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17.06.2017 10:31 -
ÏÐÅÕÎÄ ÊÚÌ ÁÅÇÑÌÚÐÒÈÅ!!
ÇÀ ÂÑÈ×ÊÈÒÅ ÒÈ ÐÀÇßÑÍÅÍÈß ÑÚÌ ÒÈ ÁÅÇÊÐÀÉÍÎ ÁËÀÃÎÄÀÐÅÍ. ÍÎ ÒÚËÊÓÂÀÍÈßÒÀ ÏÐÅÄÈÇÂÈÊÂÀÒ ÌÀÑÀ ÄÎÏÚËÍÈÒÅËÍÈ ÂÚÏÐÎÑÈ È ÑÚÎÒÂÅÒÍÎ - ÍÎÂÈ ÒÚËÊÓÂÀÍÈß. ÒÎÂÀ Å ÑÈÃÓÐÅÍ ÁÅËÅà ÇÀ ÍÅÏÐÅÕÎÄÍÀ ÇÍÀ×ÈÌÎÑÒ. È ÒÎÂÀ ÌÎÌÈ×Å Ñ ÏÅÐËÀÒÀ ÎÏÐÅÄÅËÅÍÎ ÑÏÀÄÀ ÊÚÌ ÒÀÇÈ ÊÀÒÅÃÎÐÈß.
1. ÂßÐÍÎ ÑÈ ÄÎËÎÂÈË, ×Å ÔÎÍÚÒ, À ÀÇ ÁÈÕ ÄÎÁÀÂÈË È ÌÀÑÈÂÍÀÒÀ, ÈÇÄÀÄÅÍÀÒÀ  ÊÐÀÈÙÀÒÀ ÑÈ ÐÀÌÊÀ ÈÃÐÀÅ ÐÎËß ÍÅ ÏÎ-ÌÀËÊÀ ÎÒ ÑÀÌÎÒÎ ÈÇÎÁÐÀÆÅÍÈÅ. ÑÀÌÎ ÐÎËß! ÍÅ È ÌÀÉÑÒÎÐÑÒÂÎ, ÊÎÅÒÎ Â ÈÇÎÁÐÀÆÅÍÈÅÒÎ Å ÍÅÑÐÀÂÍÈÌÎ ÏÎÂÅ×Å.
ÍÎ ÙÎ ÇÀ ÐÎËß? ÇÀ ÒÅÁ ÍÅ ÇÍÀÌ, ÍÎ ÇÀ ÌÅÍ Å ßÑÍÎ: ÒÎÂÀ Å ÎÊÓËÒÍÀÒÀ, ÍÅÈÇÐÀÇÅÍÀ, ÍÎ ÏÎÄÐÀÇÁÈÐÀÙÀ ÑÅ ×ÀÑÒ ÍÀ ÖßËÎÑÒÍÀÒÀ ÊÀÐÒÈÍÀ.ÄÀ ÐÅ×ÅÌ, ÏÅÉÇÀÆÚÒ. ÑÈÃÓÐÍÎ ÃÎ ÈÌÀ, ÍÎ ÏÐÅÇ ÏÐÎÇÎÐÅÖ, ÊÎÍÂÅÍÖÈÎÍÀËÅÍ, ÎÁÈ×ÀÅÍ ÃÐÀÄÑÊÈ ÏÅÉÇÀÆ; ÈËÈ ÈÍÒÅÐÈÎÐ. ÄÀ ÊÀÆÅÌ ÍßÊÀÊÂÀ ÑÒÀß,  ÊÎßÒÎ ÌÎÌÈ×ÅÒÎ Å ÃËÀÂÍÀÒÀ ÇÀÁÅËÅÆÈÒÅËÍÎÑÒ È ÌÀÒÅÐÈÀËÍÈÒÅ ÏÐÅÄÌÅÒÈ ÑÀÌÎ ÁÈÕÀ ÎÒÊËÎÍÈËÈ ÂÍÈÌÀÍÈÅÒÎ ÎÒ ÒÎÂÀ.
