A Quote by John Singer Sargent

I hate to paint portraits! I hope never to paint another portrait in my life. Portraiture may be all right for a man in his youth, but after forty I believe that manual dexterity deserts one, and, besides, the color-sense is less acute. Youth can better stand the exactions of a personal kind that are inseparable from portraiture. I have had enough of it.
I paint in oils, I paint in acrylics. I paint figurative and landscape portraits. It's all in my own kind of style. I'm self-taught.
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.
I never had any urge or desire to do like a big spectacular movie with thousands and thousands of extras. I'd rather watch paint drying. But put me in a room with three people having a hard time, like a character situation, and then you're into a really intense portraiture kind of concept.
You start with a generic body, but I think the first wall you hit with portraiture is comprised of history and storytelling and the nature of characters - whether they are historical or coming from literature or documentation. Those are the references we have to people, besides your family, and the intimacy of portraiture is in the specifics of individuals. For me, it came out of doing things about animals.
Ah! Portraiture, portraiture with the thought, the soul of the model in it, that is what I think must come.
The most horrible question students ask: 'How do you paint copper?' 'How do you paint flesh or glass?' You paint everything the same way: Right color, right value, in right spot. There are no prescriptions.
You can never judge a paint hue by the liquid color in the paint pot. You must apply it to a wall, wait for the paint to dry, then decide.
A form of art that I like is portraiture. I've been thinking about portraiture, and its relationship to writing and literature, biography and autobiography, and so that will be my next thing.
Man ever talks, and Man ever dreams Of better days that are yet to be, After glittering goal, that distant gleams, Running and racing untiringly. The worldly may grow old and young as it will, But the Hope of man is Improvement still. Hope bears him into life in her arms, She flutters around the boy's young bloom, The soul of youth with her magic warms, Nor rests with age in the silent tomb; For ends man his weary course at the grave, There plants he Hope o'er his ashes to wave.
The intimation never wholly deserts us that there is, in the unformed activities of childhood and youth, the possibilities of a better life for the community as well as for individuals here and there. This dim sense is the ground of our abiding idealization of childhood.
Beware how in making the portraiture thou breakest the pattern: for divinity maketh the love of ourselves the pattern; the love of our neighbours but the portraiture.
As I approve of a youth that has something of the old man in him, so I am no less pleased with an old man that has something of the youth. He that follows this rule may be old in body, but can never be so in mind.
The most dangerous kind of man is not the one who spent his youth shoving others around. That kind of man gets lazy, and is often too content with his life to be truly dangerous. The man who spent his youth being shoved around, however … When that man gets a little power and authority, he often uses it to become a tyrant on par with the worst warlords in history.
I don't paint women, I paint pictures. . . What I am after above all is expression. If in a portrait I put eyes, a nose, a mouth, there isn't much use; on the contrary it paralyses the imagination of the spectator, and obliges us to see the person in a certain way.
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.
My responsibility isn't to paint a flattering portrait; my responsibility is to paint a real portrait, a true portrait.
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