Quotes & Sayings About Face Painting

Technically, a makeup artist's canvas is the face and body. The difference is that my painting of makeup is integrated into the painting of the flesh and not on top of it. I think in some ways it is more difficult to expressively deploy makeup. — Richard Phillips

The irony is that the more we fight age, the more it shows. Paint on a 50-year-old face brings to mind a Gilbert and Sullivan comic figure. Smooth the cheeks, and suddenly the ear lobes and hands look out of place. Do we run around in October, painting the gold leaves green? — Karen DeCrow

As always, just the sight of him gave her a quick inner jolt. His face was like a painting, a depiction in perfect oils of some fallen angel. The sheer beauty of it, framed by all that rich black hair, was forever a surprise to her. — J.D. Robb

I sat back and looked at it. It was ugly, dark, uncontrolled. Like a monster's face. Or maybe what I saw there was my own face. I couldn't quite tell. Was the face the image of something evil or the image of myself?
"Both," Bea muttered, as if I'd spoken my question out loud. "Of course, it's both. But it shouldn't be. Goodness, no. — Jennifer Brown

I couldn't live on the singing at first, so I worked as a cleaner, in a launderette, in a garage, face painting and doing the windows of shops at Christmas, 'cause I had been to art college. — Imelda May

He grabbed a handful of God's silky curls and pulled, making him tilt his head back and show his throat. Day's senses snapped, turning feral. Day growled with the animalistic urge to leave a large bite mark on his man. Day bowed forward as his cock's first eruption of a thick, white rope of come hit God's Adam's apple, followed by much more painting his lover's neck and cheek. Day pulled slow, firm strokes up to his head before dragging back down until he was completely emptied. "Mmmhmm. I'm yours, sweetheart," God said, giving him a sexy grin. "Fucking right you are," Day said while he kissed and licked God's face clean. — A.E. Via

The young man being embraced by the Father is no longer just one repentant sinner, but the whole of humanity returning to God. The broken body of the prodigal becomes the broken body of humanity, and the baby-like face of the returning child becomes the face of all suffering people longing to reenter the lost paradise. Thus Rembrandt's painting becomes more than the mere portrayal of a moving parable. It becomes the summary of the history of our salvation. The light surrounding both Father and Son now speaks of the glory that awaits the children of God. — Henri J.M. Nouwen

In Allston, as generous as he was with his praise and encouragement, Sophia had come face-to-face with the male art establishment and its aesthetic. She had encountered it before when she was hustled out of Thomas Doughty's studio while a men's painting class was in session. More recently, at a gathering in the Reverend Channing's parlor, she had been stunned when the minister had quoted the influential British artist Henry Fuseli's sneering observation that there was "no fist" in women's painting - and then demanded Sophia's response. Flustered, Sophia had "sunk away into my shell," unable to speak, she confided in her journal. She had enough trouble summoning the confidence to paint each day, let alone defend women artists as a class. Channing's question struck to the heart of Sophia's ambivalence about taking the initiative to create original works of art. Virtually — Megan Marshall

A Klee painting named 'Angelus Novus' shows an angel looking as though he is about to move away from something he is fixedly contemplating. His eyes are staring, his mouth is open, his wings are spread. This is how one pictures the angel of history. His face is turned toward the past. Where we perceive a chain of events, he sees one single catastrophe which keeps piling wreckage upon wreckage and hurls it in front of his feet. The angel would like to stay, awaken the dead, and make whole what has been smashed. But a storm is blowing from Paradise; it has got caught in his wings with such violence that the angel can no longer close them. This storm irresistibly propels him into the future to which his back is turned, while the pile of debris before him grows skyward. This storm is what we call progress. — Walter Benjamin

Even though artists of all kinds claim to put their hearts and souls into their works, it will only confuse you, for example, if you try to discern a painter by his paintings. His masterpiece may be the master because of its iridescence; it may display a hundred different perspectives through his single face. — Criss Jami

I've had a fan who made a painting of my face with her fingers. I have put it up in my room. It was sweet and very different. — Virat Kohli

