Top 260 Portraits Quotes & Sayings - Page 3

Neurologically, I'm a quadriplegic, so virtually everything about my work has been driven by my learning disabilities, which are quite severe, and my lack of facial recognition, which I'm sure is what drove me to paint portraits in the first place.

I'm ashamed to say, I've done hideous pen portraits of people I don't like in my novels. And they'll say, 'Oh, that person was hideous,' and I'm nodding, and I'm thinking, 'It's you, you fool!'

There is nothing that special to see when looking at me. I'm a painter who paints day in day out, from morning till evening - figure pictures and landscapes, more rarely portraits.

What a conception of art must those theorists have who exclude portraits from the proper province of the fine arts! It is exactly as if we denied that to be poetry in which the poet celebrates the woman he really loves. Portraiture is the basis and the touchstone of historic painting.

Geography is crucial for my work. I went to Antarctica and took a studio to several of the main ice fields to make field recordings of ice to create a symphony - acoustic portraits of ice.

Winckelmann wished to live with a work of art as a friend. The saying is true of pen and pencil. Fresh lustre shoots from Lycidas in a twentieth perusal. The portraits of Clarendon are mellowed by every year of reflection.

I used to walk down the Justice Department on the fifth floor and see all those portraits of legendary attorneys general, Griffin Bell and Robert Jackson and people like that. Bill Barr will not be like that.

I do portraits. I usually do live models in a class environment, but I've been painting at home more. I really love the human form, and I love faces. I've tried to do landscapes a few times.

While I began writing 'Rules of Civility' in 2006, the genesis of the book dates back to the early 1990s, when I happened upon a copy of 'Many Are Called,' the collection of portraits that Walker Evans took on the New York City subways in the late 1930s with a hidden camera.

In the past there were too many portraits of Chairman Mao in China. They were hung everywhere. That was not proper and it didn't really show respect for Chairman Mao.

I've always said that the Europeans subconsciously knew how to pose because of the culture or tradition of having your portrait made. They were surrounded by these portraits, and subconsciously they were already posing for them.

Kenneth Hari does not paint portraits as they are but as he is. I feel he is hiding something from me. To board a train into his mind would give me a ride into dark adventure.

Portraits of the Mind is a remarkable book that combines beautifully reproduced illustrations of the nervous system as it has been visualized over the centuries, as well as lively and authoritative commentaries by some of today's leading neuroscientists. It will be enjoyed by professionals and general readers alike.

Cassius and Brutus were the more distinguished for that very circumstance that their portraits were absent. [Lat., Praefulgebant Cassius atque Brutus eo ipso, quod effigies eorum non videbantur.]

My movies are film-paintings - moving portraits captured on celluloid. I'll layer that with sound to create a unique mood -- like if the Mona Lisa opened her mouth, and there would be a wind, and she'd turn back and smile. It would be strange and beautiful.

Everyone thinks these are self-portraits but they aren't meant to be. I just use myself as a model because I know I can push myself to extremes, make each shot as ugly or goofy or silly as possible.

I love movies, don't get me wrong. But I don't go to the cinema. I see movies at the end of the year as a glut from the Academy. I binge-watch all the nominated films. Painting fills that void now. It's oils. It's acrylics. It's figurative, portraits and landscape.

We came to the house, and it is an old house, full of great chimneys where wood is burnt on ancient dogs upon the hearth, and grim portraits (some of them with grim legends, too) lower distrustfully from the oaken panels of the walls.

What came out of that was an intense obsession with status anxiety. So much of these portraits are about fashioning oneself into the image of perfection that ruled the day in the 18th and 19th centuries. It's an antiquated language, but I think we've inherited that language and have forwarded it to its most useful points in the 21st century.

The painter who is so enamoured by the beauties of the parts of a landscape, that he strives to represent all, cannot succeed. His picture will be an arrangement of a series of portraits of things without unity... There must be variety and contrast, but in measured doses.

We... joked a little about presidential portraits. He [Bill Clinton] told me that he and Harrison Ford had been joking recently about how chins drop with age, and he didn't want to look that way.

To ask people's permission to take their pictures? Sometimes it feels right to ask, but I will not ask, unless it is essential to do so. If you asked all the time, you would miss everything. With the exception of portraits, it is generally bad news if people are looking at the camera.

As time passes by and you look at portraits, the people come back to you like a silent echo. A photograph is a vestige of a face, a face in transit. Photography has something to do with death. It's a trace.

I've always loved those portraits that Alfred Stieglitz did of Georgia O'Keeffe over several years, which really convey the idea that there's not one image that can capture a woman, because we're changing all the time.

About five years old, I was drawing self-portraits with the brown crayon instead of the peach crayon and, you know, the black curly hair. That's how I was portraying myself.

(Canada) - the most parochial nationette on earth ... I have been living in this sanctimonious icebox ... painting portraits of the opulent Methodists of Toronto. Methodism and money in this city have produced a sort of hell of dullness.

The journalists have constructed for themselves a little wooden chapel, which they also call the Temple of Fame, in which they put up and take down portraits all day long and make such a hammering you can't hear yourself speak.

If one could make alive again for other people some cobwebbed skein of old dead intrigues and breathe breath and character into dead names and stiff portraits. That is history to me!

But let's speak of art for a moment. Yes, art. I know a gentleman who makes excellent portraits. This gentleman is a camera.