ÂÒÎÐÎ, ÑÀÌÎÒÎ ÌÎÌÈ×Å:ÍÀÈÂÍÎ, ÍÅÂÈÍÍÎ ÍÅÏÎÑÐÅÄÑÒÂÅÍÎ È ÏÐ. ÑÈ Å ÍÈÌÔÅÒÊÀ  ÍÀÁÎÊÎÂÑÊÈß ÑÌÈÑÚË ÍÀ ÄÓÌÀÒÀ. È ËÎËÈÒÀ ÄÎ ÑÐÅÄÀÒÀ ÍÀ ÐÎÌÀÍÀ Å ÒÚÊÌÎ ÒÀÊÎÂÀ ÌÎÌÈ×Å, ÅÑÒÅÑÒÂÅÍÎ Ñ ÀÊÑÅÑÎÀÐÀ ÍÀ ÍÎÂÎÒÎ ÂÐÅÌÅ. ÁÀÍÑÊÈ ÃÀÙÈ È ÑÓÒÈÅÍ ÏÐÈÌÅÐÍÎ. ÐÀÇËÈÊÀÒÀ Å ÒÀÌ, ÌÅ ÌÎÌÈ×ÅÒÎ ÍÀ ÂÅÐÌÅÅÐ ÑÈ Å ÎÑÒÀÍÀËÎ ÍÈÌÔÅÒÊÀ È ÐÀÇÖÚÔÍÀËÎ ÊÀÒÎ ÍÈÌÔÅÒÊÀ; À ËÎËÈÒÀ, ÑÒÀÍÀËÀ ÏÅÏÅÐÓÄÀ, ÏÎÂßÕÂÀ È ÍÅ ÑËÅÄ ÌÍÎÃÎ ÏÐÎÄÚËÆÈÒÅËÍÎ "ÐÎÌÀÍÍÎ" ÂÐÅÌÅ ÇÀÃÈÂÀ. ÒÎÂÀ ÏÐÀÂÈ ÌÎÌÈ×ÅÒÎ Ñ ÏÅÐËÀÒÀ ÇÍÀ×ÈÌÎ ÇÀ ÀÂÒÎÐÀ, À ÎÒ ÍÅÃÎ È ÇÀ ÇÐÈÒÅËß, ÒÚÊÌÎ ÇÀÙÎÒÎ Å ÓÄÚÐÆÀÍÎ Â ÑÒÀÄÈß ÍÀ ÍÅÂÈÍÍÎÑÒÒÀ È ×ÈÑÒÎÒÀÒÀ. È ÎÒÒÀÌ ÒÎÂÀ ÂÅ×ÍÎ ÑÂÅÆÎ ÂÚÇÏÐÈßÒÈÅ È ÂÚÇÄÅÉÑÒÂÈÅ. ÇÀÑÈËÅÍÎ ÎÒ ÏÎÑÒÀÂÅÍÈ ÇÀÄ ÑÊÎÁÈ: ÏÅÉÇÀÆ, ÈÍÒÅÐÈÎÐ, ÑÎÖÈÀËÍÀ ÉÅÐÀÐÕÈß È ÏÐ. ÒÎ Å ÌÎÌÈ×ÅÒÎ ÑÀÌÎ ÏÎ ÑÅÁÅ ÑÈ. ÏÐÈ ÒÎÂÀ  ÏÐÎÔÈË, Ò.Å. Ñ ÏÐÎÏÓÑÍÀÒÀ ËÈÖÅÂÀ ×ÀÑÒ, ÊÎßÒÎ ÌÎÆÅ ÄÀ ÍÀÌÀËÈ ÅÔÅÊÒÀ ÍÀ ÇÀÌÈÑÚËÀ.
