The image of Jan Vermeer in novels “Girl with a pearl earring” by T. Chevalier, “Girl in hyacinth blue” by S. Vreeland and “Tulip fever” by D. Moggach

In contemporary Anglo-American literature, where such trends as historicism and intermediality are confidently developing, a group of texts dedicated to Dutch art of the 17th century stands out. Over the past three decades at least thirty novels have been published describing the paintings of the “golden age,” which speaks not only of the popularity of Dutch and Flemish painting among modern viewers and readers, but also of the formation of another literary trend. This was based on three novels published in 1999: “Girl with a Pearl Earring” by Tracy Chevalier, “Girl in Hyacinth Blue” by Susan Vreeland, and “Tulip Fever” by Deborah Moggach. All three authors turn to Dutch art in their books, whose works become the plot center of the novels. The authors pay special attention to the creative legacy of Jan Vermeer, one of the most famous artists of the 17th century, directly or indirectly mentioned in the novels. This article is devoted to the examination of the image of Vermeer in the three named works, the authors of which approach its construction, use and interpretation in different ways. Tracy Chevalier pays tribute to the entire work of the artist, describing many of his paintings and the history of their creation, mythologizing and de-romanticizing the image of Vermeer. Susan Vreeland separates the de-romanticized image of a person from the romanticized image of an artist, creating a three-dimensional image of Vermeer. Deborah Moggach, hiding the real artist behind the original character she created, focuses directly on the creative process, motives for creating paintings, their plot and imagery, interpretation.