Quotes of All Topics . Occasions . Authors
Portraits of other great ones look down on you in your college halls; but while you are young and sit at the brief feast, what avails their serene gaze if it do not lift up your hearts and movingly persuade you to match your manhood to its inheritance?
I was shooting lots of large format portraits then but I've since changed to digital, where you have so much more control. There are millions of things you can do with digital; you can be more spontaneous, and you're more in control of your color palette.
When I did my self-portrait, I left all the pimples out because you always should. Pimples are a temporary condition and they don't have anything to do with what you really look like. Always omit the blemishes-they're not part of the good picture you want.
every portrait that is painted with feeling is a portrait of the artist, not of the sitter. The sitter is merely the accident, the occasion. It is not he who is revealed by the painter; it is rather the painter who, on the coloured canvas, reveals himself.
In the beginning, I started doing portraits of children, and of course, children have large eyes. For some reason, they just started getting bigger and bigger. Then, when I started painting imaginary children rather than real ones, they became bigger still.
What we know about Cleopatra's looks is based purely on her coin portraits. Engraving was imperfect, and that when you are a ruler and you ask for a coin to be engraved with your likeness on it, you are probably trying to project a certain air of authority.
If I was in love with someone, I would get their picture out of the school yearbook and do portraits. If I was curious about sex, I would draw pictures of it. There were no books for me to look at. Then I would go find my father's matches to burn the paper.
I wasn‘t—" I began. I didn‘t—" He began. How charming," V‘lane cut us off. His voice arrived before he did. "The very portrait of human domestic bliss. She‘s on the floor, you‘re towering over her. Did he strike you, MacKayla? Say the word and I‘ll kill him.
What really surprised me was how strange my paintings are anyway. To me, it's like, "Let's paint some portraits and some objects. Don't make it weird, just make it dead straight," but it's still weird. I don't know why. I guess it's just the way I see things.
My early childhood equipped me really well for my portrait work: The quick encounter, where you are not going to know the subject for very long. These days I am much more comfortable with the fifteen minute relationship, than I am with a life long relationship.
I paint German artists whom I admire. I paint their pictures, their work as painters, and their portraits too. But oddly enough, each of these portraits ends up as a picture of a woman with blonde hair. I myself have never been able to work out why this happens.
There's nothing more superficial to do than to paint a beautiful woman. The most beautiful portraits in art were of ugly women. If you paint Brigitte Bardot, it's a disaster. Sunsets, you have to stay away from sunsets. You paint a sunset, you are in great danger.
A journalist is supposed to present an unbiased portrait of an event, a view devoid of intimate emotions. This is impossible, of course. The framing of an image, by its very composition, represents a choice. The photographer chooses what to show and what to exclude.
In 1984, I was contacted by Michael Taylor, who had won a commission from a sponsor and decided he would like to paint a picture of me. I agreed to do it, because I'm not unused to sitting for portraits: my father was a commercial artist and I used to model for him.
You know how you feel somebody looking at you, and you turn, and somebody actually is? It's the same at an art gallery. You're looking at one portrait, turn around, and there is a work of art directly behind you. Because it's all energy. Every single thing has energy.
When I was painting portraits and - shall we say? - rather allegorical heads, which is the figurative work which immediately preceded the direction I have since gone, these images were always of a very fixed, rigid quality, and, of course, my work still has this aspect.
The painter who is so enamoured by the beauties of the parts of a landscape, that he strives to represent all, cannot succeed. His picture will be an arrangement of a series of portraits of things without unity... There must be variety and contrast, but in measured doses.
You that would judge me, do not judge alone this book or that, come to this hallowed place where my friends' portraits hang and look thereon; Ireland's history in their lineaments trace; think where man's glory most begins and ends and say my glory was I had such friends.
It's almost embarrassing, but I do have one trick for taking portraits on commission. I carry one of these little bicycle horns in my pocket, and once in a while, when someone is sour-faced or stiff, I blow my horn. It sort of shatters the barriers. It's silly, but it works.