ÑÒÐÓÂÀ ÌÈ ÑÅ, ÎÙÅ ÒÓÊ ÑÅ ÑÚÄÚÐÆÀ ÍßÊÀÊÚ ÑÎÖÈÀËÅÍ ÏÐÎÒÅÑÒ:ÍÀ ÂÑÈ×ÊÈ ÂÀÑ, ÑÎÖÈÀËÍÎ ÎÁÐÅÌÅÍÅÍÈ, ÑÅ ÏÐÅÄËÀÃÀ ÅÄÍÎ ×ÎÂÅØÊÎ ÑÚÙÅÑÒÂÎ ÁÅÇ ÂÀØÀÒÀ ÑÎÖÈÀËÍÀ ÎÁÐÅÌÅÍÅÍÎÑÒ. È ÒÎ ÖÚÂÒÈ Ñ ÄÅÒÑÊÀÒÀ ÑÈ, "ÍÈÌÔÅÒÑÊÀ" ×ÈÑÒÎÒÀ.
ÒÐÅÒÎ, ÍÀ ÂÑÅÊÈ ÄÎÊÎÑÍÀË ÑÅ ÄÎ ÊÀÐÒÈÍÀÒÀ ÏÐÀÂÈ ÂÏÅ×ÀÒËÅÍÈÅ: ÑÀÌÀÒÀ ÏÅÐËÀ. ÊÚÌ ÑÚÎÁÐÀÆÅÍÈßÒÀ ÒÈ ÎÒ ÒÅÕÍÈ×ÅÑÊÈ ÕÀÐÀÊÒÅÐ /ÌÅÒÐÈÊÀ È ÏÐ./ ÙÅ ÏÐÈÁÀÂß È ÃÎËÅÌÈÍÀÒÀ ÍÀ ÏÅÐËÀÒÀ - ÄÎÑÒÀ ÎÁÅÌÍÀ Ñ ÎÃËÅÄ ÐÀÇÌÅÐÈÒÅ ÍÀ ÊÀÐÈÍÀÒÀ, ÍÅÉÍÈßÒ ÇÀÃÀÄÚ×ÅÍ ÁËßÑÚÊ, ÏÎÄÎÁÅÍ ÍÀ ÁËßÑÚÊÀ ÍÀ ÎÊÎ, ÍÅÉÍÀÒÀ ËÚÕÀÙÀ ÍÀ ×ÈÑÒÎÒÀ È ÀÐÎÌÀÒ ÎÒÏÎËÈÐÀÍÎÑÒ. È Â ÁËÈÇÎÑÒ ÄÎ ÁßËÀÒÀ ßÊÈ×ÊÀ, ÏÎ×ÒÈ ÈÂÈÖÀ, ÎÒ ÊÎßÒÎ ÏÎËÓ×ÀÂÀ ÑÒÀÁÈËÍÎÑÒ È ÐÀÂÍÎÂÅÑÈÅ ÏÎ ÏÎÄÎÁÈÅ ÍÀ ÌÎÌÈ×ÅÒÎ - ÏÎËÓ×ÀÂÀÙÎ ÔÈÊÑÀÖÈß ÍÀ ÎÁÐÀÇÀ ÎÒ ÔÎÍÀ È ÐÀÌÊÀÒÀ. È ÂÑÈ×ÊÎ ÒÎÂÀ ÍÅ Å ÍÀÊÈÒ ÇÀ ÑÀÌÈß ÍÀÊÈÒ. ÒÎÂÀ Å ÑÎÖÈÀËÍÀ ÌÀÐÊÈÐÎÂÊÀ. ÌÎÌÈ×Å ÎÒ ÍÈÑÚÊ ÑËÎÉ, ÂÅÐÎßÒÍÎ ÑÅËßÍ×Å, ÍÎ Ñ ÏÅÐÑÏÅÊÒÈÂÀ ÄÀ ÑÒÀÍÅ ÃÎÑÏÎÆÀ. ÍÅ ÊÀÒÎ ÍÀÁÎÊÎÂÑÊÀÒÀ ËÎËÈÒÀ ÄÀ ÇÀÃÈÍÅ ÊÀÒÎ ÏÅÏÅÐÓÄÀ.
