A Quote by Rolf Harris

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.
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 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.
I wanted to be a hero, then I wanted to be an actor. But always I wanted to be respected as a good human being.
The explanation of the propensity of the English people to portrait painting is to be found in their relish for a Fact. Let a man do the grandest things, fight the greatest battles, or be distinguished by the most brilliant personal heroism, yet the English people would prefer his portrait to a painting of the great deed. The likeness they can judge of; his existence is a Fact. But the truth of the picture of his deeds they cannot judge of, for they have no imagination.
I was good friends with Frank Sinatra, I heard Steve Kaufman painting his portrait, so I asked Steve to paint my portrait.
When I paint a person, his enemies always find the portrait a good likeness.
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.
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. 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.
I wanted to do everything right. I wanted to be good, and I wanted to be obedient, and I wanted to be the object of my parents' pride. I wanted to go to Heaven.
It wasn't that I had any great dream of being an architect. I just wanted to make things. Whether it was furniture, painting, interior design, or architecture. I just wanted to create something.
Every portrait that is painted with feeling is a portrait of the artist, not of the sitter.
I remember travelling up and down the road, and I kept journals during my whole career, and I was always making notes about things I wanted to say, words I wanted to create, actions I wanted to do, things I wanted to do to make the character more imaginative and fantastical.
I wanted a new experience, to learn another language. I wanted to be different. I wanted people to realise I'm taking my coaching career very seriously. I wanted to create my own pathway.
When I began designing my Spring '13 collection, it wasn't even Spring '12 yet. Snow was actually still on the ground in New York, but I knew I wanted this particular spring season to be freer, more colorful, easier, more about feeling good, and I wanted there to be a sexier feeling than we've been known for in the past.
I do not paint a portrait to look like the subject, rather does the person grow to look like his portrait.
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