Miami University Art Museum, Oxford, Ohio. Gift of the Estate of George Deem, 2013. Accession Number T.2013.50
| Image Notes
References to Vermeer Allegory of Faith, c. 1671-74, The Metropolitan Museum of Art, New York. The windows are fromThe Music Lesson, c. 1662-64, The Royal Collection, London. The chair behind the tapestry is fromThe Art of Painting, c. 1666-67, Kunsthistorisches Museum, Vienna.
George Deem's (paintings after Vermeer) invite the postmodern eye to a pictorial disquisition concerning originality and perspective ... He includes re-creations, transpositions and alterations of his models,, eliminating the figures that animate the originals as well as eradicating much of the iconography that informs art-historical speculation concerning Vermeer's intentions.
Retaining the theatrical device of the draped carpet from Vermeer's Allegory of the Faith, Deem extends his interpretation of that painting horizontally, adding enough space to ... (his painting) An Allegory of Faith to greatly exaggerate the perspectival effect of Vermeer's study in checkered tile. As though in the process of distilling all Vermeer to the single room of the master's studio, Deem introduces a wall of windows formerly concealed by drapes. In Deem's painting, the swooning, theatrical model for Faith has vanished, and her bosom and sandals with her. Vermeer's representation of Jordaen's painting of the crucifixion has vanished from the rear wall, and the chalice, crucifix, devotional book, Eve's apple, and the stomped serpent of the original are also gone. Remaining are the brocade tapestry, the glass sphere floating at the end of its ribbon, the luminous globe, the carefully rendered carpeting as drape and throw.
(Edward Leffingwell, "George Deem at Pavel Zoubok." illus. Art in America, New York, July 2003.