×ÅÒÂÚÐÒÎ. ÑÏÓÑÊÀÙÈÒÅ ÑÅ ÍÀÄÎËÓ ÏÎ ÂÅÐÒÈÊÀË ÊÎÑÀ, ÒÞÐÁÀÍ, ÎÁËÅÊËÎ ÈÇÄÈÃÀÒ ÏÎ ÑÚÙÈß ÒÎÇÈ ÂÅÐÒÈÊÀË ËÈÖÅÂÀÒÀ ×ÀÑÒ, ÄÎÐÈ Ñ ÓÊËÎÍ ÊÚÌ ÒÀÂÀÍÀ , ÏÀÊ ÑÀÌÎ ÇÀÑÊÎÁÅÍ, ÅÑÒÅÑÒÂÅÍÎ. ÍÎ ÒÚÊÌÎ ÇÀÒÎÂÀ ÂÅÊÒÎÐÚÒ ÍÀÃÎÐÅ,  ÒÎÏ-ÒÐÅÍÄ ÄÎÌÈÍÈÐÀ.
ÏÅÒÎ, ÏÐÈÒÂÎÐÅÍÀÒÀ ÓÑÒÀ Ñ ÂÅ×Å ÇÀÊÐÚÃËÅÍÈ /ÏÎ ÍÈÌÔÅÒÑÊÈ/ ÓÑÒÍÈÌÊÈ ÊÀÒÎ ÍÀÄËÚÆÅÍ ÑÅÄÅÔ - ÏÅÐËÈ. ÎÒÂÎÐÅÍÎÑÒ ÇÀ ÑÂÅÒÀ, Î×ÀÊÂÀÍÅ ÎÒ ÆÈÂÎÒÀ, ËÞÁÎÇÍÀÍÈÅ ÇÀ ÓÒÐÅØÍÈß ÄÅÍ.
ÙÅ ÐÅ×Å, ÂÑÈ×ÊÎ ÒÎÂÀ ÎÒÊÐÎßÂÀ ÌÎÌÈ×Å ÂÅ×Å ÈÇËßÇËÎ ÎÒ ÑËÓÃÈÍÑÊÀÒÀ ÑÈ ÔÓÍÊÖÈß. Ñ ÌÎÆÅ ÁÈ ÍÅßÑÍÀ, ÍÎ ÐÅÀËÍÀ ÑÎÖÈÀËÍÀ ÏÅÐÑÏÅÊÒÈÂÀ. ÍÀÉ-ÌÀËÊÎÒÎ Ñ ÂÚÇÌÎÆÍÎÑÒ ÇÀ ÐÀÑÒÅÆ, ÕÎËÀÍÄÑÊÈß ÒÈÏ "ÎÐÀÍÆÅÂÀ ÐÅÂÎËÞÖÈß" - ÍÅ ÍÀ ÌÈÒÈÍÃ, À  ÄÎÌÀØÍÀ ÎÁÑÒÀÍÎÂÊÀ. È ÒÚÊÌÎ ÏÎ ÒÀÇÈ ÏÐÈ×ÈÍÀ - ÌÎÌÈ×Å ÇÀÏÀÇÅÍÎ, ÍÅÏÎÊÂÀÐÅÍÎ, ÇÀ ×ÈÑÒÀ È ÁÅÇÊÎÐÈÑÒÍÀ ÐÀÄÎÑÒ!
ÇÀÙÎ ÏÐÀÂß ÂÑÈ×ÊÈ ÒÅÇÈ ÏÐÅÎÑÌÈÑËßÍÈß ÊÚÌ ÒÂÎß ÄÎÑÒÀ ÐÀÇÂÈÒ È ÏÐÎÍÈÊÍÎÂÅÍ ÀÍÀËÈÇ ÍÀ ÒÀÇÈ ÒÂÎÐÁÀ? ÀÌÈ ÇÀÒÎÂÀ ×Å ÍÅ ÌÎÃÀ ÄÀ ß ÏÐÅÆÈÂÅß, ÊÀÊÒÎ ÒÈ ÍÀÑÒÎßÂÀØ - ÇÀÒÂÎÐÅÍÀ  ÑÅÁÅ ÑÈ.