He lifted the book from the purse. The cover sported a painting of a stunning redhead in a long, pink gown who stared out the window over rolling green hills. The cover was slightly narrower than the rest of the book, and from underneath peeked out what looked to be a second cover. He turned the page and was startled at what he saw. Another full-color painting, but this one of a shirtless man smashing the heavily bosomed redhead onto a red couch. Her clothes were torn and their torsos met violently. The man's face was savage; the woman's head thrown back in surrender.
Sam flicked back and forth between the image of the prim, composed woman on the front cover and her ribald, passionate abandon on the inside cover.
He glanced out the window to see Ally emerge onto the street below, her head held high and her gait tight and focused as she marched away, prim and composed.
He flipped to the inside cover.
Hot damn. — Diana Holquist

It was then that we connected. His sound bounced through my head and out my eyes, painting my world with new shades of color. I still remember the smile that unnoticeably took my face as I inched for another touch. — Charles Lee

Rowena Clark and I had met on the first day of our mixed media class. I'd sat down at her table and said, "Mind if I join you? Figure the best way to learn about art is to sit with a masterpiece." Maybe I was in love, but I was still Adrian Ivashkov.
Rowena had fixed me with a flat look. "Let's get one thing straight. I can see through crap a mile away, and I like girls, not guys, so if you can't handle me telling you what's what, then you'd better take your one-liners and hair gel somewhere else. I don't go to this school to put up with pretty boys like you. I'm here to face dubious employment options with a painting degree and then go get a Guinness after class."
I'd scooted my chair closer to the table. "You and I are going to get along just fine. — Richelle Mead

And David and Goliath I have done before, but this time there is a difference. David holds the head at arm's length and looks disgusted. And onto Goliath's severed head, I put my own features. The head hangs in darkness so that the black hair and beard framing the face blend off into the shadows, and there are four thin ropes of dark blood trailing down into space from the neck. And in one eye of the freshly severed head, there is still the faint glimmer of life.
That's me and that's the last painting I ever did.
Spectator, viewer, audience, however you care to call yourself; I address you here, with this, my final picture.
Cast a cold eye on it all, and on my work. I am still alive. — Christopher Peachment

What mattered more was the feeling, a rich sweet undertow so commanding that in class, on the school bus, lying in bed trying to think of something safe or pleasant, some environment or configuration where my chest wasn't tight with anxiety, all I had to do was sink into the blood-warm current and let myself spin away to the secret place where everything was all right. Cinnamon-colored walls, rain on the windowpanes, vast quiet and a sense of depth and distance, like the varnish over the background of a nineteenth-century painting. Rugs worn to threads, painted Japanese fans and antique valentines flickering in candlelight, Pierrots and doves and flower-garlanded hearts. Pippa's face pale in the dark. — Donna Tartt

The painting also pinpointed an important quirk of Washington's face: the lazy right eye that slid off into the corner while the left eye stared straight ahead. To prepare for the equestrian — Ron Chernow

I remembered that Johnson had declared portrait painting to be an improper employment for a woman. "Public practice of any art and staring in men's faces is very indelicate in a female," he had said.
Well I'd seen Dr. Johnson's face in the book's frontispiece and I couldn't imagine anyone male or female wanting to stare into it for any length of time - the man was an absolute toad. — Alan Bradley

My heart shattered. 'The boy that you keep painting - the one at the warehouse and at the art gallery? That boy is you, isn't it?'
Rider didn't say anything.
'It's not you from the past,' I whispered. His handsome face blurred. 'That's still who you are.'
He closed his eyes. — Jennifer L. Armentrout

I get inspiration from things that have nothing to do with painting: caricature, items from newspapers, sights in the street, proverbs, nursery-rhymes, children's games and songs, nightmares, desires, terrors ... That question [why do you paint?] has been put to me before and my answer was, 'To give terror a face.' But it's more than that. I paint because I can't help it. — Paula Rego

