...taking as his point of departure several Vermeers, among them Young Woman with Pearl Necklace (c. 1664), the artist creates a new "Vermeer" while staying as close as possible to the original's style, painting technique, and color harmony. There is a subtle irony in Vermeer's Chair in the way that this chair is inaccessibly placed to the left, in the corner of a spare Vermeerian interior that to the right appears to come forward toward the beholder, and then gradually dissolves into the abstract self-evidence of the canvas. While thus visualizing the difficulty of understanding Vermeer's places he also suggests that as painter, that is in the process of painting, he can temporarily hold his place in a Vermeer. Perhaps more than any other of Deem's many "Vermeers," Vermeer's Chair, in its simplicity, pays homage to the seventeenth-century painter. (Christiane Hertel,Vermeer: Reception and Interpretation, Cambridge University Press, 1996).
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