>-------- Îðèãèíàëíî ïèñìî --------
>Îò: Georgy Georgiev georgyvienna@yahoo.de
>Äî: Ëàçàð Ëàëåâ
>Èçïðàòåíî íà: 16.06.2017 19:22
to thy question and request...- all my studies about Vermeer (ca.350 pages) are (as *wrote thee) not here but kept conserved (!) -at home - ( including my com ments to "Het Meisje met de parel") !
*ll try but to resume the most important /the essence of it...- as fare / much , as *remember (all was written 10 years ago!) thus: to concentrate me on entirely on that very painting (only)!
I: identity! 1) there isn*t any reliable the identi- fication concerning that girl ...- (name,origin - as it used to be )!!
that *s why the canvas is classi- fied to the so called "tronjes" ..= (in Dutch: portraits of a un-known person).
in-directly but...- and that *s easy to be seen (!)...: a single "servant-maiden" is shown ...!
(you know that it had been a wide spread practice during the Golden Ages (the golden 100!) to use such poor girls from "folk" (baidly paid!) hired for cleaning, to cook,to help,etc. )...
here/!/ to remember only that the mother-in-law of Jan Vermeer had been very rich woman ! in times when the Church and/or the Inqui sition persecuted every sign and gesture of "self-liberty", each transgression of the social order and the morality these poor creatures were practicaly almost the only possible models for paint ing/s (exept perhaps the wife one one*had been married to ...- ref.to Rembrandt,Rubens,etc)! the painting represents us just that:
an anonymous girl in a bourgeoise huis!
importnat-ref.to the following!
even the title of the painting is categorically pointed out in that direction namely ...!- ("mejsje" in Dutch means just that !).
for comparison only pls to ref.to the great portraits of Rembrandt where all these aristocratic people are given with their names and titles!
herewith to an other very typical feature of Vermeer*s works: no-where/no-one is carring any proper name...! ("a girl","a woman",etc.and never a concret name !)
if any "love affair" (between Jan Vermeer and the "meisje" ) so mush better to leave that to the romanciers !
to my mind ...-possible ( concluding from the fact that Vermeer had been sexually very endowed /15 children!.../ ,as well that the very consorts were usually "liberal"and having understanding for their husbands* sins and affairs...)!
including the relations between the mistress and the maid- friendly!
but to repeat... * personally pay very little attention to "who is she" and feel much more interested in the techno-technological details, the structure and the style. to conclude this long introduction and hypothese with 2-3 other facts - also significant and helpful in our effords to dis-cover"her"identity...
1) the pearl is very prefered and characte ristic attribute met in almost 1/3 of Vermeer*s paintings !- (ref.also to ...:"The Girl with the flute", "A woman holding a balance",
1. ÂßÐÍÎ ÑÈ ÄÎËÎÂÈË, ×Å ÔÎÍÚÒ, À ÀÇ ÁÈÕ ÄÎÁÀÂÈË È ÌÀÑÈÂÍÀÒÀ, ÈÇÄÀÄÅÍÀÒÀ  ÊÐÀÈÙÀÒÀ ÑÈ ÐÀÌÊÀ ÈÃÐÀÅ ÐÎËß ÍÅ ÏÎ-ÌÀËÊÀ ÎÒ ÑÀÌÎÒÎ ÈÇÎÁÐÀÆÅÍÈÅ. ÑÀÌÎ ÐÎËß! ÍÅ È ÌÀÉÑÒÎÐÑÒÂÎ, ÊÎÅÒÎ Â ÈÇÎÁÐÀÆÅÍÈÅÒÎ Å ÍÅÑÐÀÂÍÈÌÎ ÏÎÂÅ×Å.
