Girl in Hyacinth Blue
Langue : anglais
Edité par Hodder Headline Australia, 1999
- Livre relié
- Occasion
Vendeur : World of Books (was SecondSale), Montgomery, IL, Etats-UnisWorld of Books (was SecondSale)
Vendeur AbeBooks depuis 20 décembre 2007
Etat: Occasion - Moyen
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Quantité disponible : 1 disponible
Ajouter au panierA propos de cet article
Picture this: A most extraordinary painting in which a young girl wearing a short blue smock over a rust-colored skirt sat in profile at a table by an open window. Susan Vreeland imagined just such a humble domestic scene, suggested it was created in 17th-century Holland, and attributed it to Jan Vermeer. Then she wrote a beguiling novel about this canvas, which so closely resembles the 35 extant works of the Dutch master that it might as well be one of his--long, lost, finally found, and as exquisite as ever. The artistic journey Vreeland recounts begins in present-day Pennsylvania, where a schoolteacher claims he owns an authentic Vermeer, a legacy from his late father, who acquired it under heinous circumstances: a Nazi officer, the father had looted it from the home of Dutch Jews. Moving back in time and across the Atlantic, Vreeland traces the treasured painting from owner to owner. In doing so, she demonstrates the enduring power of art in the face of natural disaster, political upheaval, and personal turmoil. Ultimately, she ends the odyssey in Delft, where the painting's haunting subject is identified and tells her own poignant story about the picture's origins. Each of the eight linked chapters has an irresistible painterly quality--finely wrought, artfully illuminated, and subtly executed. Together, they constitute a literary masterpiece, one that the New York Times Book Review praised as intelligent, searching, and unusual. filled with luminous moments; like the painting it describes so well.…
N° de réf. du vendeur 00096063803
- Titre
- Girl in Hyacinth Blue
- Auteur
- Susan Vreeland
- Éditeur
- Hodder Headline Australia
- Année de publication
- 1999
- État de l'article
- Fair
- Reliure
- Hardback
- Langue
- anglais
- ISBN à 10 chiffres
- 1878448900
- ISBN à 13 chiffres
- 9781878448903
« Synopsis » peut appartenir à une autre édition de cet ouvrage.
Extrait
It was after Dean Merrill's funeral that I began to see Cornelius's unmasked heart. We'd all felt the shock of Merrill's sudden death, a loss that thrust us into a temporary intimacy uncommon in the faculty lunchroom of our small private boys' academy, but it wasn't shock or Cornelius's head start in drinking that snowy afternoon in Penn's Den where we'd gone after the funeral that made him forsake his strategy of obscurity. Someone at the table remarked about Merrill's cryptic last words, "love enough," words that now sting me as much as any indictment of my complicity or encouragement, but they didn't then. We began talking of last words of famous people and of our dead relatives, and Cornelius dipped his head and fastened his gaze on his dark beer. I only noticed because chance had placed us next to each other at the table.
He spoke to his beer rather than to any of us. " 'An eye like a blue pearl,' was what my father said. And then he died. During a winter's first snowfall, just like this."
Cornelius had a face I'd always associated with Piero della Francesca's portrait of the Duke of Urbino. It was the shape of his nose, narrow but extremely high-bridged, providing a bench for glasses he did not wear. He seemed a man distracted by a mystery or preoccupied by an intellectual or moral dilemma so consuming that it made him feel superior, above those of us whose concerns were tires for the car or a child's flu. Whenever our talk moved toward the mundane, he became distant, as though he were mulling over something far more weighty, which made his cool smiles patronizing.
"Eye like a blue pearl? What's that mean?" I asked.
He studied my face as if measuring me against some private criteria. "I can't explain it, Richard, but I might show you."
In fact, he insisted that I come to his home that evening, which was entirely out of character. I'd never seen him insist on anything. It would call attention to himself. I think Merrill's "love enough" had somehow stirred him, or else he thought it might stir me. As I say, why he picked me I couldn't tell, unless it was simply that I was the only artist or art teacher he knew.
He took me down a hallway into a spacious study piled with books, the door curiously locked even though he lived alone. Closed off, the room was chilly so he lite a fire. "I don't usually have guests," he explained, and directed me to sit in the one easy chair, plum-coloured leather, high-backed and expensive, next to the fireplace and opposite a painting. A most extraordinary painting in which a young girl wearing a short blue smock over a rust-coloured skirt sat in profile at a table by an open window.
"My God," I said. It must have been what he'd wanted to hear, for it unleashed a string of directives, delivered at high pitch.
"Look. Look at her eye. Like a pearl. Pearls were favourite items of Vermeer. The longing in her expression. And look at that Delft light spilling onto her forehead from the window." He took out his handkerchief and, careful not to touch the painting, wiped the frame, though I saw no dust at all. "See here," he said, "the grace of her hand, idle, palm up. How he consecrated a single moment in that hand. But more than that—"
"Remarkable," I said. "Certainly done in the style of Vermeer. A beguiling imitation."
Cornelius placed his hands on the arm of the chair and leaned toward me until I felt his breath on my forehead. "It is a Vermeer," he whispered.
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