Diálogos Transdisciplinares em Girl with a Pearl Earring: a Arte ...
Diálogos Transdisciplinares em Girl with a Pearl Earring: a Arte ...
Diálogos Transdisciplinares em Girl with a Pearl Earring: a Arte ...
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“I always laid vegetables out in a circle, each <strong>with</strong> its own section a slice of pie.<br />
There were five slices: red cabbage, onions, leeks, carrots and turnips. … The<br />
man tapped his finger on the table. ‘Are they laid out in order in which they will<br />
go into the soup?’ ... ‘I see you have separated the whites’, he said, indicating the<br />
turnips and onions. ‘And then the orange and the purple, they do not sit together.<br />
Why is that? ... ‘The colours fight when they are side by side, sir’"<br />
(CHEVALIER: 2000, 05).<br />
O discurso simples e evidente de Griet é rico <strong>em</strong> reveladores detalhes. Ao saber<br />
que o hom<strong>em</strong> que a havia entrevistado era o autor de um quadro que ela já havia<br />
apreciado <strong>em</strong> uma exposição na Casa da Câmara, Griet mostra novamente sua<br />
sensibilidade artística ao recordar com o pai cego os detalhes do famoso quadro<br />
View of Delft:<br />
"’Do you r<strong>em</strong><strong>em</strong>ber the painting we saw in the Town Hall a few years ago? It<br />
was a view of Delft, from the Rotterdam and Schiedam Gates. With the sky that<br />
took up so much of the painting, and the sunlight on some of the buildings.’ …<br />
‘And the paint had sand in it to make the brickwork and the roofs look rough.<br />
And there were long shadows in the water, and tiny people on the shore nearest<br />
us.’ ‘That's the one.’ …‘I r<strong>em</strong><strong>em</strong>bered it well, r<strong>em</strong><strong>em</strong>bered thinking that I had<br />
stood at that very spot many times and never seen Delft the way the painter had”<br />
(07-08).<br />
No dia a seguir a visita do pintor, a jov<strong>em</strong> muda-se para a casa da família<br />
Vermeer e, ao caminhar pelas ruas de Delft, (que fica a apenas dez minutos de sua<br />
casa) no Canto dos Papistas, explica como nunca tinha estado naquela zona, onde<br />
vivia na época a minoria católica, introduzindo a questão das diferenças<br />
religiosas, um mundo totalmente estranho para Griet, ao mesmo t<strong>em</strong>po que nos<br />
descreve as cores do início da manhã, revelando uma sensibilidade para as cores:<br />
“… The morning was still cool, the sky a flat grey-white pulled close over Delft<br />
like a sheet, the summer sun not yet high enough to burn it away. The canal I<br />
walked along was a mirror of white light tinged <strong>with</strong> green. As the sun grew<br />
brighter the canal would darken to the colour of moss” (12).<br />
Na sua nova casa, Griet vai encontrar poucos amigos. A outra criada, Tanneke,<br />
aproxima-se da jov<strong>em</strong> e repele-a consoante o seu humor, vendo Griet como uma<br />
ameaça. Tanneke já havia posado, quando mais jov<strong>em</strong>, para o quadro The<br />
Milkmaid, feito de que se orgulhava. Entre os cinco filhos do casal, há uma