A Quote by Giles Duley

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. — © Giles Duley
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.
I was good friends with Frank Sinatra, I heard Steve Kaufman painting his portrait, so I asked Steve to paint my portrait.
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 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 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.
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.
I think that deprecation part is a very important aspect because when someone looks into themselves, if they're going to be honest, they're going to see parts that are humiliating as well as parts that they might feel really great about. Take Lucas Samaras again, who made a lot of self-portraits. He makes one self-portrait where he is looking directly into the camera and looks so intense and cool. He says in an interview, "I wanted to present the best version of myself."
I'm an odd portrait painter in that I'm not just interested in human faces. I consider almost all of my paintings to be portraits.
That moment when the person actually dictates the way I do the portrait is when the intimacy arrives.
There's a discipline. When you take someone's portrait, you don't have to take 50 photographs, just find that one so that when you release the shutter, that's the image that you took.
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.
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.
When I was a teenager, I wanted to be a portrait painter. As I got to be older, I realized that as a portrait painter I wouldn't be able to support a goldfish.
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