A Quote by Howard Hodgkin

I'm very envious of the few artists who are any good and still do portraits. — © Howard Hodgkin
I'm very envious of the few artists who are any good and still do portraits.
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.
You would have to be very optimistic to think that any of your books will be among the books that survive in the very long run. I think if a writer is lucky enough to still have a few books around after he's gone, a few that are still being read, then he's accomplished quite a lot.
Any good director, and I've worked with a few that I would call very good, they know how to disarm any anxieties very quickly.
Commercial success still hasn't come to an artist that isn't signed to a record label. There are very few artists that can succeed without the help of a record label. The role of the record label is still required, it's still necessary.
I paint German artists whom I admire. I paint their pictures, their work as painters, and their portraits too. But oddly enough, each of these portraits ends up as a picture of a woman with blonde hair. I myself have never been able to work out why this happens.
There are very few of us, who reach my advanced age, who are still working in the business, as writers. As artists, people can hang out longer.
I studied philosophy in school, became disgruntled by the fact that it was a way to have a very interesting conversation with very few people about very few things in very narrow terms and yet still believed (and still believe today) that there was something that I was getting myself involved in when I said I wanted to study philosophy.
I've always been into subcultures. In the '50s and '60s, what Pierre Molinier was doing was super subculture - he was taking self-portraits, it was very private, very intimate. I think that's actually how I started my drag - in my bedroom, taking MacBook self-portraits.
The movies today are too rich to have any room for genuine artists. They produce a few passable craftsmen, but no artists. Can you imagine a Beethoven making $100, 000 a year?
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.
The one-legged creature is envious of the millipede; the millipede is envious of the snake; the snake is envious of the wind; the wind is envious of the eye; the eye is envious of the heart.
You can consciously make a difference with music. Bob Marley is one of those few artists that everyone can say that they love. He makes you feel good. It's very real.
A lot of artists make art for five years, some artists make art for ten years, a few make art for fifteen: very few do it until they die.
The very paradigm of revolution, of right versus wrong, good versus bad, is a relic with no bearing on the present. Yet artists, exhibitions, and curators valorize the sixties. People who wrote about these artists 30 years ago still write about them in the same ways, often for the same magazines.
All the children of America, up to age seven or eight or nine or ten - they're really great artists. So here we've got this amazing work that very few people pay any attention to, and it's not valued by the culture.
I'm very pragmatic in that I know there are very few greats in anything. I got lucky just to have gotten two of the real great filmmakers very early on. Better to have had them than to not have had them. I've been really fortunate. That's the key relationship on a movie: the director and the actor. Of course, you can't compare the experiences. When you're in your early 20s, you're a very different person. It was a very exciting time, and my whole world was changing. Now I'm looking back, and hoping I can still offer something. Still do good work.
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