He then tells her she must wear the other one as well. She must somehow secretly pose for the crucial painting without the knowledge of Vermeer's wife, avoid Van Ruijven's grasp, and protect herself from the cruel gossip of the world of a 17th century servant. While cleaning the house, Griet strikes up an unlikely friendship with Vermeer, which both agree to keep secret for fear of provoking the painter's jealous wife, Catharina Essie Davis. The novel is narrated in the first person by a sixteen-year-old girl named , who lives in the Dutch city of Delft. It garnered a mostly positive critical reception, with a 72% approval rating from.
She hides the remaining five in a secret place, and never spends them. He is a very silent, modest and interesting man. Griet was given the task of purchasing paint supplies and grinding them in the evenings before Vermeer painted in the afternoons. She had bought the poster as a nineteen-year-old and it hung wherever she lived for sixteen years. The film was subsequently nominated for ten , three , and two. It is this cool approach that differentiates the book from the three other novels published in 1999 which also deal with 17th century Dutch painting. As a tile-painter, her father is a member of the , so employment is found for her as a maid in painter Johannes Vermeer's household.
Vermeer is clearly attracted to Griet, and Master Van Ruijven is openly lecherous. And surprisingly, this love is not one sided. 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. My eyes filled with tears I did not shed. Griet has been cutting vegetables for the soup and has separated them by color in a wheel: turnips, carrots, leeks, red cabbage, and onion. These paintings that survive compensate for the lack of much real information available in the historical record about the main male characters. But later, when its tranquillising effects wear off, you wonder about the risks not taken and the opportunities missed.
When wealthy patron Van Ruijven Tom Wilkinson begins to lust after Griet, and commissions a painting of her, Vermeer and Griet are obliged to spend long hours alone together. She then returns the earrings to Catharina's mother. One morning, while Griet is working the butcher stall, Tanneke, the old maid, comes to fetch her, claiming that Catharina wants to speak with her. Tucker and Paterson already knew Webber from several earlier projects; the director discovered the project by accident after visiting their office, where he noticed a poster of Vermeer's work and began discussing it. Mankind has Shakespeares who were illiterate, Mozarts who never heard a note, painters who never touched a brush. Hudson's decision scuppered the production and led to the loss of financial support from the production company. Vermeer is going to paint Griet, secretly.
The worst part of all, is that he wants a painting of Griet and him. This is where the movie spins with much interesting twists. The knife slices through the onion with a satisfying crispness that delights the ears, and then is spread out on a plate with other vegetables resembling an artist's palette. In spite of its cinematography and good casting, the movie focuses on the sexual tension in the allegedly repressed Dutch society. Without it, for all Webber's fetish for exquisite detail, it's a strangely remote experience. The fact that they were working so closely together had to be kept a secret from the family, especially from Catharina, who would certainly be jealous.
These scenes I have described are beautiful for the camera work alone. The same came forward in the movie. He will ruin her, they warn. She wears a simple blue headband and a modest smock. In North America it was distributed by. D, M Humanist worldview with an undercurrent of forbidden lust and unrequited love within allegedly repressed Dutch society; one profanity and one obscenity; young woman slaps girl, man tries to rape young woman and leaves strangle marks on her neck; fully clothed intercourse and sexual references; no nudity; drinking; smoking; and, a faithless view of a religious culture. Her only way out of this living hell, is for Griet to be around her master, Vermeer.
It was a lucky person who could paint and not worry about money issues. It even changes that much, that she tends to act like the people in the household as well. Vermeer leaves the house, and Catharina comes home. Girl with a Pearl Earring displays a side of painting that is not often showed: that of the starving artist. Catharina keeps popping out children and the only income comes from Vermeer's Colin Firth paintings which are bought by his sole patron Tom Wilkinson.
Maria greets Griet and sends her in to see Catharina and van Leeuwenhoek, who is the executor of Vermeer's will. First of all, her attitude towards the people in the household transforms. It is clear that Catharina has not forgiven Griet, or her husband, and does not want to hand over the pearls. Griet is tasked with a great deal of work, and there are also immediate interpersonal tensions. It was all he had to say. Griet's ability to suggest to Vermeer how to improve a painting demands one stretch of the reader's imagination.