{"id":7576,"date":"2013-12-01T01:10:06","date_gmt":"2013-12-01T06:10:06","guid":{"rendered":"\/nashvillereview\/?p=7576"},"modified":"2015-02-12T08:56:39","modified_gmt":"2015-02-12T14:56:39","slug":"vermeer-shelley-wong","status":"publish","type":"post","link":"https:\/\/wp0.vanderbilt.edu\/nashvillereview\/archives\/7576","title":{"rendered":"Vermeer at the Metropolitan Museum of Art"},"content":{"rendered":"<p>No profusion of fruit or spiraling lemon peel<br \/>\nin this Dutch interior, but a tea-colored map, pearls,<br \/>\na tablecloth woven among anise and cardamom.<\/p>\n<p>At her toilette, the young woman does not ask<br \/>\nfor our devotion. Ultramarine edges her linen<br \/>\nand we hear the sea slap against ships.<\/p>\n<p>Her braided bodice is articulated<br \/>\nlike the stained glass window that lets light enter<br \/>\nin many directions, keeping us<\/p>\n<p>looking in. The scene is cast<br \/>\nand re-cast as if it was lapis lazuli<br \/>\nrefracting. As she lifts the window<\/p>\n<p>and steadies the water pitcher, the suspense of her arms<br \/>\nis a bridge. Ships are not meant for harbors.<br \/>\nIs the map a reminder or a wish? The answer to where<\/p>\n<p>we are meant to wander won\u2019t be answered<br \/>\npraying to paint. Her face is a mirror<br \/>\nthat looks away from us. <\/p>\n<h6><a href=\"\/nashvillereview\/archives\/7369\">Shelley Wong<\/a><\/h6>\n","protected":false},"excerpt":{"rendered":"<p>No profusion of fruit or spiraling lemon peel in this Dutch interior, but a tea-colored map, pearls, a tablecloth woven among anise and cardamom. At her toilette, the young woman does not ask for our devotion. Ultramarine edges her linen and we hear the sea slap against ships. Her braided bodice is articulated like the [&hellip;]<\/p>\n","protected":false},"author":22,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"spay_email":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false},"categories":[6],"tags":[25],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p6Jypy-1Yc","_links":{"self":[{"href":"https:\/\/wp0.vanderbilt.edu\/nashvillereview\/wp-json\/wp\/v2\/posts\/7576"}],"collection":[{"href":"https:\/\/wp0.vanderbilt.edu\/nashvillereview\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/wp0.vanderbilt.edu\/nashvillereview\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/wp0.vanderbilt.edu\/nashvillereview\/wp-json\/wp\/v2\/users\/22"}],"replies":[{"embeddable":true,"href":"https:\/\/wp0.vanderbilt.edu\/nashvillereview\/wp-json\/wp\/v2\/comments?post=7576"}],"version-history":[{"count":4,"href":"https:\/\/wp0.vanderbilt.edu\/nashvillereview\/wp-json\/wp\/v2\/posts\/7576\/revisions"}],"predecessor-version":[{"id":10073,"href":"https:\/\/wp0.vanderbilt.edu\/nashvillereview\/wp-json\/wp\/v2\/posts\/7576\/revisions\/10073"}],"wp:attachment":[{"href":"https:\/\/wp0.vanderbilt.edu\/nashvillereview\/wp-json\/wp\/v2\/media?parent=7576"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wp0.vanderbilt.edu\/nashvillereview\/wp-json\/wp\/v2\/categories?post=7576"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wp0.vanderbilt.edu\/nashvillereview\/wp-json\/wp\/v2\/tags?post=7576"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}