Recasting The Girl, Spray-Painting The Pearl

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I will not soon forget seeing the horrendous Hollywood movie titled, “The Girl With A Pearl Earring” in 2004.  It is a fictional depiction of a fictionalized relationship between Vermeer and an imagined “…young peasant maid working in the house of painter Johannes Vermeer becomes his talented assistant and the model for one of his most famous works.” It was nominated for 3 Oscars by the Academy of Motion Picture “arts” and “sciences”.

This tragically tacky spin on the life of Vermeer is classic Hollywood magic:  take the true life story of a teen-age daughter of one of the finest painters in history, re-cast her as whore, and her father as an brutish ogre, spray-paint her naturally luminescent pearl earring with glitter glue and, presto! Nominate it for an Oscar!

Absurdly cliché characterizations contrived by the brain-dead writers invent a  debased relationship between a fictional “peasant maid” and Vermeer that are typical of the money-motivated Hollywood swill fed to and gobbled up by an uneducated  public.  The socially redeeming value of this food for swine (to be polite) is a pile of steaming shit!  Sexual intrigue may sell movie tickets, but pigs are stupid, and shit stinks.

The writers, producers and actors associated with this morose movie would have been more kind to Vermeer, his family and his artistic legacy if they had spent the budget for the film to visit the museums of the world, in which his priceless works hang, and spray them with graphic graffiti.

The film was written and directed without regard for historic fact or common sense.  The preposterous personae of Vermeer was portrayed by the British actor, Colin Firth, with the charisma of a cardboard cereal box.  Scarlett Johansson, who plays the role of the gawkish “girl”, is garish at best.

The premise of the ludicrous book and movie script, entirely ignores and abuses the obvious, and thoroughly researched historical information about Vermeer and his life.  A few of the grossest omissions are:

1) All of the women in the Vermeer paintings, with one or two minor exceptions, are his wife, and daughters.  To postulate that he hired a “peasant maid”, or that he had a painting assistant, much less that he had a sexual  relationship with such an imaginary person, are sick contrivances.

2) That the Vermeers could afford to pay a servant, who could spare the time away from vitally needed chores, to become an artists assistant, is blatantly stupid.  Household helpers were not something they could afford, except early in their marriage, at best.  Some of the thoroughly researched facts about Vermeer were that he and his wife produced 15 children in 22 years!  They lived in the small village of Delft, with his wife’s very Catholic mother, in her small house, to help reduce expenses.  He died from overwhelming depression due to his inability to support his wife and 11 surviving children, who were left in extreme poverty at his premature death at the age of 43.

In a plea to her creditors after her husband’s death Catharina stated, in the public record, the final footnotes to Vermeer’s brief life:

“during the ruinous war he not only was unable to sell any of his art but also, to his great detriment, was left sitting with the paintings of other masters that he was dealing in.”

Catharina summarized the circumstances of his death: “as a result and owing to the great burden of his children, having no means of his own, he had lapsed into such decay and decadence, which he had so taken to heart that, as if he had fallen into a frenzy, in a day or day and a half had gone from being healthy to being dead.”

Obviously, the man she describes is the antithesis of the man portrayed in the movie.

3)  That a woman would be allowed to become an artists apprentice or assistant,  is an absurd fantasy.  It was forbidden by the Guild of St. Luke which maintained strict, Puritanical oversight of the activities of every member.

girl_with_pearl_earring_blog4) The girl in the legendary painting (as well as in several other of his paintings) is his second daughter, Elizabeth!  Vermeer never hired models — he painted only family and friends.  It doesn’t take a cosmetic surgeon to compare the features of the women in the majority of his paintings to observe that the same women are being painted in their own home, again and again in different poses, settings, lighting and clothing.  Most of his paintings feature his wife, Catharina, who was not only his constant accomplice in creating a family, she was his foremost ally in his life as an artist!

The paintings named (by others), “girl with a pearl earring”, as well as “the girl with a red hat”, and “the girl with a flute”, and others, are all of his second daughter, Elizabeth, who was a teenager when they were painted.  He used her as the model for a series of very small “tronie” or facial portraits, which were popular at the time.

These miniature “head shots” were especially well suited to the use of the camera obscura to create what we know now to have a photographic quality, rendering the light and perspective differently than the unaided lens of the human eye perceives it.

The women in his family, during his lifetime, enjoyed dressing in the finest clothes and jewelry available to them, as well as exotic costumes, imitating the apparel of mysterious lands.  Many of the accessories included in these paintings were borrowed.  Trading vessels often brought fascinated news and relics to Delft from around the world.  He and his family rarely ventured more than a short walk or boat ride from home.