Because I expected so little, Gaines's painting is startlingly powerul. A lank-haired blond woman with a hard face sits at akitchen table in the harsh light of a bare bulb. She's surrounded by dirty cereal bowls and fast-food bags, and her shirt is open to the waist, revealing small sagging breasts. Her hollow eyes look out from the canvas with the sullen resignation of an animal that has helped build its own cage. — Greg Iles

Doc lowers the gun and stares at the man he just shot. "See, regret eliminated." When he looks at me, I see blood painting his face. His expression is that of a madman. "Welcome to hell, Ryler, a place where the evil thrive and the weak die. This man was weak. My son was weak. And now they're both paying for their sins." Having no idea how to react, I just stand there, staring at the gory scene, the scene I helped cause. Doc snatches a handkerchief from his pocket to wipe his face off. Then he throws it to me. "Clean yourself up." I — Jessica Sorensen

In the entr'acte Levin and Pestsov fell into an argument upon the merits and defects of music of the Wagner school. Levin maintained that the mistake of Wagner and all his followers lay in their trying to take music into the sphere of another art, just as poetry goes wrong when it tries to paint a face as the art of painting ought to do, and as an instance of this mistake he cited the sculptor who carved in marble certain poetic phantasms flitting round the figure of the poet on the pedestal. "These phantoms were so far from being phantoms that they were positively clinging on the ladder," said Levin. [ ... ] Pestsov maintained that art is one, and that it can attain its highest manifestations only by conjunction with all kinds of art. — Leo Tolstoy

Devlin's disarming blue eyes were set in a face of such perfect masculine beauty that it should have come from a painting or a sculpture. Yet there was nothing aristocratic about his looks. He possessed an earthiness, a sensuality, that was impossible to ignore. If he resembled an angel, it was a fallen one. — Lisa Kleypas

I'm not a habitual practitioner of the art of face-painting. — Akiko Higashimura

The principal difference between her "seductive" and her other self-portraits was the absence of self-awareness in the former and its strong presence in the latter. With time, she became brutally direct. In her later self-portraits she was no longer beautiful, merely odd-looking. She did not seduce, she simply drew attention to herself. Her face became hard, serious. The pronounced cheekbones and heavy eyebrows looks as if they had been carved out of stone. The stern black eyes looked either straight through or straight past the viewer. She deliberately exaggerated the brutality of her self-portraits. She was saying: Look at me, I'm alive and it hurts. These self-portraits were like attestations to her existence: one, two, three, four...Exhibitionism, they said. But for her, painting self-portraits was a kind of magical rite, a kind of exorcism. — Slavenka Drakulic

I'm very proud of my skin and my face, and I have no problem not wearing makeup. I don't wear makeup because I feel like I need to cover myself up or because I don't feel confident. I wear makeup because it's fun; it's like painting on my face. — Zendaya

I had spent many years living with a plain piece of canvas just right on my face as a headboard for my bed. As the years passed by, I watched it slowly transforming into a work of art which still lives above my head. And that my friend, is truly living art. — Shawn Lukas

-She paints some, Stanley said in a vindicatory tone.
-Paints! Did you see the abstract she did for the Army Air Force? the face persisted. -For a psychological test, they used it to pick out the queers, if you were queer the painting didn't look like anything, if you weren't it looked like a snatch. — William Gaddis

Painting isn't just pretty or pleasant; it is something that helps you to stand alone and face yourself. — Pierre Soulages

Everyone has to start somewhere,' he says, his eyes dark and smoldering, his fingers seeking the scar on my face.
The one on my forehead. The one that's hidden under my bangs. The one he has no way of knowing about.
'Even Picasso had a teacher.' He smiles, withdrawing his hand and the warmth that came with it, returning to his painting, as I remind myself to breathe. — Alyson Noel

Echo continued to tap her finger to her chin and created more dots on her face while she stared at the canvas. The intensity of her stare shocked me.
The art teacher stacked the bowls and walked toward the door. "She's in the zone. Good luck getting her attention. Do me a favor. If she ends up painting her whole face, grab my camera from my desk and take a picture. I'll add it to my collection." She gazed at Echo and smiled. "I'll title that one Smurf. Nice tats, by the way." — Katie McGarry

