Quotes About Portrait

How sad it is! murmured Dorian Gray with his eyes still fixed upon his own portrait. How sad it is! I shall grow old, and horrible, and dreadful. But this picture will remain always young. It will never be older than this particular day of June.... If it were only the other way! If it were I who was to be always young, and the picture that was to grow old! For that--for that--I would give everything! Yes, there is nothing in the whole world I would not give! I would give my soul for that!

Upon the walls of the lonely locked room where he had spent so much of his boyhood, he had hung with his own hands the terrible portrait whose changing features showed him the real degradation of his life, and in front of it had draped the purple-and-gold pall as a curtain.

He had uttered a mad wish that he himself might remain untarnished, and the face on the canvas bear the burden of his passions and his sins; that the painted image might be seared with the lines of suffering and thought, and that he might keep all the delicate bloom and loveliness of his then just conscious boyhood.

You see, the catch about portrait painting— I've looked into the thing a bit— is that you can't start painting portraits till people come along and ask you to, and they won't come and ask you to until you've painted a lot first. This makes it kind of difficult for a chappie.

I loved you without knowing it, and I looked for your memory. In empty houses I entered with a lantern to steal your portrait

papers of various shades sticking out from under others, throwing the printing out of line: portrait of all that which we have lost

Chamberlain's obsequiousness, his exaggerated flattery, in these letters can be nauseating. "Your Majesty and your subjects," he wrote, "have been born in a holy shrine," and he informed Wilhelm that he had placed his portrait in his study opposite one of Christ by Leonardo so that while he worked he often paced up and down between the countenance of his Savior and his sovereign.

Daniel Maclise (whose 1839 oil of Dickens hangs today at the National Portrait Gallery).

I think the most useful thing you can do as a writer is to reconstruct real life with all its color, hardship, joy, and intrigue. If you're interested in people, you honor them best, I think, by making the fullest possible picture of them. Your subjects may - and from my experience probably will - protest your portrait of them.

ANNIE LEIBOVITZ'S FIRST cover shoot was Grace Slick.

We only serve as a model to the portrait of our fame

I'm one simple way I think I've succeeded was capturing Elsa [Dorfman]. There's something about Elsa, her personality, and her work that I believe is there.

Mugabe had a very strange quality about him. He was dapper. He had the strangest skin - it looks very shiny, but it's not oily. It's stretched very finely over his flesh. His eyes have layers of cyan crystals in them. It was a quiet, dark moment when I took his picture.

One day I'll do a Dorian Gray, and there will be a picture in the attic. I'll look like Helen Daniels from 'Neighbours' after her stroke.

I struck upon this kind of crazy idea that I was going to go to New York and stop 10,000 people on the streets and take their portrait and create kind of a photographic census of the city.

I like the idea of the documentary as a portrait. There's not a chronological beginning, middle, and end structure. You build something in the editing room that's shaped by getting to know the person and digging deeper, unpeeling the layers of them as you get to know them.

Bodybuilding is an art, your body is the canvas, weights are your brush and nutrition is your paint. We all have the ability to turn a self portrait into a masterpiece.

Sculpture may be almost anything: a monument, a statue, an old coin, a bas-relief, a portrait bust, a lifelong struggle against heavy odds.

There are only two styles of portrait painting: the serious and the smirk.

I hope the artist who illustrates this work will take care to do justice to his portrait. Mr. Clive himself, let that painter be assured, will not be too well pleased if his countenance and figure do not receive proper attention.

Edward Campbell Lowe was a radical in his blood and in his bones... his maternal grandfather had famously made a bonfire with a valuable portrait of the Marquess of Bute because, he had declared, it was more than a man could stomach to encounter a Tory every morning before breakfast.

The room was the opposite of what I'd created in my home, the opposite of the soft beauty I'd made from my talent for arrangement, my talent for living, the opposite of my serene irony, of my sweet and absentminded irony: it was a violation of my quotation marks, the quotation marks that made me a citation of myself. The room was the portrait of an empty stomach.

Only then, Hans would insist on committing another portrait against me.

Perhaps I'll grow my beard, he thinks. It would save time. Only then, Hans would insist on committing another portrait against me.