A Quote by Jamie Wyeth

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. — © Jamie Wyeth
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.
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.
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.
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.
To make money, I did portraits . The truth is so bizarre! I'm kind of embarrassed. I was like a 19th-century pirate painter. I'd say, 'Your mom would love a painting of you!' A salesman! I'd hawk paintings.
One of the reasons why I love acting is my obsession with human emotion and faces and expressions - no surprise, then, that I usually end up painting faces. But I haven't done a self-portrait. I'd be too scared.
I have no ideas about what the paintings imply about the world. I don't think that's a painter's business. He just paints paintings without a conscious reason.
I'm quite a precious painter; my style is a messy fine art - sort of impressionist. I do portraits, I love painting other artists, but recently, I've been playing around with self portraits, putting on different characters.
There's always been a separation between fashion and what I call my 'deeper' work. Fashion is where I make my living. I'm not knocking it. It's a pleasure to make a living that way. It's pleasure and then there's the deeper pleasure of doing my portraits. It's not important what I consider myself to be, but I consider myself to be a portrait photographer.
I have painted portraits that to me are almost photographic. I remember hesitating to show the paintings, they looked so real to me. But they have passed into the world as abstractions - no one seeing what they are.
Paint records the most delicate gesture and the most tense. It tells whether the painter sat or stood or crouched in front of the canvas. Paint is a cast made of the painter's movements, a portrait of the painter's body and thoughts.
Just as a human soul that faces great difficulties also faces great opportunities for spiritual growth, so a human society that faces destruction also faces the opportunity to enter a period of renaissance. I think that, barring an accident, the wish to survive will keep us from a nuclear war.
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.
I do mostly portraits. So it's just people's faces, not really any ideas.
The painter's portrait and the physicist's explanation are both rooted in reality, but they have been changed by the painter or the physicist into something more subtly imagined than the photographic appearance of things.
I'm interested in human vulnerability. We are alone, and my portraits reflect this quality. I don't want anything to get in the way of this feeling.
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.
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