In a painting no one complains that the subject is posed, but everybody complains about what looks posed in a photograph. Except, I've found that if I go very close in to the face, then the posed expression no longer exists. The face becomes a landscape of the lakes of the eyes and the hills of the nose and the valley of the cleft of the chin. — John Loengard

Well, good night," he said cheerfully. "Thanks for dinner."
"Oh. Right." I took a half step back toward the house. "You're welcome."
"Ella."
"Yeah?"
"You've gotta be kidding."
PECo hadn't some yet, so it was pretty dark where we were standing. I don't know how his hand found mine so fast, but one second I was thinking about how much I didn't want to say good night, and the next I was up against his chest, standing on my toes with my feet between his.
"Is this okay?" he asked, his breath chocolaty and warm against my forehead.
"Yeah," I answered, my own breath coming in quick little jumps. "Yeah."
"Good.I have something I have to tell you."
I waited.
"I hate that Klimt painting," he said. "I really hate it."
Then he was folding me into his coat and his face was right above mine, and there was only one kiss that mattered. — Melissa Jensen

An artist who painted a face was now 'playing with the idea of portraiture,' or 'exploring push-pull aesthetics,' or toying with contradictions like 'menacing-slash-playful,' but he or she was never, ever, just painting a face. — Steve Martin

He cared little for painting. In fact, he hadn't stood before an easel since school days. But if pretending to be interested in art kept a genuine smile on Amelia Barrett's face, he would learn to like it. — Sarah E. Ladd

It is for the artist ... in portrait painting to put on canvas something more than the face the model wears for that one day; to paint the man, in short, as well as his features. — James Whistler

Oh. Well was this your first time painting a live model?"
She nodded her head, with an almost guilty look on her face.
"What's it like?"
"Hard," she replied. — Zack Love

Sin of self-love possesseth all mine eye,
And all my soul, and all my every part;
And for this sin there is no remedy,
It is so grounded inward in my heart.
Methinks no face so gracious is as mine,
No shape so true, no truth of such account,
And for myself mine own worth do define,
As I all other in all worths surmount.
But when my glass shows me myself indeed,
Beared and chopp'd with tann'd antiquity,
Mine own self-love quite contrary I read;
Self so self-loving were iniquity.
'Tis thee (myself) that for myself I praise,
Painting my age with beauty of thy days. — William Shakespeare

Once as I sat painting, I became aware of a man's face hovering near me, moving closer and closer to the panel I was working on. When he spoke he said, 'That is a fantastic brush! — Robert Genn

Moral beauty existed as clearly as any other form of beauty and perhaps that was where we could find the God who was so vividly, and sometimes bizarrely, described in our noisy religious explanations. It was an intriguing thought, as it meant that a concert could be a spiritual experience, a secular painting a religious icon, a beguiling face a passing angel. — Alexander McCall Smith

When Leonardo da Vinci wanted to create a whole new style of painting, one that was more lifelike and emotional, he engaged in an obsessive study of details. He spent endless hours experimenting with forms of light hitting various geometrical solids, to test how light could alter the appearance of objects. He devoted hundreds of pages in his notebooks to exploring the various gradations of shadows in every possible combination. He gave this same attention to the folds of a gown, the patterns in hair, the various minute changes in the expression of a human face. When we look at his work we are not consciously aware of these efforts on his part, but we feel how much more alive and realistic his paintings are, as if he had captured reality. — Robert Greene

It appears that Venus has Beatrice's face. Once again, I'm not interested in a historical analysis of the models for the painting. I'm simply asking you to note the visible similarities between the figures. They represent two muses, two ideal types, one theological and one secular. Beatrice is the lover of the soul; Venus is the lover of the body. Botticelli's La Bella has both faces - one of sacrificial love or agape, and one of sexual love or eros. — Sylvain Reynard

She didn't have words for what Levi was. He was a cave painting. He was The Red Ballon. She lifted her heels and pulled him forward until his face was so close, she could look at only one of his eyes at a time. "You're magic," she said. — Rainbow Rowell

