Vermeer, The Glass of Wine

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Vermeer, The Glass of Wine발음듣기

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[MUSIC PLAYING] [DR. STEVEN ZUCKER] There's nothing subtle about 17th century Dutch genre painting.발음듣기

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So often, we're shown interactions that are wonderfully bawdy and wonderfully explicit.발음듣기

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There is an exception, however.발음듣기

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Jan Vermeer's paintings often are riddles.발음듣기

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They give us suggestions of narratives.발음듣기

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[DR. BETH HARRIS] And in this painting, it's true.발음듣기

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We're not really sure exactly what's about to unfold.발음듣기

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[DR. STEVEN ZUCKER] What we're seeing is a man who is still wearing his hat and outer cloak.발음듣기

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He stands beside a table with a beautiful carpet on it, and he has his hand on a jug of wine.발음듣기

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He looks like he's ready to refill the young woman's glass.발음듣기

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She's got it up to her mouth, and she's just finishing it off.발음듣기

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[DR. BETH HARRIS] Well, and he looks impatient to pour her another glass, as though the goal of this whole interaction is to get her drunk.발음듣기

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[DR. STEVEN ZUCKER] But across from her at the window that is ajar, we can actually see a rendering in the stained glass of temperance, of moderation, in a sense an instruction to her to watch her step.발음듣기

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And so the painting is about possibility.발음듣기

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It's about her choice.발음듣기

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And the man whose face is shadowed by his hat is a little bit sinister in that way.발음듣기

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[DR. BETH HARRIS] There's a sense of distance between the two figures, a sense that they're not terribly familiar with one another.발음듣기

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And I almost wonder whether the wine is going to make that happen.발음듣기

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[DR. STEVEN ZUCKER] One of the reasons that the flirtation doesn't have an opportunity to be represented is because he's in shadow.발음듣기

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We can just barely make out his eyes.발음듣기

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And her eyes are completely obscured by the shine in the beautifully delicate glass that she holds in front of her face.발음듣기

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She can't speak now.발음듣기

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She's drinking.발음듣기

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And she can't even see beyond that glass, or at least we can't see.발음듣기

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And yet that shine is all about vision, and it's held right at her eyes.발음듣기

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This is an early Vermeer, but already we can see his fascination with soft light.발음듣기

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Look at the way it infuses the space, comes through that blue curtain.발음듣기

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And the delicacy that he's lavished on the tonality of the back wall and the other forms in this room is just spectacular.발음듣기

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[DR. BETH HARRIS] So while Vermeer is interested in light, we also have that characteristic geometry in the composition, the square of the window that's open, the rectangle of the frame on the back wall, the square on the back of the chair, and the squares that move back and the perspective on the floor.발음듣기

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[DR. STEVEN ZUCKER] There is this kind of checkerboard pattern that does create a clear, structured interior.발음듣기

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And then we have objects that are placed askew of that.발음듣기

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So you've got the line that the window should trace.발음듣기

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But the window is open so that there's a diagonal that interrupts it.발음듣기

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You've got the careful rectilinear tiles on the floor, but then you've got the chair, again, that's at an angle and is offset from it.발음듣기

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In some ways, this painting is about the disruption of order.발음듣기

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And the way objects are placed in this space are about the tension that's created when things are not aligned.발음듣기

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And perhaps that functions as a kind of metaphor for the interaction between the two figures.발음듣기

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[DR. BETH HARRIS] Or a kind of foreboding about what may happen.발음듣기

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[DR. STEVEN ZUCKER] There are ways that the figures are linked.발음듣기

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Look at the concentric rings that fall from the man.발음듣기

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You have his collar.발음듣기

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Then you've got a series of folds in the drapery that catch the light and sort of expand as they move down towards his arm.발음듣기

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And that motion is picked up by the beautiful gold brocade in the woman's dress and then the folds on her hip.발음듣기

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And so there really is a kind of harmony between those figures.발음듣기

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And in some ways, this painting is about harmony and disharmony.발음듣기

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It's about alignment and things being askew.발음듣기

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[DR. BETH HARRIS] And that's also symbolized in the musical instrument, which is used in Vermeer's paintings to suggest both harmony and frivolity.발음듣기

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So which way is this going to go?발음듣기

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[DR. STEVEN ZUCKER] I'm not sure.발음듣기

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I think Vermeer is leaving that question open for the viewer.발음듣기

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[DR. BETH HARRIS] By leaving this question open, Vermeer creates an image that is really poetic. [MUSIC PLAYING]발음듣기

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