Quotes About Portraits

they were all so clearly portraits of the kind of girl who should be mourned, who should be missed given her do-goodness, her smile, her kindness toward others, and not portraits of any actual girl I knew.

You don't change the course of history by turning the faces of portraits to the wall.

In April, you know, it's simply a mass of flowers. And then there's the sea. You must wear white. You'll fit in very well. There are several portraits of you there.

There's not a lot of pictorial evidence from the Highlands, because only the very wealthy had their portraits painted - but there is one well-known painting of the two sons of the Duke of Argyll, wearing tartan.

I didn't try and do fashion pictures. I tried to do portraits of girls wearing dresses.

My job as a portrait photographer is to seduce, amuse and entertain.

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.

In the '60s, I did many satirical portraits of dictators.

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.

A person himself believes that all the other portraits are good likenesses except the one of himself.

I'm very envious of the few artists who are any good and still do portraits.

That's what I paint, I paint people. They're portraits, but you won't always be pleased with the way you look in my paintings. Which is fine, I guess. Unless you're buying it, and it's of your kid!

In the beginning, I started doing portraits of children, and of course, children have large eyes. For some reason, they just started getting bigger and bigger. Then, when I started painting imaginary children rather than real ones, they became bigger still.

I have always loved reading, so was interested in the literary world, and took many literary portraits.

I think I was driven to paint portraits to commit images of friends and family to memory. I have face blindness, and once a face is flattened out, I can remember it better.

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.

It's very difficult to take candid portraits of children because they're moving around all the time.

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.

As soon as you put something to bed like the 'Women' book, you're never finished. There were portraits of people that I wanted to photograph - it's an endless subject.

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!'

My dad was a photographer, so we had all these studio portraits of us.

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.

I've done 44 portraits of Obama because he's the 44th president.

I was born in the Golden West, reared in the arms of the Church, deluged with saints to draw from, and suckled on Italian art: my slates were covered from end to end with portraits of Savonarola, Fra Angelico, and Wild Bill and Sitting Bull; I knew all equally well and admired them about alike.