Feuermann Vermeer

Jan Vermeer, Ludwig Goldscheider (London: Phaidon Press, 1958).

Carole A. Feuerman's Sculptures, Essays by Dena Merriam and Eleanor Munro, photographs by David Finn (New York: Hudson Huills Press, 1999).

Swimmers, Carole A. Feuerman, foreword by John T. Spike, contributions by John Yau and John T. Spike (New York: The Artist Book Foundation, 2016).

Vermeer: The Complete Paintings by the Master of Light by Erik Larsen (New York: Smithmark, 1998).

"The vision of life articulated in Feuerman's sculpture is rooted in the artist's own experience of a mutable reality that ever shifts to expose underlying levels of relationship and connectiveness. The viewer can take her work at face value and be elevated simply by the rounded beauty of the forms, the pulsing of the flesh and the glimmers of emotion that dwell in the sculpted faces. The artists's inventive eye and skillful execution alone suffice to account for a notable body of artistic creation." p. 6 

"Reality as it appears before our eyes is reproduced only on exceptional occasions in a painting. Even photography cannot achieve this, for in the first place the camera sees with only one eye and reproduces a depth which is not the same as that which we see with our two eyes. And in the second place the camera sees the near and the far away at the same time, whereas we have to adjust the focus of our eyes twice in order to obtain the same sharpness of vision. Moreover, our field of vision is limited, and a painter has to move his head first to one side and then to the other in order to see everything that he includes in the near distance in his picture. By using a convex mirror--Dou, for example, is known to have used such a mirror--this problem is eliminated, for a diminishing glass shows a limited segment which can be viewed at one glance. If we look at the objects painted through an empty picture-frame and if the differences of depth in the segment from Nature are not great, we can arrive at a limitation similar to that obtained with the aid of a convex mirror; the casement of a window can serve the same purpose.
     "Vermeer reproduced the view of the street through the framework of a window, from a room on ground level with his eye about three yards above the ground and at a distance of about twelve yards." pp. 27-28