year old. However, she does convey Griet's pluckiness as well as her constant fatigue. While we don't learn about Vermeer, the story does gives us a glimpse into Dutch society in 1665. It is a quiet story.