Pearl Earring Quotes

He saw things in a way that others did not, so that a city I had lived in all my life seemed a different place, so that a woman became beautiful with the light on her face.

You're so calm and quiet, you never say. But there are things inside you. I see them sometimes, hiding in your eyes.

It's a good thing you and your pills weren't around a few hundred years ago or there never would have been a Vermeer or a Caravaggio. You'd have drugged "Girl with a Pearl Earring" and "The Taking of Christ" right the hell out of them.

Yes, well, life is a folly. If you live long enough, nothing is surprising.

I had walked along that street all my life, but had never been so aware that my back was to my home

I wanted to wear the mantle and the pearls. I wanted to know the man who painted her like that.

He spoke her name as though he held cinnamon in his mouth.

I heard voices outside our front door - a woman's, bright as polished brass, and a man's, low and dark like the wood of the table I was working on. They were the kind of voices we heard rarely in our house. I could hear rich carpets in their voices, books and pearls and fur.

It was not a house where secrets could be kept easily.

I could not think of anything but his fingers on my neck, his thumb on my lips.

I did not mind the cold so much when he was there.

He had decided to trust me.

At first I could not meet his eyes. When I did it was like sitting close to a fire that suddenly blazes up.

You know I don’t listen to market gossip,” she began, “but it is hard not to hear it when my daughter’s name is mentioned.

There followed a time when everything was dull. The things that had meant something lost importance, though they were still there, like bruises on the body that fade to hard lumps under the skin.

Pieter would be pleased with the rest of the coins, the debt now settled. I would not have cost him anything. A maid came free.

My father was often impatient during March, waiting for winter to end, the cold to ease, the sun to reappear. March was an unpredictable month, when it was never clear what might happen. Warm days raised hopes until ice and grey skies shut over the town again.

Lick your lips, Griet." I licked my lips. "Leave your mouth open." I was so surprised by this request that my mouth remained open of its own will. I blinked back tears. Virtuous women did not open their mouths in paintings.

I slowed my pace. Years of hauling water, wringing out clothes, scrubbing floors, emptying chamber pots, with no chance of beauty or color or light in my life, stretched before me like a landscape of flat land where, a long way off, the sea is visible but can never be reached.

I felt as if my parents had pushed me into the street, that a deal had been made and I was being passed into the hands of a man. At least he is a good man, I thought, even if his hands are not as clean as they could be.

I knew that he would go out to the tavern, returning with eyes like glittering spoons.

When I left the room, Maria Thins was still standing in front of the painting.

Whatever she wore The Queen regarded as not unlike a uniform. She put on pearl earrings in the same spirit that a policeman did up his silver buttons. They were part of the job.

There is a difference between Catholic and Protestant attitudes to painting," he explained as he worked, "but it is not necessarily as great as you may think. Paintings may serve a spiritual purpose for Catholics, but remember too that Protestants see God everywhere, in everything. By painting everyday things-tables and chairs, bowls and pitchers, soldiers and maids-are they not celebrating God's creation as well?

Every eighth-grade girl is rare and precious. Every eighth-grade girl is a treasure, like a priceless work of art, so you’d like to think that every eighth-grade teacher will be like a security guard in an art gallery. He’s not there to enjoy the beauty; he’s there to protect it. He’s there to enforce the rules, and Rule Number One is: DO. NOT. TOUCH. Keep your fingers, lips, and man bits off the masterpieces. It should be obvious that the Girl with a Pearl Earring deserves a chance to smile her wistful smile without some creepy guy feeling her up. Because damage to that precious work of art can be hidden, but it can never be undone.

It should be obvious that the Girl with a Pearl Earring deserves a chance to smile her wistful smile without some creepy guy feeling her up. Because damage to that precious work of art can be hidden, but it can never be undone. My

Pearls' burst out the Snork Maiden excitedly. 'Could ankle rings be made out of pearls?' 'I should think they could,' said Moomintoll. 'Ankle-rings, and nose-rings and ear-rings and engagement rings...