For it is only framed in space that beauty blooms. Only in space are events and objects and people unique and significant-and therefore beautiful. A tree has significance if one sees it against the empty face of sky. A note in music gains significance from the silences on either side. A candle flowers in the space of night. Even small and casual things take on significance if they are washed in space, like a few autumn grasses in one corner of an Oriental painting, the rest of the page bare. — Anne Morrow Lindbergh

There was nothing on any of the canvasses that she would have liked to hide or conceal, nor was she ashamed of being thus exposed through her work, good or bad though it might be, the essence, the unique flavour of days when she had been happily engrossed in recreating a face or a garment, in inventing an effective light, in applying an expressive glaze. — Anna Banti

Because: if our secrets define us, as opposed to the face we show the world: then the painting was the secret that raised me above the surface of life and enabled me to know who I am. And it's there: in my notebooks, every page, even though it's not. — Donna Tartt

Her sculptured face was as perfect as a painting. — Christopher Paolini

The painting is always done very much with [the model's] co-operation. The problem with painting a nude, of course, is that it deepens the transaction. You can scrap a painting of someone's face and it imperils the sitter's self-esteem less than scrapping a painting of the whole naked body. — Lucian Freud

Be Willing to Pay the Price If people knew how hard I had to work to gain my mastery, it wouldn't seem wonderful at all. MICHELANGELO Renaissance sculptor and painter who spent 4 years lying on his back painting the ceiling of the Sistine Chapel Behind every great achievement is a story of education, training, practice, discipline, and sacrifice. You have to be willing to pay the price. Maybe that price is pursuing one single activity while putting everything else in your life on hold. Maybe it's investing all of your own personal wealth or savings. Maybe it's the willingness to walk away from the safety of your current situation. But though many things are typically required to reach a successful outcome, the willingness to do what's required adds that extra dimension to the mix that helps you persevere in the face of overwhelming challenges, setbacks, pain, and even personal — Jack Canfield

These are my cards on the table. I think you're beautiful. I feel like I'm an idiot with dirt on his face sitting next to someone out of a painting. I think...I think I'm just plain stupid for you. I know that's not exactly sweet talk out of a play. Frankly, I'd kiss your shadow. I'd kiss dirt that had your heel print on it. I like feeling this way. I don't give a damn what you or anyone else thinks...this is how it feels every time I look at you. — Scott Lynch

... * to know a lot of people I love pieces of, and to want to synthesize those pieces in me somehow, be it by painting or writing. * to know that millions of others are unhappy and that life is a gentleman's agreement to grin and paint your face gay so others will feel they are silly to be unhappy, and try to catch the contagion of joy, while inside so many are dying of bitterness and unfulfillment ... — Sylvia Plath

You know, face painting in non-Western cultures is a sign of collectivism, is a sign of one representing the community, it's not unique at all. — Joseph Jarman

I'm sickened by all religions. Religion has divided people. I don't think there's any difference between the pope wearing a large hat and parading around with a smoking purse and an African painting his face white and praying to a rock. — Howard Stern

To my way of thinking, the concept drawings that Rembrandt did, the drawings he made that he used to model his artists, to work out the compositions of his paintings: those are cartoons. Look at his sketch for the return of the prodigal son. The expression on the angry younger brother's face. The head is down; the eyebrow is just one curved line over the eyes. It communicates in a very shorthand way. It's beautiful, expressive, and, in a peculiar way, it's more powerful than the kind of stilted, formalized expression in the final painting. — Jim Woodring

Some realizations can only come from truly looking into the mirror. However, the only thing that the mirror can show one of a false face is the moment before death. Who truly looks into the mirror and sees the painting within it? Who looks into the reflection beyond the looking-glass and see the truth hidden within it? All it takes is one look into the mirror, to come to a realization of truth. But those that do not see the truth, simply falls into another illusion - within an endless refrain. — Lionel Suggs

