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double portrait

In Double-Portrait, Humphrey was painting the portrait of Belinda Parsons and me while we were making a filmed portrait of him.
From our vantage point we could see the painter's various ways of looking, and the video tapes later suggested that there was a pattern to his glances.
During 10 working days and approximately 55,000 glances at us ­ his models, he captured the information required to make his picture.
This captured image was only the beginning of a complex process:
John: Is it essentially to 'get right', to reproduce piece by piece what you see in front of you?

Humphrey: (referring to his painting of my hands) Yes. But I can't separate what your hands are like, from what they look like, from what I feel about them.

John: When you are looking at my hands, you are not quite sure of what you are seeing? Is that what you mean?

Humphrey: I'm sure of what I am seeing, I'm not quite sure what I'm going to do about it. So I make a decision. The final result is made up of a great many decisions.
Looking at model to compare with canvas
Looking at canvas to compare with model
Looking at model while painting
Looking at canvas while painting
Looking at model while mixing paints

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