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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:

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