While I began writing 'Rules of Civility' in 2006, the genesis of the book dates back to the early 1990s, when I happened upon a copy of 'Many Are Called,' the collection of portraits that Walker Evans took on the New York City subways in the late 1930s with a hidden camera.
When I was first exposed to the films of Ingmar Bergman, I found them frank and disturbing portraits of the world we live in, but that was not something that displeased me. They were beautiful. I thought people would respond to my plays the way I responded to Bergman's films.
A photographic portrait is a picture of someone who knows he's being photographed, and what he does with this knowledge is as much a part of the photograph as what he's wearing or how he looks. He's implicated in what's happening, and he has a certain real power over the result.
In this deeply nuanced portrait of an American family, Bret Anthony Johnston fearlessly explores the truth behind a mythic happy ending. In Remember Me Like This, Johnston presents an incisive dismantling of an all-too-comforting fallacy: that in being found we are no longer lost.
I think I'm just generally more interested in figuration than abstraction. I think that painting abstraction often feels like painting colors to me, whereas portraits always feel like something connected. I like the exchange, the collaborative aspect of sitter and subject for sure.
What the worm was to the corpse, his sins would be to the painted image on the canvas. They would mar its beauty, and eat away its grace. they would defile it, and make it shameful. And yet the thing would still live on. It would be always alive. (Dorian Gray regarding his portrait)
I was hoping to do an impressionist painting, but I wanted a good likeness and I wanted to create a feeling of the lady as a person, as a human being rather than as a figurehead for the monarchy and a pomp-and-circumstance sort of formal portrait. I wanted more of a relaxed portrait.
One of the things I learned on the street was to trust life and to keep hands off of it, and that feeling continues in the rest of the works that I do, the portrait, the landscapes, or any interest that I have. Things are good enough as they are, there's no reason to tamper with them.
It [Lincoln movie] had nothing to do with politics. It had nothing to do with holding a mirror up to the way we conduct our business on Capitol Hill. This was meant to be a story, a Lincoln portrait if you will. I think any time is the right time for a very compelling story, any time.
What a conception of art must those theorists have who exclude portraits from the proper province of the fine arts! It is exactly as if we denied that to be poetry in which the poet celebrates the woman he really loves. Portraiture is the basis and the touchstone of historic painting.
Fruits ... like having their portrait painted. They seem to sit there and ask your forgiveness for fading. Their thought is given off with their perfumes. They come with all their scents, they speak of the fields they have left, the rain which has nourished them, the daybreaks they have seen.
Ben Marcus has created an innovative and unflinching portrait of the turmoil of the human condition, providing the reader a most rare gift: something truly new. Notable American Women contains strains of Donald Antrim and Samuel Beckett but is beholden to neither; it is a brave, original book.
I was born in the Golden West, reared in the arms of the Church, deluged with saints to draw from, and suckled on Italian art: my slates were covered from end to end with portraits of Savonarola, Fra Angelico, and Wild Bill and Sitting Bull; I knew all equally well and admired them about alike.
Many billboards and magazine ads have resorted to showing isolated body parts rather than full-body portraits of models using or wearing products. This style of photography, known in the industry as abstract representation, allows the viewer to see himself in the advertisement, rather than the model.
In March 2010, I attended an art opening for Kimberly Brooks's show 'The Stylist Project' in Los Angeles. It was a starry celebration hosted by Dior and 'Vanity Fair' to benefit P.S. Arts. But even as fun-to-gape-at actresses like Christina Hendricks arrived, I couldn't take my eyes off the oil portraits.
'Painting like a child' isn't a negative for me... it's something only great artists can really achieve. The childlike quality of some of Picasso's drawings is precisely what makes them so masterful and extraordinary; the ability to express complete visions, feelings and portraits through a continuous line.