Opening night is in a week. Already announced to the papers, already sent out in the newsletter in fancy, glossy, full-color glory. Which means I have two days, max, to finish the framing - easily a week's worth of work - and then four days for drilling the star maps I've already marked on the plywood, painting, wiring, installing, and finessing.Leaving me only one day - the day of the evening gala - to clean and get the actual exhibits set up.
It's impossible.
I will make it happen or die trying.
I don't realize I've said that last part aloud until I notice Michelle's horrified face. — Kiersten White

She had the face of an angel, and the hair of the Devil's handmaiden. The freshly washed locks flowed around her in a waist-length curtain, waves and curls of molten red that contained every shade from cinnamon to strawberry-gold. It was the kind of hair that nature usually bestowed on homely women to atone for their lack of physical beauty.
But Vivien had a face and form that belonged in a Renaissance painting, except that the reality of her was more delicate and fresh than any painted image could convey. Now that her eyes were no longer swollen, the pure blue intensity of her gaze shone full and direct on him. Her mouth, tender and rose-tinted, was a marvel of nature. — Lisa Kleypas

You almost had me convinced, you know."
A small shiver ran through me as I searched his face, so unbearably close I could see the tiny flecks of gold in his eyes. Our breaths panted, mingling between us. Even though a whisper inside me warned that I should just let the subject drop, I demanded, "Convinced of what?"
"That I should quit. That I should give up on you. That's what you wanted me to do." He paused, letting the words sink in the thick air between us. "But now I've seen your painting and I know better. — Sophie Jordan

When I was first painting the Monopoly guy I received a criticism. People said, "You're just painting cartoon characters, anyone can do that," but I'm actually a very skilled artist. That's why I released a Jack Nicholson portrait right after that that was very detailed in the face to show my skills. — Alec Monopoly

This is my friend, Sebastian.' 'Best friend,' I blurted out and then wanted to punch myself in the face for sounding so dumb. At this rate, I'd be painting nails with her any day now. Thank God, Jaden wasn't here. — Nyrae Dawn

There are certain things - How to say this? OK. Let me give you an example. Can I give you an example? There's a self-portrait by Rembrandt. It's at Kenwood House, very close to where we live. It's one of my favorite paintings. I go to see it quite a lot. I start off on a walk on the Heath, and then I find myself there. It's one of the last self-portraits he did. He painted it sometime between 1665 and when he died four years later, bankrupt and alone. Whole stretches of the canvas are bare. There's a hurried intensity in the strokes - you can see where he scratched into the wet paint with the end of the brush. It's as if he knew there wasn't much time left. And yet, there's a serenity in his face, a sense of something that's survived its own ruin.
Fran couldn't give two shits about that painting. — Nicole Krauss

I would have rebelled against parental authority, no matter what. When I was 15, I started painting my face and making my own clothes. — Grace Jones

She talked all the way back to the office, looking up at me eagerly through her slanted glasses, shoving the hair back off her face. The upper edge of her glasses bisected her right eye, the lower edge bisected the left; and since one lens made half her eye slightly smaller than normal, while the other lens magnified half of the remaining eye, she seemed to have four separate half-eyes of varying sizes, resembling a Picasso painting, and I got a little dizzy and tripped and nearly fell over a curb. — Jack Finney

Like the painting of a sorrow, A face without a heart. — Oscar Wilde

The child's face is close to her own now, but there is still no detail. It is a blur, a watercolor painting left out in the rain, the shades running, blending into one another. Only the eyes remain clear; black and hungry, jealous of life. — John Connolly

No harm," he said as he danced on, cutting the air. Only now, the snowflakes began to bleed as he cut them. Battle of white and scarlet...
"Oto-san, what can I do?" I wept in the dream, my tears freezing to my cheeks.
"Dance," he said, his face still and calm, his blade whistling through the air. Blood flew from the tip of the sword, painting characters of death and disaster across the white ground.
Dancing. — David Kudler