Yalnızca hırsızlar ve çocuklar koşar.

Sólo los ladrones y los niños corren.

It seemed to me that the baker had an honest response to the painting. Van Ruijven tried too hard when he looked at paintings, with his honeyed words and studied expressions. He was too aware of having an audience to perform for, whereas the baker merely said what he thought.

Evet,yaşam bir aldatmaca. Eğer yeteri kadar uzun yaşarsan, hiç bir şeyin şaşırtıcı olmadığını öğreniyorsun.

نپرسیدم تا چه حد برای گرفتن این اطلاعات خودش را به خطر انداخته. زیر لب گفتم، « متشکرم پیتر. » برای نخستین بار بود که نامش را بر زبان آورده بودم. به چشمانش نگریستم و مهربانی را در آن ها دیدم. در عین حال چیزی را تشخیص دادم که از آن وحشت داشتم – توقع.

Paintings may serve a spiritual purpose for Catholics, but remember too that Protestants see God everywhere, in everything. By painting everyday things—tables and chairs, bowls and pitchers, soldiers and maids—are they not celebrating God’s creation as well?” I

I was always ashamed afterwards that I had turned my back on my own sister.

I had not thought I would learn something from a maid,” he said at last.

You have ruined me, I thought. I licked my lips again

But you – no, there’s all manner of things you think but don’t say. I wonder what they are?

And anyway, who defines “real life”? Who says “real life” is property ladders and hideous pearl earrings? “Shit-boring tedious life,” more like.

Años de acarrear el agua, retorcer la colada, fregar los suelos, vaciar los orinales, sin que la belleza o el color o la luz entraran en mi vida, se extendían ante mí como una paisaje llano en el que se divisa el mar a lo lejos, pero nunca puedes alcanzarlo. Si no podía trabajar fabricando los colores, si no podía estar cerca de él, no sabía cómo iba a poder seguir trabajando en aquella casa.

We’re off, Truda,” called Mama. “If you bring the children along after the interval it will be time enough.” She stood for a moment in the doorway, cool and detached, and she was dragging long white gloves onto her hands. Her smooth dark hair was parted in the middle, as always, with a low knot in the nape of her neck. To-night she wore the collar of pearls round her neck, because of the party afterwards, and pearl earrings

I was chopping vegetables in the kitchen when I heard voices outside our front door – a woman’s, bright as polished brass, and a man’s, low and dark like the wood of the table I was working on. They were the kind of voices we heard rarely in our house. I could hear rich carpets in their voices, books and pearls and fur.

There is a difference between Catholic and Protestant attitudes to painting,’ he explained as he worked, ‘but it is not necessarily as great as you may think. Paintings may serve a spiritual purpose for Catholics, but remember too that Protestants see God everywhere, in everything. By painting everyday things – tables and chairs, bowls and pitchers, soldiers and maids – are they not celebrating God’s creation as well?

I liked sleeping in the attic. There was no Crucifixion scene hanging at the foot of the bed to trouble me. There were no paintings at all, but the clean scent of linseed oil and the musk of the earth pigments. I liked my view of the New Church, and the quiet. No one came up except him. The girls did not visit me as they sometimes had in the cellar, or secretly search through my things. i felt alone there, perched high above the noisy household, able to see it from a distance.

I leaned agains the warm brick wall and gazed up. It was a bright, cloudless day, the sky a mocking blue. It was the kind of day when children ran up and down the streets and shouted, when couples walked out through the town gates, past the windmills and along the canals, when old women sat in the sun and closed their eyes. My father was probably sitting on the bench in front of the house, his face turned towards the warmth. Tomorrow night might be bitterly cold, but today it was spring.

Roe sinks his head into his hands, pushing his hair back off his face to reveal two pearl earrings. “What am I going to do?” “You can come to my house. Pat has clothes you can borrow before going home.” “No, I mean, what am I going to do?” he says, his voice breaking. He gestures to himself in his ripped red velvet. “How am I supposed to live?

Я хотіла знати, хоча доки не знала, могла сподіватися.

As I turned to go I caught the glance that passed between father and son. Even then I knew somehow what it meant, and what it would mean for me.

I had not yet been down to the cellar where I was to sleep. I took a candle with me but was too tired to look around beyond finding a bed, pillow and blanket. Leaving the trap door of the cellar open so that cool, fresh air could reach me, I took off my shoes, cap, apron and dress, prayed briefly, and lay down. I was about to blow out the candle when I noticed the painting hanging at the foot of my bed. I sat up, wide awake now. It was another picture of Christ on the Cross, smaller than the one upstairs but even more disturbing. Christ had thrown his head back in pain, and Mary Magdalene’s eyes were rolling. I Iay back gingerly, unable to take my eyes off it. I could not imagine sleeping in the room with the painting. I wanted to take it down but did not dare. Finally I blew out the candle—I could not afford to waste candles on my first day in the new house. I lay back again, my eyes fixed to the place where I knew the painting hung. I slept badly that night, tired as I was. I woke often and looked for the painting. Though I could see nothing on the wall, every detail was fixed in my mind. Finally, when it was beginning to grow light, the painting appeared again and I was sure the Virgin Mary was looking down at me.

He's often wished that he could capture the full essence of each woman's laugh on canvas, but he settles instead, on watching how, when a woman chuckles, her head moves slightly to the left or right so that the light grazes it at a new angle and creates a new pattern of highlight and shadow. It's this subtle shifting that he finds astounding - how everything and nothing can be written on a face through its lines, through the way skin around the eyes crinkle or how the shifting of a mouth belies joy or sarcasm or simple placation. He wonders what Vermeer might have said to that girl with the pearl earring, what words could have stirred in her that wanton expression, because even amateurs understand that faces allow an entry point and that negative space is the key to any good painting: what isn't included is sometimes more important than what is.

The favourites of James I wore ear-rings of emeralds set in gold filigrane. Edward II gave to Piers Gaveston a suit of red-gold armour studded with jacinths, a collar of gold roses set with turquoise-stones, and a skull-cap parsemé with pearls. Henry II. wore jewelled gloves reaching to the elbow, and had a hawk-glove sewn with twelve rubies and fifty-two great orients. The ducal hat of Charles the Rash, the last Duke of Burgundy of his race, was hung with pear-shaped pearls and studded with sapphires.

None were particularly interesting, although I got a kick out of a note from the Philadelphia Zoo suggesting that since the tiger was not entirely reliable around humans, perhaps Mr. Willing would consider a leopard for his painting instead. It had been a pet until the demise (natural) of its owner and would, if not firmly admonished, climb into a person's lap, purring, and drool copiously. I pulled a sheet of scrap paper (the Stars spent a lot of time sending all-school e-mails about recycling) out of my bag and made a note on the blank side: "Leopard in The Lady in DeNile?" It wasn't my favorite, Cleopatra Awaiting the Return of Anthony. It was a little OTT, loaded with gold and snake imagery and, of course, the leopard. Diana hadn't liked the painting,either, apparently; she was the one who'd given it the Lady in DeNile nickname.I wondered if the leopard had drooled on her. None of the papers were personal, but they were Edward's and some were special, if you knew about his life. There was a bill from the Hotel Ritz in Paris in April 1890, and one from Cartier two months later for a pair of Tahitian pearl drop earrings. Diana was wearing them in my favorite photograph of the two of them: happy and visibly tanned, even in black and white, holding lobsters on a beach in Maine. "I insisted we let them go," Diana wrote in a letter to her niece. "Edward had a snit.He wanted a lobster dinner, but I could not countenance eating a fellow model.

Why was under the bed the cavern of no return? Didn’t Lace miss her earrings, her left shoe, her prayer books, her sheets of music, her four nightdresses, her pearl tiara, her bathing brush?

I remember watching my mother emerge from her bedroom on a night when she and my father were going out, all dressed up in heels and hose, a skirt or dress that cinched her waist, her pearl choker like a ring around the moon. I’d watch her from my perch in the kitchen, walking trancelike as she fastened the back of an earring. I’d like to be small again, just for a little while, and feel close to her. I never really appreciated my mother. I never appreciated myself.

As an example of how celebrated the painting is, novelist Tracy Chevalier published a historical novel, also entitled Girl with a Pearl Earring, in 1999, which encouraged new interest in Vermeer and his works. The novel was later adapted for film and as a successful play.

Head of a Young Woman This portrait was completed by 1667 and is now housed in the Metropolitan Museum of Art, New York. Because of its almost identical size and its proximity in tone and composition, it is often considered to be either a variant or counterpart to the famous Girl with a Pearl Earring. The subjects of both paintings wear pearl earrings, have scarves draped over their shoulders, and are shown in front of a plain black background. In addition, it is likely that the creation of both works involved the use of a camera obscura.

The sitter is depicted as having a homely face, a wide-spaced and flat face, small nose and thin lips. This apparent lack of idealised beauty has led to a general belief that this work was painted on commission, although it is possible that the model was the artist’s daughter. The picture encourages the viewer to be curious about the young woman’s thoughts, feelings, or character, something typical in many of Vermeer’s paintings. Girl with a Pearl Earring and this painting are unusual for Vermeer in that they lack his usual rich background. Instead the girls are framed by a background of deep black, producing an isolating effect and heightening the girls’ appearance of vulnerability.

Her jewelry—necklace, earrings, even a matching bracelet—consisted of driftglass, seed pearls, and verdigris-tinted copper wire.

anyway, who defines “real life”? Who says “real life” is property ladders and hideous pearl earrings? “Shit-boring tedious life,” more like.

What were you,” Nesta breathed, coming around Cassian to stand at his side. Amren toyed with one of her black pearl earrings. “A messenger—and soldier-assassin. For a wrathful god who ruled a young world.

Pearl earrings stood in stark contrast to the twisted iron torc that rode her throat, matte black roundelles flanking the notch of her collar bone.

There was something creepy about the femininity at Laurinda, something so cloistered and yet brimming with stifled sex that it reminded me of the Victorian whalebone corsets we once saw at the Werribee Park Mansion, which kept everything cramped tight, until the stitches unravelled and out poured mounds of naked pink and white. It was the femininity of tiny éclairs and teacups, crocheted collars and little pearl earrings, the young-girl-to-old-woman transition that skipped sexuality altogether, so that when you saw it - in Gina, for instance - it was as garish as a scarlet A on the chest.

What were you,” Nesta breathed, coming around Cassian to stand at his side. Amren toyed with one of her black pearl earrings. “A messenger—and soldier-assassin. For a wrathful god who ruled a young world.” I could feel the questions of the others brewing. Rhys’s eyes were near-glowing with them. “Was Amren your name?” Nesta asked. “No.” The smoke swirled in her eyes. “I do not remember the name I was given. I used Amren because—it’s a long story.

Amren toyed with one of her black pearl earrings. “A messenger—and soldier-assassin. For a wrathful god who ruled a young world.

There is some comfort for me in knowing that life will go on even when we don’t. But I would argue that when our light goes out, it will be Earth’s greatest tragedy, because while I know humans are prone to grandiosity, I also think we are by far the most interesting thing that ever happened on Earth. It’s easy to forget how wondrous humans are, how strange and lovely. Through photography and art, each of us has seen things we’ll never see—the surface of Mars, the bioluminescent fish of the deep ocean, a seventeenth-century girl with a pearl earring. Through empathy, we’ve felt things we might never have otherwise felt. Through the rich world of imagination, we’ve seen apocalypses large and small. We’re the only part of the known universe that knows it’s in a universe. We know we are circling a star that will one day engulf us. We’re the only species that knows it has a temporal range.

