Hamilton first referenced Irving Berlin’s popular holiday ballad in an oil painting (1967–68) with reversed colors based on a color-negative film still of Bing Crosby in the famous 1954 film White Christmas. Hamilton used yet another negative,
taken from his earlier painting, as the basis for this print. The painting’s reversed colors now appear in positive, an eerie echo of its cinematic source. Hamilton complicates the process from film still to painting to print (and from positive to negative and back again) with marks that look like paint: some are photographic transfers, some are silkscreened replicas of painterly strokes, and some are
handmade additions.