Before the New York Times starts running "Portraits in Grief" of former Enron employees, it's worth remembering that even after the collapse, Enron stock is still worth more than the entire Social Security "trust fund."

Photographers who come up with power never get accused of imitating anyone else even though they photograph the same broom, same street, same portraits.

I saw the Village as a place you could escape to, to express yourself. When I first went there, I wrote and performed poetry. Then I drew portraits for a couple of years. It took a while before I thought about picking up a guitar.

For proper family portraits it's best to stick with classic, timeless looks that will not only be beautiful now but also in 20 years, and keep the wardrobe color palette similar so it looks like the group shot was well planned.

It's almost embarrassing, but I do have one trick for taking portraits on commission. I carry one of these little bicycle horns in my pocket, and once in a while, when someone is sour-faced or stiff, I blow my horn. It sort of shatters the barriers. It's silly, but it works.

In 1984, I was contacted by Michael Taylor, who had won a commission from a sponsor and decided he would like to paint a picture of me. I agreed to do it, because I'm not unused to sitting for portraits: my father was a commercial artist and I used to model for him.

I do house things. I paint. I do portraits. I also paint my house.

When painting portraits a lot of people say, 'Why not get a photograph of the person?' Photography is wonderful and it is an art form in itself, but... my portrait is a culmination of elements... a truer image of a person than just the 'click' of a snapshot.

A filmmaker should never assume he's superior to his subject. I often find that even the simplest topic remains an enigma. The best film portraits not only evoke that enigma but ingest it in a process that renders what's invisible visible.

When I first came to America there still was Look Magazine and LIFE Magazine, and the photography in those magazines was amazing to look at. They had the best portraits, and their news photography.

I have always loved the amateur side of photography, automatic photographs, accidental photographs with uncentered compositions, heads cut off, whatever. I incite people to make their self-portraits. I see myself as their walking photo booth.

Fashion is where I make my living. I'm not knocking it; it's a pleasure to make a living that way. Then there's the deeper pleasure of doing my portraits.

When I was painting portraits and - shall we say? - rather allegorical heads, which is the figurative work which immediately preceded the direction I have since gone, these images were always of a very fixed, rigid quality, and, of course, my work still has this aspect.

When I was first exposed to the films of Ingmar Bergman, I found them frank and disturbing portraits of the world we live in, but that was not something that displeased me. They were beautiful. I thought people would respond to my plays the way I responded to Bergman's films.

To make money, I did portraits . The truth is so bizarre! I'm kind of embarrassed. I was like a 19th-century pirate painter. I'd say, 'Your mom would love a painting of you!' A salesman! I'd hawk paintings.

I think [indications of vulnerability are] why so many portraits work when they're difficult: we believe we're presenting ourselves one way, but the camera always reveals something more vulnerable, despite our best efforts.

Improvisational things about picture-making... learned from working with the small camera early on have served me well in being able to think quickly when making [portraits].

What we know about Cleopatra's looks is based purely on her coin portraits. Engraving was imperfect, and that when you are a ruler and you ask for a coin to be engraved with your likeness on it, you are probably trying to project a certain air of authority.

I toyed with making portraits based on people's discarded shopping lists found on the street, or old diaries bought on eBay, or other forms of borrowed stories. When I stumbled across the Missed Connections listings, I knew immediately I'd found it.

I really respect fashion, but I don't follow trends to be honest, I'm much more into skateboarder style clothes, but I really like fashion photography, portraits, and stuff like that.

I paint self-portraits because I am so often alone, because I am the person I know best.

If I was in love with someone, I would get their picture out of the school yearbook and do portraits. If I was curious about sex, I would draw pictures of it. There were no books for me to look at. Then I would go find my father's matches to burn the paper.

I wanted pretty pictures of older women - women who are trying too hard but succeeding - pulling off an extreme look. What I didn't know would creep into the portraits was a vulnerability behind the strong facade that most of them wear.

Most portraits are lies. People are rarely what they appear to be, especially in front of a camera. You might know me your entire lifetime and never reveal yourself to me. To interpret wrinkles as character is insult not insight.

I keep [portraits of Jigoro Kano and a bust] at home, in my residence, where I live permanently. It's a very good, high-quality work by a Russian sculptor, depicting not just a strong-willed but also thoughtful and kind man.

'Painting like a child' isn't a negative for me... it's something only great artists can really achieve. The childlike quality of some of Picasso's drawings is precisely what makes them so masterful and extraordinary; the ability to express complete visions, feelings and portraits through a continuous line.

I don't have one specific tattooing specialty. I enjoy doing full-color new school, portraits, neo-traditional, realistic, black and gray, ultra detailed art, etc... but always custom.

I've had photographs taken for portraits because I very much prefer working from the photographs than from models... I couldn't attempt to do a portrait from photographs of somebody I didn't know.

My mom had a Canon AE1 camera and I read the manual and that's basically how I became a photographer. I was in the Baltimore punk scene. I knew it was a special time, so I went out and documented that whole era. I was the only person to really do it of my friends in real black and white, beautiful portraits.

In making portraits, I refuse to photograph myself as do so many photographers. My style is the style of the people I photograph.

Portraits of other great ones look down on you in your college halls; but while you are young and sit at the brief feast, what avails their serene gaze if it do not lift up your hearts and movingly persuade you to match your manhood to its inheritance?