Scent Rolling in Eau de Sex I like to roll around in the skin of my unwashed conquest, not to share her scent with the pack of wolves I hang with at the bar, but for my own olfactory rapture. There's a captivating perfume in this blend of sweat, body secretions and seduction. I resist the habit of showering or using deodorant. I head straight back to the bar, ripe, camouflaged in her splash of eau de sex, and draw closer to my next prey, wearing the pearl earrings, a too tight skirt, and the scent of Chanel.

Research from Denis Dutton, Brian Boyd, V.S. Ramachandran, William Hirstein and E.O. Wilson, among many others, is clear on the subject: we are enticed by forms, shapes, rhythms and movements that are useful to our existence. We find Vermeer’s “The Girl with the Pearl Earring,” beautiful, for example, because her face is symmetrical, a clue to her strong immune system2. As the neuroscientist Eric Kandel suggests in The Age of Insight, we are fascinated by Gustav Klimt’s Judith because “at a base level, the aesthetics of the image’s luminous gold surface, the soft rendering of the body, and the overall harmonious combination of colors could activate the pleasure circuits, triggering the release of dopamine. If Judith’s smooth skin and exposed breast trigger the release of endorphins, oxytocin, and vasopressin, one might feel sexual excitement.

I examined the art deco earrings, pearl drops dangling from a rose gold setting. The hair receiver was pretty, too, though I couldn’t imagine what it was for or what Jannalynn would do with it. Did anyone need to receive hair anymore? “She’ll wear the earrings to show them off,” I said. “It’s harder to brag about getting a hair receiver.” Brenda gave me a veiled look, and I understood from her thoughts that this opinion branded me as a philistine.

For two centuries after his death, Vermeer disappeared into obscurity. When he came back, he came roaring back. In 1881, for instance, a little-known Dutch collector named A. A. Des Tombe had picked up a Vermeer picture at an auction for 2.3 florins, roughly $ 200 in today’s dollars. The painting had suffered from grime and rough handling. It had not been deemed worthy of mention in the auction catalog, and its name, if it had ever had one, had been lost. Today we know it as The Girl with a Pearl Earring.

he painted A View of Delft, The Girl with a Pearl Earring, The Milkmaid, and some thirty more. The work met a respectful welcome, but no one was bowled over. Certainly no one spoke of Vermeer as a genius. But his work commanded high fees, and it continued to do so in the years shortly after his death, in 1675. At an Amsterdam auction in 1696, for example, twenty-one Vermeers sold at an average price of 72 guilders apiece. The Lacemaker, now at the Louvre, brought only 28 guilders, but the Milkmaid brought 175 guilders, and A View of Delft the highest price of all, 200 guilders.

I try to cast off the Brechtian mechanism that comes naturally to me, of thinking about the hands and feet of history. In other words, to think more about the constantly empty plates that led to the storming of the Bastille than about the proclamations of Girondists and Jacobins. I can't stop thinking about it. It's a bad habit. Like someone in front of a Vermeer painting who, instead of contemplating the portrait, thinks about who mixed the colors, stretched the canvas, and made the pearl earrings.

Gill had sent matching earrings for all the princes to wear: each one a heavy gold ring with a pearl hanging from it.

Anne Lamott, in her wonderful book Bird by Bird (one of the few books about writing that I recommend every chance I get) tells about a writing exercise she gave her students. I haven’t read it in a while, but here’s how I remember it. They were to choose an old family photo, put a one-inch picture frame over part of it, and then write about only what’s in that little square. Don’t write about Uncle Clarence if he’s not in there. Maybe write about his shoulder there in the corner, but focus on the blurry painting on the wall in the background, or Aunt Gertrude’s pearl earring. Lamott’s point is that you can fill pages and pages with what’s in that tiny space. One thought leads to another, leads to another, leads to another, and when that string runs out you can return to the one-inch frame and find another telling element to get you running.

It was about a year, the ball turned his neck, once, once more again, again.

