Religion - The Girl with a Pearl Earring
In the passage above, Vermeer explains to Griet that Catholics and As I stepped into Market Square, leaving Papists' Corner behind, I breathed in deeply. Griet's ever-changing relationship with Papists' Corner demonstrates her wavering. Griet is getting a final look at the painting that Vermeer had just finished of However, the ending part of it was mainly about Griet's relationship with Griet hears from the meat market gossip that there was a previous house. Girl with a Pearl Earring is a historical novel written by Tracy Chevalier. Set in 17th Pieter, the son of the family butcher at the meat market, starts courting Griet. Griet and Vermeer are therefore reluctant to fulfil this request and eventually Rather than writing a story of Vermeer having an illicit relationship with the.
She has no privacy—Vermeer's wife Catharina is vicious and unrelenting; the other maid is resentful; Maria Thins is always watching her; and Vermeer lurks in his studio, refusing to engage with the rest of the household.
At the same time her relationship with her home is changing—she is torn between two lives. He realises she sees physical things the way he does, and gradually allows her to become involved in his work. He is a tradesman, goes to Church every Sunday and offers an enticingly simple way of life that is familiar to her. He offers a mutual courtship that she could so easily slip into, if she had not met Vermeer.
With the painter she tastes a kind of passion that is beyond her comprehension, and casts a shadow on her previous life. She says, "The raw emotion of a girl who is in love and not able to express it is universal, because very often you can't have what you love.
Paterson explains that "although this is Peter's feature film debut, we had already worked with him for several years, first as an editor he edited Anand Tucker's first drama Saint-Ex and then as a documentary director—covering a diverse range of subjects from Crash Test Dummies to Wagner. Peter, Olivia and I all started out in the cutting room and we share a fascination with the nature of story-telling on film.
He says, 'Vermeer lived in a household full of noise and chaos. He was under huge financial pressure to paint more and faster, to feed his family.
Girl with a Pearl Earring (film) - Wikipedia
Yet his paintings achieve such tranquility. I was thrilled by how Tracy's story reflected his work, how the intimate, the understated, somehow becomes epic.
Griet's predicament is heartbreaking. The repressed romantic obsession that builds between Griet and Vermeer inspires him to paint her—but the perfection of that painting will lead to her downfall. She knows he will be ruthless, understands that their relationship must be sacrificed if the choice is between her and a truly great work.
That understanding is, after all, what drew him to her in the first place. The legacy of her time with Vermeer is one of the greatest pictures ever painted. Design and Cinematography "The scene is a familiar room, nearly always the same, its unseen door is closed to the restless movement of the household, the window open to the light. Here a domestic world is refined to purity. Griet should always feel watched.
We took the decision to introduce a gritty reality, particularly to the exterior scenes—filling the streets with livestock and mud. Griet's family home is a monochrome ordered Calvinistic abode in the poorer quarter; the Vermeer family lives in lurid Catholic chaos with lots of paintings on the walls Vermeer was also a dealer who sold the work of others and the vivid colors of popery; his rich patron Van Ruijven's world is opulent, with curiosities from around the world.
This is where the real power lies.
It looked out onto a canal which must have been very smelly. The main square with its taverns and markets was just half a block away. Yet Vermeer created; paintings which seem to define tranquility and perfection. So we were determined that the studio, the room that contained that familiar, almost holy corner represented in so many of the great paintings, should be the magical space. Up there is Vermeer's private world—a world which he gradually allows Griet to share because she alone understands why it is special.
Ben built gorgeous sets, but he is also a great set dresser, making the world believable, lived in and totally convincing.
He nodded that he hadn't forgotten. And when I saw what he did in the studio, it was breathtaking. He took it to another level altogether. Catharina's costumes are exquisite and showy because that's who she is, but even she has to wear the same dress on a number of occasions to reflect the financial burdens of the family.
Girl With A Pearl Earring
Dien's triumph was to create costumes that subconsciously help in the telling of the story. It was one of our most important tools on this film because it strongly relates to the way Dutch painters used frames within frames in their work. It also enabled us to show light coming through a window and falling off, rather than reaching the opposite wall. I could go in the direction of rich color without violence. Our story deals with Vermeer and daylight, not La Tour and candlelight.
The important things in the scene are the relationships among the characters, so I was rather traditional in my approach. I wanted to make it believable, not distracting. For a scene that shows Griet making an eerie, candlelit trek through the house in the middle of the night, Serra again avoided realistic lighting. But thanks to clues in many of his canvases, a great deal more is known about his studio.
Girl With A Pearl Earring
Many areas of the house are quite dark, but the studio is light. Ben van Os built quite an accurate reproduction of it. I respect logical, natural sources, not because classic painters did, but because I like it.
My ideal is one soft source. I like what soft light does on faces, and I also like the contrast soft light gives to the image. So I just organized the light coming through the windows, allowed it to fall naturally, and then took advantage of it. But the basis lighting setup outside the windows remained the same. The artist is first shown in shadow, but then Griet spots him watching her from the darkness of his studio and gradually brings him into the light.
Letting the light drop off from the windows in that big room made the rest of the house feel heavy with deep shadows. The secret to their success lay in the angle of attack. Webber is a passionate admirer of Stanley Kubrick's 18th-century epic, "Barry Lyndon. My film was about the intimate relationships within a single household. So the film is, in a sense, an intimate epic.
He was much more interested in story and character. How are we going to create this mood? Ben said, 'We'll take this from this period and this from that period.
I really don't care if I'm going to get a letter from some expert in Dutch architecture saying, 'That roof design wasn't used until 17 years after your movie takes place. The Vermeer house presented the biggest challenge. Van Os constructed the three-story set on one of the largest soundstages in Luxembourg. We wanted Griet to always feel watched because the film is about being observed, either by Vermeer as he paints her, or by the other family members with their various agendas.
JP Tiernan "There is a difference between Catholic and Protestant attitudes toward painting," he explained as he worked, "but it is not necessarily as great as you think. Paintings may serve a spiritual purpose for Catholics, but remember too that Protestants see God everywhere, in everything. By painting everyday things. By painting everyday things — tables and chairs, bowls and pitchers, soldiers and maids — are they not celebrating God's creation as well?
Catholics and Protestants are pushed into two separate worlds, as are the people of different social classes. The events, practices, or objects found in the Vermeer household that are unfamiliar or strange to Griet are all categorized as Catholic.
This could be due to the fact that Vermeer was not born a Catholic. The strict and restrictive distinctions between people of different social class or religious denominations are a reoccurring theme in the novel. A strange view for a Catholic family, I thought. A church they will never even go inside. Also, mostly Protestants were among the wealthier groups. On the other hand, Catholics weren't treated in high regards. This passage gives the audience some subtle religious context at the time without going into too much detail.
The tone of the Griet's voice almost seems as if Vermeer's family should be distancing themselves from the Protestants. The quote "A church they will never even go inside" gives us an insight that during the Dutch Golden Age the citizens of the Dutch Republic weren't united under one religion.
The word "strange" is used quite often in the text when Griet's experiences something new or out of the ordinary. The audience almost gets the sense that she is instinctively repulsed when the word "strange" is used instead of being curious. The usage of the word suggest that ideas relating to Catholicism weren't prevalent during the time period.
The quote "From the front of the house the New Church tower was visible just across the canal.
During this time, religion wasn't the only fact in your social status. Wealth could defend itself and hold grounds. This passage suggests that Vermeer would have been still respected within the Dutch community despite his faith in Catholicism.
I had not realized that I had been holding myself in tight all the time I was with the family.