hillary clinton

Johannes Vermeer was a Dutch painter who made profound narrative images, pictures set in the stoniness of dry paint that nevertheless contain movement. They have trajectories, like stories do. One of his best-known is “Girl Interrupted at Her Music” (1658-61). This one, permanently installed at The Frick Collection in upper Manhattan, pictures a girl of perhaps 16 or 17 years who is being schooled presumably on the cittern, a Renaissance era guitar. She is educated by a man many years her senior, a man who noticeably presides over her. He presides, that is, rather too much, is both too encroached on her personal space and too wrapped around and curtaining her. As to the girl, Vermeer’s subject, she looks the other way. For all her tutor’s efforts to crowd and dominate, to train her focus on matters he brings to hand, this girl is occupied by some other matter, indeed some other urgency. Whatever crisis that may be, it is perceptible in her facial expression and in the intense, almost painful craning of her neck, her gaze demonstratively turned toward her viewer.

That Girl is Vermeer’s subject; and she is not being schooled; rather she has refused the education imposed upon her; rather, she is saying something, but what? That she looks away is not subtle. No—this girl’s rejection of the authority swathing her, blocking her light, is sharp and jarring. It is as if she is interrupted by something truly ghastly, something that calls to her in the voice of Antigone, something like a genocide. Whatever that “something” is, the Dutch painter has taken pains to show that she considers it vastly more critical than whatever her too-invasive education concerns on this day.