WHY IS TODAY SPECIAL IN HINDUISM? Today is the day (as per Hindu calendar) that Abhirami Bhattar prayed to Parashakti and manifest Amavasya (new moon day) as full moon day (Poornima) Subramaniya Iyer, who was then known as Abhirami Bhattar, was an ardent devotee of Devi Parashakti from the village that was famous for its Shiva temple, called Amritaghateswarar-Abirami Temple, Thirukkadaiyur. Once when the Maratha rule, king Serfoji I visited the Thirukkadavur temple on the day of the new moon (Amavasya). On noticing the peculiar behaviour of Subramaniya Iyer who was a temple priest, he inquired the other priests about the individual. One of them remarked that he was a madman while another rejected this categorization explaining to the king that Subramaniya Iyer was only an ardent devotee of Goddess Abhirami. Seeking to know the truth himself, Serfoji approached the priest and asked him what day of the month it was. Whether it was a full-moon day(Poornima) or a new-moon day(Amavasy). At that moment, Subramaniya Iyer was doing the Tithi Nithya Aaradhana in the SriChakra Navaavarana krama and was worshipping the Devi as Poornima Tithi. Subramaniya Iyer who could see nothing else but the shining luminant form of the Goddess before him answered that it was a full-moon day (Poornima) while it was in fact a new-moon day(Amavasya). The king rode off informing the former that he would have his head cut off if the moon did not appear on the sky in the night. A huge fire was lit and Subramaniya Iyer was erected on a platform supported by a hundred ropes. He sat upon the platform and prayed to the Goddess Abhirami to save him. The ropes were cut off, one after another in succession on completion of each verse of his prayer. These hymns form the Abhirami Anthadhi. On completion of the 79th hymn, the Goddess Abhirami manifested herself before him and threw her earring over the sky such that it shone with bright light upon the horizon. The area around the temple sparkled with bright light. Overcome with ecstasy, Subramaniya Iyer composed 21 more verses in praise of the Goddess. The king repented his mistake and immediately cancelled the punishment he had given to Subramaniya Iyer. He also bestowed upon the latter the title of Abirami Pattar or "priest of Goddess Abhirami". There are a hundred stanzas plus a காப்பு (Kāppu, protection) verse for lord Ganesha and a final பயன் (Payaṉ, outcome), thus a total of 102 stanzas that are included in Abhirami Anthadhi. The author praises Abhirami as his own mother, regrets his mistakes, speaks of the divine play of mother and father Paramashiva, and her simplicity & mercy. It is believed that recitation of each stanza will result in the specific achievement of the devotees. Here is one of the famous stanzas of Abhirami Anthadhi: " மணியே, மணியின் ஒளியே, ஒளிரும் அணி புனைந்த அணியே, அணியும் அணிக்கு அழகே, அணுகாதவர்க்குப் பிணியே, பிணிக்கு மருந்தே, அமரர் பெரு விருந்தே. பணியேன், ஒருவரை நின் பத்ம பாதம் பணிந்தபின்னே." - செய்யுள் 24 " Maṇiyē, maṇiyiṉ oḷiyē, oḷirum aṇi puṉainta aṇiyē, aṇiyum aṇikku aḻakē, aṇukātavarkkup piṇiyē, piṇikku maruntē, amarar peru viruntē.- Paṇiyēṉ, oruvarai niṉ patma pātam paṇintapiṉṉē." - stanza 24 Pearl like you are, You who are the reddish aura of the pearl! You are like the pearl studded chain who adds beauty to the chain, You are pain to those who do not fall at your feet while the panacea for pains of those who fall at your feet, the nectar of Gods, After worshipping at thine lotus feet, Will I bow before any other, Now and now after. The beauty of Abhirami Anthathi: காப்பு starts as ″தார் அமர் கொன்றையும்...″ and பயன் ends as ″... தீங்கு இல்லையே″ (தாயே)

over the brick, is now home to some of the most famous paintings in the world, including Vermeer’s Girl with a Pearl Earring and Carel Fabritius’s The Goldfinch, which are coincidentally displayed in the same tiny room.

I will paint you as I first saw you, Griet. Just you.