I am living a new and exalted life of late. It steeps me in a sacred rapture to see a portrait develop and take soul under my hand. First, I throw off a study - just a mere study, a few apparently random lines - and to look at it you would hardly ever suspect who it was going to be; even I cannot tell, myself.
Each of us chooses the tone for telling his or her own story. I would like to choose the durable clarity of a platinum print, but nothing in my destiny possesses the luminosity. I live among diffuse shadings, veiled mysteries, uncertainties; the tone of telling my life is closer to that of a portrait in sepia.
My paintings are loosely based on meta narratives. The pictures float in and out of pictorial genres. Still life's become personified, portraits become events, and landscapes become constructions. I embrace the area between which the subject is composed and decomposing, formed and formless, inanimate and alive.
The Confessions of Catherine de Medici is a dramatic, epic novel of an all-too-human woman whose strength and passion propelled her into the center of grand events. Meticulously-researched, this engrossing novel offers a fresh portrait of a queen who has too often been portrayed as a villain. Bravo Mr. Gortner!
I still find doing portraits a terrific challenge, but even though I've done hundreds of them, I've never stopped questioning the very nature of portraiture because it deals exclusively with appearances. I've never believed people are what they look like and think it's impossible to really know what people are.
The portrait of a person is one of the most difficult things to do. It means you must almost bring the presence of that person photographed to other people in such a way that they don't have to know that person personally, but that they are still confronted with a human being that they won't forget. That's a portrait.
I collect old portraits. They're all just interesting pictures of people, and you just kind of wonder who they were and what they were. There's a guy - I don't know who he is, but he's wearing a suit. He's got his arms folded, and he looks like he sold insurance or something. I'm just wondering why someone painted him.
I wasn't thinking of a sequel when I finished 'Life Class.' What changed my mind was the perception that the characters had a lot of life left in them, a lot of unresolved conflicts, and also I became interested in the Tonks pastel portraits of facially disfigured soldiers and in the whole area of facial reconstruction.
Memes can be visual. Our image of George Washington is a meme. We don't actually have any idea what George Washington looked like. There are so many different portraits of him, and they're all different. But we have an image in our head, and that image is propagated from one place to another, from one person to another.
The portrait painter... If he insults his sitters his occupation is gone. Whether he paints the should instead of the features, or the latter with all its natural blemishes, he is as presumptuous as if he shouted, 'What a face. Hide it.' which would never do, although it is analogous to what landscape painters are doing every day.
There is something uniquely depressing about the fact that the National Portrait Gallery’s version of the Barack Obama “Hope” poster previously belonged to a pair of lobbyists. Depressing because Mr. Obama’s Washington was not supposed to be the lobbyists’ Washington, the place we learned to despise during the last administration.
My father was a San Francisco firefighter. He also was an amateur artist. Art ran deep on his side of the family, which originated in Spain. He painted our portraits. My mom, Jacqueline, was Scots-Irish. They met in 1947 when dad played for the Houston Buffalos, a minor league baseball team affiliated with the St. Louis Cardinals.
It has been difficult to hold onto many paintings but I have retained a few. Possibly the current favorite is titled 'Big Band' completed in 2005. It measures 13 feet x 9 feet. It has 18 nearly life size recognizable portraits of the biggest jazz stars that I knew and saw perform in the 1950s, '60s, '70s, '80s and includes Wynton Marsalis.
A writer has to take all the risks of putting down what he sees. No one can tell him about that. No one can control that reality. It reminds me of something Pablo Picasso was supposed to have said to Gertrude Stein while he was painting her portrait. Gertrude said, “I don’t look like that.” And Picasso replied, “You will.” And he was right.
I love a good comedy, but the slapstick sitcom belly-laugh sort of comedy - the multicam thing - is not really where my interests lie. I'm very interested in single-cam, in intimate portraits. I like it when comedies have a little bit of realism and a little bit of darkness to them. It makes them more palatable and more relatable and grounded.