- Hardcover: 240 pages
- Publisher: Dutton Adult; First Edition edition (January 1, 2000)
- Language: English
- ISBN-10: 052594527X
- ISBN-13: 978-0525945277
- Product Dimensions: 6 x 0.9 x 8.4 inches
- Shipping Weight: 11.2 ounces (View shipping rates and policies)
- Average Customer Review: 1,309 customer reviews
- Amazon Best Sellers Rank: #1,079,474 in Books (See Top 100 in Books)
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Girl With a Pearl Earring First Edition Edition
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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
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.
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Peripheral characters were not as well-drawn, particularly Griet's brother and sister. When they left, I couldn't sense the pain she must have felt.
When I was in The Netherlands, I was enchanted by the architecture and the canals. The architecture of the place captivated me. I wanted more of this backdrop for the scenes of this book, from the perspective of the author's art appreciation background. And street markets are lively and noxious at once. Scenes that occurred in the street market of Delft were fairly sterile in the narrative.
But those are minor considerations when stacked against the positive attributes of this book. Although I was familiar with some of the works by Vermeer, I knew little about the man, his time, nor of what it took to create even the colors of his painting (or of all paintings of this era). Just that was well worth spending time with this book. Previously, because of the typical subjects of Vermeer paintings, I did not rank him very high on my list of favorites. The author deftly brings a new appreciation of his art.
The life of a maid of the times was thorough and very interesting. The vivid descriptions of family life, and a maid's lot within the family, were the very foundation of the book.
The most sublime parts of the book, however, were Griet's coming to understand the genius of the man, and to even subtly assist him in coming to see what she knew he would eventually realize about his own works in progress. I say sublime because the author combines an intelligent young girl with her daily duties of placing and re-placing his settings after cleaning them, along with her history of long talks with her artist father. For me, this is the very essence of the book and explains her attraction to him, as intelligence is attracted to genius. And it, combined with the conventions of 1600's Netherlands, explains and makes acceptable so much of the author's beliefs about her subjects.
This is a very good read. Although some have called it a fast read, I believe it called for some relevant thinking about what exactly was happening to Griet, as the author wisely did not spoon-feed the reader her conclusions, but let us discover them on our own.
This book is easily read in a couple of sittings - maybe even one, if you have the time. Because I read it back to back with Anita Diamant's The Red Tent, I found it lacking in complexity and depth, but was a good read all the same. Griet's chores in the household are well imagined and precise, and the historical details Chevalier provides, particularly those pertaining to the grinding and creation of color, are a delight. While Vermeer himself seems elusive as a character, almost as though the author were afraid of giving him flesh, the other major characters are solid. I couldn't help liking Griet and feeling for her difficult position.
This is an excellent vacation book, not demanding but still evocative. You don't have to be interested in art or Vermeer or historical fiction to enjoy this book. It stands on its own as the story of a young woman coming of age and learning where her place in the world lies.