That Vermeer would have an elicit affair with a maid in his own home is an insult to common sense and decency.  Anyone who looks at paintings of his wife and nine daughters can plainly see his obvious love and devotion — if not  obsession — for the women in the small house they shared.  Vermeer’s family  permeated every aspect of his life, and dominated his home.

His days were consumed with his work with the Guild of St. Luke, the militia of Delft, and interaction with other painters for whom, like his father before him, he sold their paintings to earn money to feed and clothe his 15 children. As his family grew, Vermeer barely had time work on his own paintings!

That there was ever any enmity or discord between Johannes and Catharina during their lives is a fantasy contrived by the Hollywood money machine that perverts reality to appeal to the lowest common denominator of prurient interest suitable only for soap operas, pornography, and girl-gossip magazines.

The self-proclaimed “artists” of Hollywood, driven by money mongers, like any mindless mercenary who act the part they’re paid for, notoriously devoid of ethics or integrity, are akin to any common soldier who massacres innocent civilians, and justifies their crimes in the name of war.

Vermeer, in this movie, and in his own lifetime, was a victim of brainless  brutality.  The stupid soldiers of Louis XIV of France who invaded Holland, together with the bloody British aristocracy combined to murder peasants, and plunder goods to enrich and glorify themselves.  The net result for Vermeer was attested, after his death, by his wife, Catharina Bolnes, “during the ruinous war he not only was unable to sell any of his art but also, to his great detriment, was left sitting with the paintings of other masters that he was dealing in.” And further, “as a result and owing to the great burden of his children, having no means of his own, he had lapsed into such decay and decadence, which he had so taken to heart that, as if he had fallen into a frenzy, in a day or day and a half had gone from being healthy to being dead.”

Let us hope, sincerely, that those unfortunates who saw this “ruinous movie” can assess for themselves the denigrating massacre of an artist by Hollywood, compared with his own biographical portraits of a lifetime and the family he adored, magnificently embodied in his paintings, to judge for themselves the aesthetic intention and ethical integrity of the man, Vermeer.

— Lawrence R. Spencer

UNTOUCHABLE

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“…the “Old Empire” has been using Earth as a “prison planet” for a very long time — exactly how long is unknown — perhaps millions of years.  So, when the body of the IS-BE dies they depart from the body. They are detected by the “force screen”, they are captured and “ordered” by hypnotic command to “return to the light”. The idea of “heaven” and the “afterlife” are part of the hypnotic suggestion — a part of the treachery that makes the whole mechanism work.ALIEN INTERVIEW, edited by Lawrence R. SpencerSupport independent publishing: Buy this book on Lulu.

 

After the IS-BE has been shocked and hypnotized to erase the memory of the life just lived, the IS-BE is immediately “commanded”, hypnotically, to “report” back to Earth, as though they were on a secret mission, to inhabit a new body. Each IS-BE is told that they have a special purpose for being on Earth. But, of course there is no purpose for being in a prison — at least not for the prisoner.

Any undesirable IS-BEs who are sentenced to Earth were classified as “untouchable” by the “Old Empire”. This included anyone that the “Old Empire” judged to be criminals who are too vicious to be reformed or subdued, as well as other criminals such as sexual perverts, or beings unwilling to do any productive work.

An “untouchable” classification of IS-BEs also includes a wide variety of “political prisoners”.   This includes IS-BEs who are considered to be noncompliant “freethinkers” or “revolutionaries” who make trouble for the governments of the various planets of the “Old Empire”. Of course, anyone with a previous military record against the “Old Empire” is also shipped off to Earth.  A list of “untouchables” include artists, painters, singers, musicians, writers, actors, and performers of every kind. For this reason Earth has more artists per capita than any other planet in the “Old Empire”.

“Untouchables” also include intellectuals, inventors and geniuses in almost every field. Since everything the “Old Empire” considers valuable has long since been invented or created over the last few trillion years, they have no further use for such beings. This includes skilled managers also, which are not needed in a society of obedient, robotic citizens.ALIEN INTERVIEW AUDIOBOOKAnyone who is not willing or able to submit to mindless economic, political and religious servitude as a tax-paying worker in the class system of the “Old Empire” are “untouchable” and sentenced to receive memory wipe-out and permanent imprisonment on Earth.

The net result is that an IS-BE is unable to escape because they can’t remember who they are, where they came from, where they are. They have been hypnotized to think they are someone, something, sometime, and somewhere other than where they really are.”

~ Excerpt from the Top Secret interviews with the pilot of the Roswelll UFO, 1947 published in the book ALIEN INTERVIEW