A Quote by Stuart Pearson Wright
Some sitters don't engage with the process of having their portrait painted at all. They'll think it's a good opportunity to catch up with all their phone calls.
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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.
Phones with numerical keypads worked best for dialing phone calls. Incidentally, phone calls tend to be the primary function of a phone. 'Smartphones' completely ignore these basic facts, resulting in some of the least intelligent devices I've seen yet. Oh the irony.
To anyone who has served in Washington, there is something oddly familiar about [having your portrait painted]. First, you're painted into a corner, then you're hung out to dry and, finally, you're framed.
When I was a kid, phone calls were a premium commodity; only the very coolest kids had a phone line of their own, and long-distance phone calls were made after eleven, when the rates went down, unless you were flamboyant with your spending. Then phone calls became as cheap as dirt and as constant as rain, and I was on the phone all the time.
I think one of the great things is that when I got started, no one would return my calls, and now I get a lot of phone calls, which is good. I have options.
You have no idea what portrait painters suffer from the vanity of their sitters.
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.
And opportunity doesn't always come. I thought I should have had a head-coaching opportunity a long time ago. Called plays in the Super Bowl. Won the game. No phone calls.
Eloquence is a painting of thought; and thus those who, after having painted it, add something more, make a picture instead of a portrait.
How does an artist know when the line that he just painted is good or not good? That's the catch. De Kooning was the greatest of my contemporaries in art, and he knew when he'd done a good line. When he didn't, he threw it away. I wish I'd thrown away some of mine.
Every day, I absorb countless data bits through emails, phone calls, and articles; process the data; and transmit back new bits through more emails, phone calls, and articles. I don't really know where I fit into the great scheme of things and how my bits of data connect with the bits produced by billions of other humans and computers.
When having my portrait painted I don't want justice, I want mercy.
Everybody knows I return all of my phone calls. I pick up my cell phone myself, much to the chagrin of my staff.
I'm enjoying everything in my life, but I think the element of surprise in show business is what makes us really love it, because one day you're sitting by the phone waiting to do something or not doing anything, and the next day you've got the chance of a lifetime. Those little phone calls don't come up so often, but when they come up, it's fantastic.
Some of us have such incredible things that can keep us from acting. We have the luxury of drinking such good wine, and having such good information at our fingertips. I can look up anything on my computer. And I can call any friend at the drop of a hat on my cell phone. And I can have beautiful clothing and great food in a world where people are being tortured. I have some responsibility for that.
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