A Quote by Alfred Stieglitz
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.
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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.
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.
A portrait photographer depends upon another person to complete his picture. The subject imagined, which in a sense is me, must be discovered in someone else willing to take part in a fiction he cannot possibly know about.
What I find really interesting is, whenever you see the person who gives you the portrait of yourself, the portrait seems to be a combination of their face and your face.
Yet each of us also carries another portrait with us, a picture far more important than any in our wallet. Psychologists have a name for it. They call that mental picture of ourselves, our self-image. ... there's always the person whose self-image is bent all out of shape, like a photo carried too long in a wallet.The good news of the tremendous worth we have in God's eyes can light up our inner self-portrait.
I do not paint a portrait to look like the subject, rather does the person grow to look like his portrait.
The diagram of the house is a portrait of the family, a true portrait, whether it's sad or happy.
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.
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.
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.
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.
It is not likely that posterity will fall in love with us, but not impossible that it may respect or sympathize; so a man would rather leave behind him the portrait of his spirit than a portrait of his face.
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.
My responsibility isn't to paint a flattering portrait; my responsibility is to paint a real portrait, a true portrait.
We demand that people should be true to the pictures we have of them, no matter how repulsive those pictures may be: we prefer the true portrait in all its homogeneity, to one with a detail added which refuses to fit in.
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