ÍÎ ÙÎ ÇÀ ÐÎËß? ÇÀ ÒÅÁ ÍÅ ÇÍÀÌ, ÍÎ ÇÀ ÌÅÍ Å ßÑÍÎ: ÒÎÂÀ Å ÎÊÓËÒÍÀÒÀ, ÍÅÈÇÐÀÇÅÍÀ, ÍÎ ÏÎÄÐÀÇÁÈÐÀÙÀ ÑÅ ×ÀÑÒ ÍÀ ÖßËÎÑÒÍÀÒÀ ÊÀÐÒÈÍÀ.ÄÀ ÐÅ×ÅÌ, ÏÅÉÇÀÆÚÒ. ÑÈÃÓÐÍÎ ÃÎ ÈÌÀ, ÍÎ ÏÐÅÇ ÏÐÎÇÎÐÅÖ, ÊÎÍÂÅÍÖÈÎÍÀËÅÍ, ÎÁÈ×ÀÅÍ ÃÐÀÄÑÊÈ ÏÅÉÇÀÆ; ÈËÈ ÈÍÒÅÐÈÎÐ. ÄÀ ÊÀÆÅÌ ÍßÊÀÊÂÀ ÑÒÀß,  ÊÎßÒÎ ÌÎÌÈ×ÅÒÎ Å ÃËÀÂÍÀÒÀ ÇÀÁÅËÅÆÈÒÅËÍÎÑÒ È ÌÀÒÅÐÈÀËÍÈÒÅ ÏÐÅÄÌÅÒÈ ÑÀÌÎ ÁÈÕÀ ÎÒÊËÎÍÈËÈ ÂÍÈÌÀÍÈÅÒÎ ÎÒ ÒÎÂÀ.
ÂÒÎÐÎ, ÑÀÌÎÒÎ ÌÎÌÈ×Å:ÍÀÈÂÍÎ, ÍÅÂÈÍÍÎ ÍÅÏÎÑÐÅÄÑÒÂÅÍÎ È ÏÐ. ÑÈ Å ÍÈÌÔÅÒÊÀ  ÍÀÁÎÊÎÂÑÊÈß ÑÌÈÑÚË ÍÀ ÄÓÌÀÒÀ. È ËÎËÈÒÀ ÄÎ ÑÐÅÄÀÒÀ ÍÀ ÐÎÌÀÍÀ Å ÒÚÊÌÎ ÒÀÊÎÂÀ ÌÎÌÈ×Å, ÅÑÒÅÑÒÂÅÍÎ Ñ ÀÊÑÅÑÎÀÐÀ ÍÀ ÍÎÂÎÒÎ ÂÐÅÌÅ. ÁÀÍÑÊÈ ÃÀÙÈ È ÑÓÒÈÅÍ ÏÐÈÌÅÐÍÎ. ÐÀÇËÈÊÀÒÀ Å ÒÀÌ, ÌÅ ÌÎÌÈ×ÅÒÎ ÍÀ ÂÅÐÌÅÅÐ ÑÈ Å ÎÑÒÀÍÀËÎ ÍÈÌÔÅÒÊÀ È ÐÀÇÖÚÔÍÀËÎ ÊÀÒÎ ÍÈÌÔÅÒÊÀ; À ËÎËÈÒÀ, ÑÒÀÍÀËÀ ÏÅÏÅÐÓÄÀ, ÏÎÂßÕÂÀ È ÍÅ ÑËÅÄ ÌÍÎÃÎ ÏÐÎÄÚËÆÈÒÅËÍÎ "ÐÎÌÀÍÍÎ" ÂÐÅÌÅ ÇÀÃÈÂÀ. ÒÎÂÀ ÏÐÀÂÈ ÌÎÌÈ×ÅÒÎ Ñ ÏÅÐËÀÒÀ ÇÍÀ×ÈÌÎ ÇÀ ÀÂÒÎÐÀ, À ÎÒ ÍÅÃÎ È ÇÀ ÇÐÈÒÅËß, ÒÚÊÌÎ ÇÀÙÎÒÎ Å ÓÄÚÐÆÀÍÎ Â ÑÒÀÄÈß ÍÀ ÍÅÂÈÍÍÎÑÒÒÀ È ×ÈÑÒÎÒÀÒÀ. È ÎÒÒÀÌ ÒÎÂÀ ÂÅ×ÍÎ ÑÂÅÆÎ ÂÚÇÏÐÈßÒÈÅ È ÂÚÇÄÅÉÑÒÂÈÅ. ÇÀÑÈËÅÍÎ ÎÒ ÏÎÑÒÀÂÅÍÈ ÇÀÄ ÑÊÎÁÈ: ÏÅÉÇÀÆ, ÈÍÒÅÐÈÎÐ, ÑÎÖÈÀËÍÀ ÉÅÐÀÐÕÈß È ÏÐ. ÒÎ Å ÌÎÌÈ×ÅÒÎ ÑÀÌÎ ÏÎ ÑÅÁÅ ÑÈ. ÏÐÈ ÒÎÂÀ  ÏÐÎÔÈË, Ò.Å. Ñ ÏÐÎÏÓÑÍÀÒÀ ËÈÖÅÂÀ ×ÀÑÒ, ÊÎßÒÎ ÌÎÆÅ ÄÀ ÍÀÌÀËÈ ÅÔÅÊÒÀ ÍÀ ÇÀÌÈÑÚËÀ.