One time I was painting a sign / graphics on a temporary wall over a store front being remodeled in a mall. This was in the old days, before digital graphics, when everything was hand painted. A guy watched me for a while and then asked : "Isn't that just a temporary wall?" "Yes", I replied. And he said: "They're paying you, probably a lot of money, to paint that on a temporary wall?" I said: " You know, this whole mall is temporary ... some day this will all be gone." He got sort of a frightened look on his face and walked awa — Jeff Young

And yet as my eyes turned to Stephen facing the sunrise from Simon in the darkness of my mind, it was as if Simon had been the living face and Stephen's the one I was imagining - or a photograph, a painting, something beautiful but not really alive for me. My whole heart was so full of Simon that even my pity for Stephen wasn't quite real - it was only something I felt I ought to feel, more from my head than from my heart. And I knew I ought to pity him all the more because I could pity him so little. — Dodie Smith

Kolchak nodded, 'Right, because that would make sense." He took off his hat and crumpled it against his hip. 'When I lived in Seattle, I met a man who had been killing people for a hundred years easily. I nearly got arrested painting on his portrait in the bank he owned, just to match his face to the hundred-year-old shot I had of him with a beard. It's possible.'

'Why didn't you just take a picture of the painting and scribble on the picture?'

'It was a gesture,' Kolchak wrung his hands, 'and anyway that's not the point.' ("Wet Dog of Galveston") — Jason Henderson

He's often wished that he could capture the full essence of each woman's laugh on canvas, but he settles instead, on watching how, when a woman chuckles, her head moves slightly to the left or right so that the light grazes it at a new angle and creates a new pattern of highlight and shadow. It's this subtle shifting that he finds astounding - how everything and nothing can be written on a face through its lines, through the way skin around the eyes crinkle or how the shifting of a mouth belies joy or sarcasm or simple placation. He wonders what Vermeer might have said to that girl with the pearl earring, what words could have stirred in her that wanton expression, because even amateurs understand that faces allow an entry point and that negative space is the key to any good painting: what isn't included is sometimes more important than what is. — Adam Gallari

Vladimir Putin bribed a soccer official with a Picasso painting so he would support Russia's bid to host the 2018 World Cup. Putin was like, 'It wasn't Picasso, just picture of what his face would look like if he said no.' (Nose over here, eye up here, ear in forehead.) — Jimmy Fallon

I'd see him do things that didn't fit with his face or hands, things like painting a picture at OT with real paints on a blank paper with no lines or numbers anywhere on it to tell him where to paint, or like writing letters to somebody in a beautiful flowing hand. How could a man who looked like him paint pictures or write letters to people, or be upset and worried like I saw him once when he got a letter back? — Ken Kesey

See him now, his face lit up with delight at the parade advancing on every side, of cart and carriage, delivery truck and spacious brougham, of ladies in their colorful crinoline and dandies dandier than the foppish fop astride boneshaker bicycles weaving between the vendors' carts as expertly as rodeo barrel racers. Sunset was still almost two hours hence, but the buildings on the western side cast long engulfing shadows, between which the granite pavement glowed honey gold in smoky shafts of slanting light, the light painting the facades along the eastern side the same Hyblaean hue. — Rick Yancey

If you have walked into a museum recently - whether you did so to attend an art exhibition or to escape from the police - you may have noticed a type of painting known as a triptych. A triptych has three panels, with something different painted on each of the panels. For instance, my friend Professor Reed made a triptych for me, and he painted fire on one panel, a typewriter on another, and the face of a beautiful, intelligent woman on the third. The triptych is entitled What Happened to Beatrice and I cannot look upon it without weeping.
I am a writer, and not a painter, but if I were to try and paint a triptych entitled The Baudelaire Orphans' Miserable Experiences at Prufrock Prep, I would paint Mr. Remora on one panel, Mrs. Brass on another, and a box of staples on the third, and the results would make me so sad that between the Beatrice triptych and the Baudelaire triptych I would scarcely stop weeping all da — Lemony Snicket

The material memories are not usually part of what is said about a picture, and that is a fault in interpretation because every painting captures a certain resistance of paint, a prodding gesture of the brush, a speed and insistence in the face of mindless matter ... — James Elkins