Diálogos Transdisciplinares em Girl with a Pearl Earring: a Arte ...

Chevalier vê na Câmara Escura um estratagema para interpretar formas exteriores
que expressam uma realidade interior, incluindo as intenções do artista. Na análise
de Cibelli:
In assessing the naturalistic outer forms, the viewer is to analyze the figures in
Vermeer’s paintings for signs of their interior thoughts so that their emotions or
passions can be contrasted with ideals of the time period. The camera obscura is
paradigmatic of her technique of describing the social context and the personality
of moral dimension of the characters (588)
Cativado pelo seu jeito quieto e ingênuo, e pela sua intuição e fascínio pela arte,
Vermeer leva Griet aos poucos para seu mundo – um lugar calmo, de cores
exóticas e luz ofuscante, sombras que mudam e uma beleza inimaginável, - e em
segredo, decide torná-la sua ajudante, ensinando-a preparar a moer e misturar as
tintas para suas pinturas. Griet que antes já se demorava a olhar os quadros do
pintor, passa assim a acompanhar as suas criações desde o início:
“ I had never seen a painting made from the beginning. I thought that you painted
what you saw, using the colours you saw. He taught me” (106).
,analisa o método utilizado por Vermeer com a seguinte interpretação:
He began a painting of the baker’s daughter with a layer of pale grey on the white
canvas. Then he made reddish-brown all over it to indicate where the girl and the
table and pitcher and window and map would go. After that I thought he would
begin to paint what he saw – a girl’s face, a blue skirt, a yellow and black bodice,
a brown map, a silver pitcher and basin, a white wall. Instead he painted patches
of colour –black where her skirt would be, ochre for it sat in, another grey of the
wall, red for the pitcher and the basin none was the colour of the thing itself. He
spent a long time on these false colours, as I called them” (106).
e modifica a sua composição, quando muda à colocação de determinados objetos:
“Once it was clear to me what he should do to the scene, I waited for him to make
the change. … He did not move anything on the table. ... As I lay in bed one night
I decided I would have to make the change myself. … Then in one quick
movement I pulled the front part of the blue cloth on to the table so that it flowed
out of the dark shadows under the table and up in slant on to the table in front of
the jewellery box. I made a few adjustments to the lines of the folds, then stepped
back. It echoed the shape of van Ruijven’s wife’s arm as she rested it on the table.