ÑÒÐÓÂÀ ÌÈ ÑÅ, ÎÙÅ ÒÓÊ ÑÅ ÑÚÄÚÐÆÀ ÍßÊÀÊÚ ÑÎÖÈÀËÅÍ ÏÐÎÒÅÑÒ:ÍÀ ÂÑÈ×ÊÈ ÂÀÑ, ÑÎÖÈÀËÍÎ ÎÁÐÅÌÅÍÅÍÈ, ÑÅ ÏÐÅÄËÀÃÀ ÅÄÍÎ ×ÎÂÅØÊÎ ÑÚÙÅÑÒÂÎ ÁÅÇ ÂÀØÀÒÀ ÑÎÖÈÀËÍÀ ÎÁÐÅÌÅÍÅÍÎÑÒ. È ÒÎ ÖÚÂÒÈ Ñ ÄÅÒÑÊÀÒÀ ÑÈ, "ÍÈÌÔÅÒÑÊÀ" ×ÈÑÒÎÒÀ.
ÒÐÅÒÎ, ÍÀ ÂÑÅÊÈ ÄÎÊÎÑÍÀË ÑÅ ÄÎ ÊÀÐÒÈÍÀÒÀ ÏÐÀÂÈ ÂÏÅ×ÀÒËÅÍÈÅ: ÑÀÌÀÒÀ ÏÅÐËÀ. ÊÚÌ ÑÚÎÁÐÀÆÅÍÈßÒÀ ÒÈ ÎÒ ÒÅÕÍÈ×ÅÑÊÈ ÕÀÐÀÊÒÅÐ /ÌÅÒÐÈÊÀ È ÏÐ./ ÙÅ ÏÐÈÁÀÂß È ÃÎËÅÌÈÍÀÒÀ ÍÀ ÏÅÐËÀÒÀ - ÄÎÑÒÀ ÎÁÅÌÍÀ Ñ ÎÃËÅÄ ÐÀÇÌÅÐÈÒÅ ÍÀ ÊÀÐÈÍÀÒÀ, ÍÅÉÍÈßÒ ÇÀÃÀÄÚ×ÅÍ ÁËßÑÚÊ, ÏÎÄÎÁÅÍ ÍÀ ÁËßÑÚÊÀ ÍÀ ÎÊÎ, ÍÅÉÍÀÒÀ ËÚÕÀÙÀ ÍÀ ×ÈÑÒÎÒÀ È ÀÐÎÌÀÒ ÎÒÏÎËÈÐÀÍÎÑÒ. È Â ÁËÈÇÎÑÒ ÄÎ ÁßËÀÒÀ ßÊÈ×ÊÀ, ÏÎ×ÒÈ ÈÂÈÖÀ, ÎÒ ÊÎßÒÎ ÏÎËÓ×ÀÂÀ ÑÒÀÁÈËÍÎÑÒ È ÐÀÂÍÎÂÅÑÈÅ ÏÎ ÏÎÄÎÁÈÅ ÍÀ ÌÎÌÈ×ÅÒÎ - ÏÎËÓ×ÀÂÀÙÎ ÔÈÊÑÀÖÈß ÍÀ ÎÁÐÀÇÀ ÎÒ ÔÎÍÀ È ÐÀÌÊÀÒÀ. È ÂÑÈ×ÊÎ ÒÎÂÀ ÍÅ Å ÍÀÊÈÒ ÇÀ ÑÀÌÈß ÍÀÊÈÒ. ÒÎÂÀ Å ÑÎÖÈÀËÍÀ ÌÀÐÊÈÐÎÂÊÀ. ÌÎÌÈ×Å ÎÒ ÍÈÑÚÊ ÑËÎÉ, ÂÅÐÎßÒÍÎ ÑÅËßÍ×Å, ÍÎ Ñ ÏÅÐÑÏÅÊÒÈÂÀ ÄÀ ÑÒÀÍÅ ÃÎÑÏÎÆÀ. ÍÅ ÊÀÒÎ ÍÀÁÎÊÎÂÑÊÀÒÀ ËÎËÈÒÀ ÄÀ ÇÀÃÈÍÅ ÊÀÒÎ ÏÅÏÅÐÓÄÀ.
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>-------- Îðèãèíàëíî ïèñìî --------
>Îò: Georgy Georgiev georgyvienna@yahoo.de
>Äî: Ëàçàð Ëàëåâ
>Èçïðàòåíî íà: 16.06.2017 19:22
to thy question and request...- all my studies about Vermeer (ca.350 pages) are (as *wrote thee) not here but kept conserved (!) -at home - ( including my com ments to "Het Meisje met de parel") !
*ll try but to resume the most important /the essence of it...- as fare / much , as *remember (all was written 10 years ago!) thus: to concentrate me on entirely on that very painting (only)!
I: identity! 1) there isn*t any reliable the identi- fication concerning that girl ...- (name,origin - as it used to be )!!
that *s why the canvas is classi- fied to the so called "tronjes" ..= (in Dutch: portraits of a un-known person).
in-directly but...- and that *s easy to be seen (!)...: a single "servant-maiden" is shown ...!
(you know that it had been a wide spread practice during the Golden Ages (the golden 100!) to use such poor girls from "folk" (baidly paid!) hired for cleaning, to cook,to help,etc. )...
