A Quote by Edgar Degas
Do portraits of people in familiar and typical attitudes, above all give to their face the same choice of expression that one gives to their body.
Related Quotes
Make portraits of people in typical, familiar poses, being sure above all to give their faces the same kind of expression as their bodies.
Make people's portraits in familiar and typical attitudes.
Be sure to give the same expression to a person's face that you give to his body.
I'm not the typical doctor that gives patients what they want. I don't do that. I try to give them what I want as long as they're okay with that. I know what's going to match their face.
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.
So many people want to have this typical look and this typical everything and it's all the same everywhere.
At DonorsChoose.org, you can give as little as $1 and get the same level of choice, transparency, and feedback that is traditionally reserved for someone who gives millions. We call it citizen philanthropy.
As time passes by and you look at portraits, the people come back to you like a silent echo. A photograph is a vestige of a face, a face in transit. Photography has something to do with death. It's a trace.
There's not really a choice about, am I going to pursue a typical career? Because I'm not the typical standard, so that's not even an option.
Eloquence resides as much in the tone of voice, in the eyes, and in the expression of the face, as in the choice of words.
Make your faces so that they do not all have the same expression, as one sees with most painters, but give them different expression, according to age, complexion, and good or bad character.
I think love is often a bit selfish, even before we had consumerism. That's not new. A consumer society gives you the illusion of having massive amounts of choice and saddles you with the freedom of being able to dabble in that choice. And at the same time, you are left with the tyranny of self-doubt and uncertainty about whether you made the right choice.
The people have to know what my portraits are like in order to behave in such a way that the result is one of my portraits.
When I take photographs, my body inevitably enters a trancelike state. Briskly weaving my way through the avenues, every cell in my body becomes as sensitive as radar, responsive to the life of the streets... If I were to give it words, I would say: "I have no choice... I have to shoot this... I can't leave this place for another's eyes... I have to shoot it... I have no choice." An endless, murmuring refrain.
I have no little insight into the feelings of furniture, and treat books and prints with a reasonable consideration. How some people use their pictures, for instance, is a mystery to me; very revolting all the same--portraits obliged to face each other for ever--prints put together in portfolios.
When you are young, you admire the people you see on TV and you want to have the same gestures and the same attitudes and behave in the same way. It is a responsibility.
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