I was fascinated by that contrast, and it seemed to me that the pearl was not hers. In the painting the girl's clothes are very plain compared to other Vermeer ladies, and yet the pearl is clearly luxurious. Why did you imagine that the model who posed for the "Girl with a Pearl Earring" was a poor and illiterate young servant? I didn't want people to see her on the cover and guess what I was taking notes about. And right that she should be pasted in the inside cover-I wanted to look at her a lot and not have her get all scuffed as she would on the outside. For some strange reason it just seemed right.
But I wanted a vivid color that was not used in the painting. I know it must seem strange that the notebook was orange-you'd expect blue or yellow, the predominant colors of the girl's head-dress in the painting. Inside the front cover I pasted a copy of the painting of Girl with a Pearl Earring. Tracy Chevalier: I chose an orange one, the size of my hand, with blank pages inside-I never write on lined paper. Will you describe the notebook you chose for "Girl with a Pearl Earring"? The Essential Vermeer: In a past interview you stated that before you begin writing something new, you habitually choose with care the notebook used for your research.
Only a few meager facts of his biography have been gleaned from a handful of legal document and yet Vermeer's extraordinary renditions of domestic life, with their subtle play of light and texture, have come to define a good part of the Dutch golden age. With only 36 (37?) canvases to his credit, the Dutch painter Johannes Vermeer represents one of the great enigmas of seventeenth-century art.
Huerta John Michael Montias Susan Vreeland Randol Schoenberg Paul Taylor Jonathan Lopez Timothy Brook Louis Peter Grijp Ivan Karp Jørgen Wadum Albert Blankert Tracy Chevalier Lorenzo Renzi Ivan Gaskell Philip Steadman Robert D.
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