A Quote by Oscar Wilde
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.
Related Quotes
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.
A photographic portrait needs more collaboration between sitter and artist than a painted portrait.
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.
What is a portrait good for, unless it shows just how the subject was seen by the painter? In the old days before photography came in a sitter had a perfect right to say to the artist: "Paint me just as I am." Now if he wishes absolute fidelity he can go to the photographer and get it.
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.
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.
The artist who imagines that he puts his best into a portrait in order to produce something good, which will be a pleasure to the sitter and to himself, will have some bitter experiences.
Among the things she said: "Women seem to possess all the natural gifts essential to a good portraitist ... such as personality, patience and intuition. The sitter ought to be the predominating factor in a successful portrait. Men portraitist are apt to forget this; they are inclined to lose the sitter in a maze of technique luxuriating in the cleverness and beauty of their own medium."
As light fades and the shadows deepen, all petty and exacting details vanish, everything trivial disappears, and I see things as they are in great strong masses: the buttons are lost, but the sitter remains; the sitter is lost, but the shadow remains; the shadow is lost, but the picture remains. And that, night cannot efface from the painter's imagination.
The painter paints his brushes black, Through the canvas runs a crack, Portrait of the pain never answers back...
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.
If I had gone to art college and everybody was being a conceptual artist, I probably would have wanted to be a portrait or landscape painter.
I'm a painter. I'm still a painter and I will die a painter. Everything that I have developed has to do with extending visual principles off the canvas.
A portrait, to be a work of art, neither must nor may resemble the sitter... one must paint its atmosphere.
Sargent, when he painted the size of life, placed his canvas on a level with the model, walked back until canvas and sitter were equal before his eye, and was thus able to estimate the construction and values of his representation.
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