The Looking Glass

Lawrence Weschler’s article in the January 31, 2000 issue of The New Yorker about David Hockney’s theory regarding the “lost techniques” of the Old Masters opened up a fascinating and controversial discussion in the art world. After reading the article I immediately gave David a call to add my support and encouragement for his research. While working at Industrial Light & Magic in the 1980s I had been initiated into another world of secret techniques combining optics and art- Motion Picture Visual Effects Matte Painting, considered by some to be a branch of the arcane craft of trick photography pioneered by Georges Melies. Hockney’s theory inspired me to invent my own version of the camera lucida using two beam-splitter mirrors in a configuration that keeps the subject and its aerial image on the same level horizon. My first test was to trace Botticelli’s Venus from the cover of an art book. And it worked! Theron O’Connor then came and sat for a Looking Glass portrait.