A Quote by Toyin Odutola

I've always felt the portrait is an occasion for marks to happen. I've never viewed the portrait as about the sitter. Even when I go to the National Portrait Gallery, I'm not thinking about the sitter; I'm thinking about how the artist chose that color or that highlight. It becomes about the time, place, and context.
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.
A photographic portrait needs more collaboration between sitter and artist than a painted portrait.
Every portrait that is painted with feeling is a portrait of the artist, not of the sitter.
Among the things she said: "Women seem to possess all the natural gifts essential to a good portraitist ... such as personality, patience and intuition. The sitter ought to be the predominating factor in a successful portrait. Men portraitist are apt to forget this; they are inclined to lose the sitter in a maze of technique luxuriating in the cleverness and beauty of their own medium."
What is a portrait good for, unless it shows just how the subject was seen by the painter? In the old days before photography came in a sitter had a perfect right to say to the artist: "Paint me just as I am." Now if he wishes absolute fidelity he can go to the photographer and get it.
I sort of feel that the role of a portrait in society is to represent the sitters, we see paintings of Shakespeare and we believe that it is what he looked like, well maybe a little older, fatter and with a higher hairline. I guess it would be cool if the portraits that were painted really did look like the sitter or expressed some sort of emotion that gave the viewers in the future a sense of the sitter's pathos at the time it was painted.
The artist who imagines that he puts his best into a portrait in order to produce something good, which will be a pleasure to the sitter and to himself, will have some bitter experiences.
I had been elected to the National Academy of Design in New York, and one of the requirements was that you give a portrait, a self-portrait of yourself.
A portrait, to be a work of art, neither must nor may resemble the sitter... one must paint its atmosphere.
The reason that I'm an actor, or an artist, is ultimately because I'm trying to paint a self-portrait, and the most complete and beautiful self-portrait that you can.
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.
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.
I love going to galleries, particularly the National Portrait Gallery.
All my life I’ve pursued the perfect red. I can never get painters to mix it for me. It’s exactly as if I’d said, ‘I want rococo with a spot of Gothic in it and a bit of Buddhist temple’—they have no idea what I’m talking about. About the best red is to copy the color of a child’s cap in any Renaissance portrait.
Traffic is about drugs. As detailed a portrait as I can muster about what is happening in the drug world, from top to bottom, from policy to how things move on the street.
The diagram of the house is a portrait of the family, a true portrait, whether it's sad or happy.
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