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| Work
Moving Vermeer 1
| Date: | 1994-96
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| Medium: | Oil on foamcore construction |
| Size inches: | Construction 33 1/2 x 30 x 2 1/2 |
| Size cm: | Construction 85.1 x 76.2 x 6.4
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| Signature: | Signed and dated lower left |
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| Location: | Garland and Suzanne Marshall Collection, Clayton, Missouri |
| Image Notes
Fabrication by Herbert Gee, Designer-Builder, Hudson Design, New York. Drawing/designs for Moving Vermeer by Herbert Gee in George Deem Archives.
| Artist's Notes
The painting was completed in 1994. The supporting frame and "dialing" wheel were completed in 1996. The medium used was oil paint on shellacked foam core. There are three foam core panels recessed behind a masonite frame, painted black, which has been attached to a Medium Density Fiberboard (MDF) support. Panel No. 1: the background panel. Panel No. 2: the middle moving section has four Vermeer figures of women painted on a four-pronged star-shaped foam core panel attached by a screw to a wooden spindle which in turn is attached to an MDF wheel. Panel No. 3: the foreground panel.
The four Vermeer women are from the following paintings: Woman with a Pearl Necklace, c. 1664; Woman in Blue Reading a Letter, c. 1662-64; Woman Holding a Balance, 1664; A Lady Standing at a Virginal, c. 1670-72. The furniture and objects are composed from various paintings by Vermeer. Instructions for disassembling the Work. Remove the screws from the top lid. Remove the top lid. Slide the foreground panel upwards through the opened top of the box. The middle moving section will then be exposed. This section is attached to a wooden spindle by a screw held by a nut on the back of the spindle. Remove the screw to release the four-pronged foam core middle panel. Repeat the procedure in reverse to re-assemble the piece. (George Deem, A note by the artist on his work Moving Vermeer, New York, March 3, 1997).
I am very much involved with Vermeer these days, a series of paintings in which I de-construct paintings by Vermeer. I depict his interiors with their familiar furniture and windows but I have taken away his figures. These paintings come from Moving Vermeer where I first took away Vermeer's figures to make the background. It was after painting the background that I got the idea for Vermeer's Chair. The enclosed postcard shows the image, the same image in the back panel of Moving Vermeer. (George Deem, letter to Garland and Suzanne Marshall, May 11, 1998).
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