A Quote by Samuel Johnson

Each person's work is  always a portrait of himself. — © Samuel Johnson
Each person's work is always a portrait of himself.
An honest self-portrait is extremely rare because a man who has reached the degree of self-consciousness presupposed by the desire to paint his own portrait has almost always also developed an ego-consciousness which paints himself painting himself, and introduces artificial highlights and dramatic shadows.
Every man's work, whether it be literature, or music or pictures or architecture or anything else, is always a portrait of himself.
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’ve always thought that each person invented himself… that we are each a figment of our own imagination. And some people have a greater ability to imagine than others.
Each person has his special moment of life when he unfolded himself to the fullest, felt to the deepest, and expressed himself to the utmost, to himself and to others.
Yet each of us also carries another portrait with us, a picture far more important than any in our wallet. Psychologists have a name for it. They call that mental picture of ourselves, our self-image. ... there's always the person whose self-image is bent all out of shape, like a photo carried too long in a wallet.The good news of the tremendous worth we have in God's eyes can light up our inner self-portrait.
Each person is an island unto himself, in a very real sense; and he can only build bridges to other islands if he is first of all willing to be himself and permitted to be himself.
An infinite God can give all of Himself to each of His children. He does not distribute Himself that each may have a part, but to each one He gives all of Himself as fully as if there were no others.
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.
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 problem is to find a form of association which will defend and protect with the whole common force the person and goods of each associate, and in which each, while uniting himself with all, may still obey himself alone, and remain as free as before.
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.
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.
When I paint a person, his enemies always find the portrait a good likeness.
Each person is oriented toward a quest for his personal invisible guide, or . . . he entrusts himself to the collective, magisterial authority as the intermediary between himself and Revelation.
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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