Since the ’80s, Frank Egloff has been appropriating imagery from vintage photography, film footage, and advertising to create paintings that are at once subversive and alluring. In his recent exhibition, “Inverse,” he presented three acrylic canvases, each eighty by eighty inches, whose origins lie in British photographer John Deakin’s portraits (made in the ’50s) of three friends: journalist Rayner Heppenstall, poet Oliver Bernard, and publisher and bookseller David Archer. Deakin, a Vogue photographer known for his brutally direct close-ups of artists, writers, models, and film stars, was part