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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mostra insatisfeito com o efeito final do quadro, "...’This will satisfy Van Ruijven,<br />
but not me’” (202).<br />
Pela primeira vez, Griet cont<strong>em</strong>pla o seu rosto no quadro, e percebe antes que<br />
Vermeer o que falta (o ponto brilhante que ele usa <strong>em</strong> todos os seus quadros para<br />
captar a visão – neste caso, os brincos de pérola), mas mantém-se <strong>em</strong> silêncio,<br />
sabia as conseqüências do seu ato:<br />
“The painting was like none of his others. It was just of me, of my head and<br />
shoulders, <strong>with</strong> no tables or curtains, no windows or powderbrushes to soften and<br />
distract. He had painted me <strong>with</strong> my eyes wide, the light falling across my face<br />
but the left side of me in shadow. I was wearing blue and yellow and brown. The<br />
cloth wound round my head made me look not like myself, but like Griet from<br />
another town, even from another country altogether. The background was black,<br />
making me appear very much alone, although I was clearly looking at someone. I<br />
se<strong>em</strong>ed to be waiting for something I did not think would ever happen” (202-<br />
203).<br />
e t<strong>em</strong> a mesma impressão:<br />
“He was right – the painting might satisfy Van Ruijven, but something was<br />
missing from it. I knew before he did. When I saw what was needed – that point<br />
of brightnes he had used to catch the eye in other paintings – I shivered. This will<br />
be the end, I thought. I was right” (203).<br />
O ponto brilhante que faltava no quadro - como sabiam Vermeer e Griet - eram os<br />
brincos de pérola de Catharina, apesar de ter plena consciência do escândalo que<br />
isso acarretaria, pois o uso de pérolas assinala uma status social, aqui Griet,<br />
expressa o seu desejo de ser honrada, mas Vermeer se mostra inteiramente<br />
insensível às ponderações da criada. Na opinião da historiadora de <strong>Arte</strong>, Cibelli:<br />
“This contributed to Chevalier’s assertion that the painting as not about material wealth<br />
but about the character and interior thoughts and passions of the model” (588).<br />
Logo após a conversa dos dois, Griet está trocando o turbante no quarto de<br />
despejo, quando Vermeer a surpreende com os cabelos soltos: