A Quote by Francesco Clemente

That moment when the person actually dictates the way I do the portrait is when the intimacy arrives. — © Francesco Clemente
That moment when the person actually dictates the way I do the portrait is when the intimacy arrives.
Every image is in some way a “portrait,” not in the way that it would reproduce the traits of a person, but in that it pulls and draws (this is the semantic and etymological sense of the word), in that it extracts something, an intimacy, a force.
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.
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.
Sometimes a loss that just comes out of left field rings in a very weird way when you have actually sort of relied on this small moment with this or that person, as a moment that actually has defined something for you in your life.
Marriage is a way to avoid intimacy. It is a trick to create a formal relationship. Intimacy is informal. If a marriage arises out of intimacy it is beautiful but if you are hoping that intimacy will arise out of marriage, you are hoping in vain. Of course, I know that many people, millions of people, have settled for marriage rather than for intimacy - because intimacy is growth and it is painful.
I think that there comes a point in the life of every young person to break away from the intimacy that they share with their parents. It is not to say that the intimacy is lost, but that it needs to change as children forge an autonomous identity and make their way into the adult world.
It's almost weirder sometimes when you don't have a full life experience with someone's ups and downs, knowing what they've been through. Sometimes a loss that just comes out of left field rings in a very weird way when you have actually sort of relied on this small moment with this or that person, as a moment that actually has defined something for you in your life.
There's a belonging problem in Hollywood. Who dictates who belongs? The very body who dictates that looks all one way.
The inspired moment may sometimes be described as a kind of hallucinatory state of mind: one half of the personality emotes and dictates while the other half listens and notates. The half that listens has better look the other way, had better simulate a half attention only, for the half that dictates is easily disgruntled and avenges itself for too close inspection by fading entirely away.
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.
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.
The whole point of working and practicing your whole life is so that you're ready when that moment arrives; when the inspiration arrives, you are ready to be at the disposal of inspiration.
Consciousness-raising is at the very least supposed to bring about an intimacy, but what it seems instead to bring about are the trappings of intimacy, the illusion of intimacy, a semblance of intimacy.
Fiction, at its best, is a radical act of intimacy. It seeks to join, to merge, to know deeply; and, as with intimacy, there is a way in which it cannot be faked.
I do not paint a portrait to look like the subject, rather does the person grow to look like his portrait.
I think our lack of intimacy with the land has initiated a lack of intimacy with each other. What we perceive as non- human, outside of us, is actually in direct relationship with us.
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