Quotes of All Topics . Occasions . Authors
When one starts from a portrait and seeks by successive eliminations to find pure form... one inevitably ends up with an egg.
I never paint a portrait from a photograph, because a photograph doesn't give enough information about what the person feels.
The danger, I find, is that you can become too formulaic, like some commissioned portrait painters who develop a methodology.
And painted portraits have a life of their own that comes from deep in the soul of the painter and where the machine can't go.
In a portrait, you have room to have a point of view. The image may not be literally what's going on, but it's representative.
I thought I would draw or paint or be an architect. I was always drawing portraits. My mom put me in art classes in the summer.
You wouldn't take a portrait of a human being from a hundred feet away and expect to capture their spirit; you'd move in close.
Pulls readers in with an ironic, breezy portrait of sinister high school competitiveness. Deft and extraordinarily accomplished.
For me, a good portrait shows the fragility and humility of the person, and at the same time a strength, a resting in themselves.
I felt that the beach portraits were all self-portraits. That moment of unease, that attempt to find a pose, it was all about me.
In making portraits, I refuse to photograph myself as do so many photographers. My style is the style of the people I photograph.
I'm an odd portrait painter in that I'm not just interested in human faces. I consider almost all of my paintings to be portraits.
The Portrait of a Lady is entirely successful in giving one the sense of having met somebody far too radiantly good for this world.
Jarecki's 'Reagan' is a compellingly watchable and appropriately conflicted portrait...artfully nuanced and intellectually curious.
There are a lot of period movies where they say, 'This is a portrait of Lady Whatever.' And it's done in like a 1950s or 60s style.
I feel I'm anonymous in my work. When I look at the pictures, I never see myself; they aren't self-portraits. Sometimes I disappear.
Nothing in a portrait is a matter of indifference. Gesture, grimace, clothing, decor even - all must combine to realize a character.
It's quite true that what I am aiming at, even when I take portraits, is to get a scandalous picture. I would love to be a paparazzo.
I believe I have had the most trouble with a portrait which I painted in installments - the head on one canvas and the bust on another.
If the face appears, the picture is inevitably a portrait and the expression of the face will dictate the viewer's response to the body.
I was a terrible painter - my portraits looked like the evil chimera love-children of Picasso's demoiselles and the BBC test card clown.
A true portrait should, today and a hundred years from today, the Testimony of how this person looked and what kind of human being he was
Eloquence is a painting of thought; and thus those who, after having painted it, add something more, make a picture instead of a portrait.
Your aim as a photographer is to get a picture of that person that means something. Portraits aren't fantasies; they need to tell a truth.
'The Portrait of Dorian Grey' beautifully articulates how the altruistic part of ourselves clashes with our essentially narcissistic state.
When I look at great works of art or listen to inspired music, I sense intimate portraits of the specific times in which they were created.
Surely a good therapist should produce a Dorian Gray-style portrait from under the couch so the patient can see the person they really are.
My father came from a Quaker family. His father was a professional artist who did portraits - very traditional, a lot of religious subjects.
The Shriver Report presents an accurate and detailed portrait of American women and families at this transformational moment in our history.
If I were an opera singer, I"d have sung you an aria. If I were an artist, I would have painted your portrait. But cooking is what I'm best at.
We know evolution happened because innumerable bits of data from myriad fields of science conjoin to paint a rich portrait of life's pilgrimage.
Elizabeth Peyton, the artist known for tiny, dazzling portraits of radiant youth, is now painting tiny, dazzling portraits of radiant middle age.
From the first shock of the contemplation of a face depends the principal sensation which guides me throughout the entire execution of a portrait.
It's a fairly accurate portrait of me at eighteen, minus a few quirks like reckless driving and eating binges. It's accurate but it isn't profound.
I'm a filmmaker who is known for these ambiguous portraits that tell multiple sides of the story without really telling the audience what to think.
A good portrait is incredibly hard to create, there is too much temptation to pander to the individual rather than portray them as they really were
It is easy to make a picture of someone and call it a portrait. The difficulty lies in making a picture that makes the viewer care about a stranger.
I think I'm predominantly known for my portraits. Obviously in my work there are landscape or stilllife elements, but mainly my work is people . . .
[In my writing] I know that I have made a caricature out of [others' academic] theories [but] I think that caricatures are frequently good portraits.
To demand the portrait that will be a complete portrait of a person is as futile as to demand that a motion picture be condensed into a single still.
I think if you don't love people and aren't fascinated by them, you'll never succeed as a portrait photographer, because your pictures will look cold.
In portraits, the grace and, we may add, the likeness consists more in taking the general air than in observing the exact similitude of every feature.
Photographers who come up with power never get accused of imitating anyone else even though they photograph the same broom, same street, same portraits.
Scott Medlock's portrait of 'the shot heard around the world' from the 1935 Masters is still being celebrated as a moment in Golf History. Imagine that!
Fashion is where I make my living. I'm not knocking it; it's a pleasure to make a living that way. Then there's the deeper pleasure of doing my portraits.
I thank Henry James for the scene in the hotel room, that I stole from Portrait Of A Lady… This particular scene is the most beautiful scene ever written.
When you are doing portraits, you have that intimacy with someone for a few minutes. For a really good portrait, you don't take the portrait - it's given.
I'm at the age where I don't need an acid trip to feel naked... to feel that I don't exist. Now a self-portrait is almost a reminder to me that I do exist.
I have been photographing the portrait of an end of an era, as machines and computers replace human workers. What we have in these pictures is an archeology.
Oh, you ask me, what is the greatest torture of a person who does portraits for a living? I could fill several volumes with nice nasty stories. I don't know.