I bought this book from the National Library Book sale over the weekend and just devoured it in one sitting.
Just love it - the prose, the description of art, the history, the interweaving of the stories.

There are only 35 known Vermeers extant in the world today. In Girl in Hyacinth Blue, Susan Vreeland posits the existence of a 36th.
" The eight interlinked stories in this impressive debut collection revolve around a single painting by Vermeer; as one might expect, they contain insightful observations about the worth and the truth of art. Vreeland's skill goes deeper still; these poised and atmospheric tales present a rich variety of characters whose voices convey distinctive personalities, and each offers glimpses of Holland during different historical eras. The chronology is reversed: the first story occurs in the present day, and succeeding narratives progress back in time to the 17th century.
Unobtrusively, Vreeland builds a picture of the Dutch character, equal parts sober work ethic and faith in a harsh religion. Against these national characteristics she juxtaposes the universal human capacity for love--romantic, familial, parental--and a kind of obsessive love, the quest for beauty that distinguishes otherwise ordinary lives. The historical details that ground each narrative in time and place are obliquely revealed. In the same way, the Vermeer masterpiece achieves fuller dimension in each tale as small details of color, brushstroke, lighting, background, serve to create the picture in the reader's eye."
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Some quotes I liked:
(made by the unknown girl in the painting)
"The painting showed she did not yet know that lives ended abruptly, that much of living is repetition and separation, that buttons forever need resewing no matter how ferociously one works the thread, that nice things almost happen..."
" She thought of all the people in all the paintings she had seen that day, not just Father's, in all the paintings of the world, in fact. Their eyes, the particular turn of a head, their loneliness or suffering or grief was borrowed by an artist to be seen by other people throughout the years who would never see them face to face. People who would be that close to her, she thought, a matter of a few arms' lengths, looking, looking, and they would never know her."