here/!/ to remember only that the mother-in-law of Jan Vermeer had been very rich woman ! in times when the Church and/or the Inqui sition persecuted every sign and gesture of "self-liberty", each transgression of the social order and the morality these poor creatures were practicaly almost the only possible models for paint ing/s (exept perhaps the wife one one*had been married to ...- ref.to Rembrandt,Rubens,etc)! the painting represents us just that:
an anonymous girl in a bourgeoise huis!
importnat-ref.to the following!
even the title of the painting is categorically pointed out in that direction namely ...!- ("mejsje" in Dutch means just that !).
for comparison only pls to ref.to the great portraits of Rembrandt where all these aristocratic people are given with their names and titles!
herewith to an other very typical feature of Vermeer*s works: no-where/no-one is carring any proper name...! ("a girl","a woman",etc.and never a concret name !)
if any "love affair" (between Jan Vermeer and the "meisje" ) so mush better to leave that to the romanciers !
to my mind ...-possible ( concluding from the fact that Vermeer had been sexually very endowed /15 children!.../ ,as well that the very consorts were usually "liberal"and having understanding for their husbands* sins and affairs...)!
including the relations between the mistress and the maid- friendly!
but to repeat... * personally pay very little attention to "who is she" and feel much more interested in the techno-technological details, the structure and the style. to conclude this long introduction and hypothese with 2-3 other facts - also significant and helpful in our effords to dis-cover"her"identity...
1) the pearl is very prefered and characte ristic attribute met in almost 1/3 of Vermeer*s paintings !- (ref.also to ...:"The Girl with the flute", "A woman holding a balance",
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