Girl with a Pearl Earring (film) - Wikipedia
The novel's focus on Griet's development, on the push and pull of her relationship with Vermeer, and on her eventual choice to forgo a life that keeps her within. What inspired you to write about the girl in Vermeer's painting? girl, but also a portrait of the relationship between the painter and the model. . As for Griet herself, I wrote down female Dutch names I came across as I was. Griet was dating the butcher's son Pieter, and at some point in the film he asks His goal is to paint someone that gives light to the painting and at the same time.
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?
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. 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.
Who Was She? Maria Vermeer, Magdalena van Ruijven or Griet?
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. That all fell away compared with the importance of having a clear gaze; really seeing what's in front of you and understanding how that effect is achieved.
I'd recommend it to anyone, it's almost like therapy. You are now known as an expert in literary adaptations.
Girl with a Pearl Earring (Literature) - TV Tropes
What do you think of that label? I wouldn't mind being known as an expert at anything. I've done quite a lot of adaptations and for me it's a bit like casting: I have tried adapting something without feeling sympathetic towards it. But that's a terrible trial for everybody.
Girl With The Pearl Earring: what's the story behind the famous painting?
I felt it spoke incredibly directly to me. Then it's a question of will you get that lucky again; will you find material that has that sort of resonance for you.
In fact, the next thing that I found is a contemporary American story. It's very different ground in some ways, but it's also very focused on a few characters, and it's also an intimate domestic story. I'm more interested in human interaction than whether it's a period piece or not. Although Girl With a Pearl Earring looks beautiful and the period stuff is beautifully done, it is actually a story about a few people and their very close relations.
It's deliberately focused so closely that you don't need to know about the Golden Age in Holland to enjoy the film. How did you decide what to omit? How many versions did you have to produce until it was just right? It's a gradual process.
The first draft was much closer to the book than the final film is. Then, through the drafts it developed its own character.
This is art history at its best, marred only by a rather misinformed attempt in The Music Lesson to explain background shadows in the painting as the consequence of artistic license rather than a rather straightforward depiction of the actual shadows created by north light from the windows.
This video is suffused with a reverential tone, perhaps too much so. Slive's remarks in particular seem defensive as he clearly seeks to protect his own special version of Vermeer.
In a rather considered effort to disparage the idea that Vermeer relied heavily upon the camera obscura, even to the point of projecting scenes he orchestrated in the camera lens directly onto his canvas, Slive plangently argues that Vermeer "is not an ape of nature. He infers from the artist's paintings that "Vermeer is a man of great dignity.
For at least six of Vermeer's paintings, Steadman has demonstrated that the master did in fact trace what he saw projected through the camera's lens, certainly to establish the basic compositional template as well as the essential tonal grid. However, no one, Steadman least of all, has suggested that Vermeer did not emend what he saw in front of him in pursuit of artistic expressiveness.
The clouds, the shadows in the harbor, and above all the lighting schema throughout the city in the View of Delft were definitely created for artistic effect; but they appear nonetheless forged from the foundation seen in his camera. The "missing" easel leg in The Art of Paintingmoreover, is not really missing; it is hidden behind the artist's left leg and his stool.
Vermeer may have indeed been dignified, but it is unlikely he was stuffy. The man who likely painted himself in such a bawdy pose in The Procuress; who, as Walter Liedtke has noted, painted The Milkmaid with suggestive innuendo; who gave the world the Officer and Laughing GirlThe Glass of WineThe Girl with the Wine Glassand the Girl with a Pearl Earring; who, in The Art of Painting, presented an allegory of the artist with drooping drawers and a manuscript hand fondling his backside—this was a man whose art transcends moral pigeonholing.
Like Shakespeare, Vermeer's sensibility is richly protean, malleable and complex. With notable exceptions, there was a general lack of vivacity in this film, at least by contrast with the earlier video. View of Delft had a distinct yellowish tinge, as did the Woman in Blue Readingwhile the close-ups of the Girl with the Red Hat made the painting appear flat and listless.