The artifice of their poses was evident, but that did not detract from the intimacy of the paintings—in fact it was the very act of posing, the relationship that act implied, that created this sense of uncanny familiarity. In some cases they were clearly posing for the painter, they gazed into what I thought of as the lens or camera eye, although of course the concept was an anachronism, they would have been gazing not into an apparatus but directly at the painter himself. The idea was almost impossibly personal, and I realized the notion of such a sustained human gaze was outside the realm of
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