Quotes & Sayings About Painting Portraits

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. — P.G. Wodehouse

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. — Michelle Pfeiffer

My portraits are half what I see and the other half is invented or dictated by the person and the painting. — Francesco Clemente

'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. — Damien Hirst

Painting self-portraits without clothes on has also given me some publicity. — Cleo Moore

I barely registered moving into the long gallery, one hand absentmindedly wrapping around my throat as I looked up at the paintings.

So many, so different, yet all arranged to flow together seamlessly... Such different views and snippets and angles of the world. Pastorals, portraits, still lifes . . . each a story and an experience, each a voice shouting or whispering or singing about what that moment, that feeling, had been like, each a cry into the void of time that they had been here, had existed. Some had been painted through eyes like mine, artists who saw in colors and shapes I understood. Some showcased colors I had not considered; these had a bend to the world that told me a different set of eyes had painted them. A portal into the mind of a creature so unlike me, and yet . . . and yet I looked at its work and understood, and felt, and cared. — Sarah J. Maas

Matthew's story of the resurrection emphasizes typically Matthean themes, and so on. But this is like what you get when different artists paint portraits of the same person. This painting is certainly a Rembrandt; that is indubitably a Holbein. The touch of the individual artist is unmistakable. And yet the sitter is fully recognizable. The artists have not changed the color of her hair, the shape of his nose, the particular half smile. And when we ask why such stories, so different in many ways and yet so interestingly consistent in these and other features, could have come into existence so early, all the early Christians give the obvious answer: something like this is what happened, even though it was hard to describe at the time and remains mind-boggling thereafter. — N. T. Wright

I followed the older woman out to the foyer. Taking the stairs, I scanned each painting that lined the walls. I stilled as I found a portrait that could only have been Nathaniel. He looked young and brash, no more than fifteen. His suit was painted in a regal colour, it set off his tanned skin and sky blue eyes.
"Handsome devil was he not?" Bess chuckled. "Or should I say, 'is he not'?"
I fought the urge to blush as I trailed after the housekeeper. — Freedom Matthews

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. — August Wilhelm Von Schlegel

(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. — Wyndham Lewis

I was good friends with Frank Sinatra, I heard Steve Kaufman painting his portrait, so I asked Steve to paint my portrait. — Lee Iacocca

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

Later, in a different home, I befriended a eucalypt, using a resilient bough as a trampoline. Learning nothing from having plummeted from the peppercorn, I'd bounce happily in my haven in the heavens. I loved that tree - and fully understand why Heysen, Roberts, McCubbin and the rest devoted so much time and effort to painting arboreal portraits. — Phillip Adams

I was hoping to do an impressionist painting, but I wanted a good likeness and I wanted to create a feeling of the lady as a person, as a human being rather than as a figurehead for the monarchy and a pomp-and-circumstance sort of formal portrait. I wanted more of a relaxed portrait. — Rolf Harris

Elizabeth Peyton, the artist known for tiny, dazzling portraits of radiant youth, is now painting tiny, dazzling portraits of radiant middle age. — Jerry Saltz

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

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. — Jamie Wyeth

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. — Margaret Keane

His account books reflect a concern with fashion, as shown by periodic visits to a French tailor, and his sartorial elegance is confirmed in portraits. In one painting, he wears a double-breasted coat with brass buttons and gilt-edged lapels, his neck swathed delicately in a ruffled lace jabot. — Ron Chernow

You have bits of canvas that are unpainted and you have these thick stretcher bars. So you see that a painting is an object; that it's not a window into something - you're not looking at a landscape, you're not looking at a portrait, but you're looking at a painting. It's basically: A painting is a painting is a painting. And it's what Frank Stella said famously: What you see is what you see. — Frank Stella

Photography freed painting from a lot of tiresome chores, starting with family portraits. — Pierre-Auguste Renoir

I feel like vocals are to music what portraits are to painting. They're the humanity. Landscapes are good and fine, but at the end of the day everyone loves the Mona Lisa. — Grimes

In Isaac Newton's lifetime, no more than a few thousand people had any idea what he looked like, though he was one of England's most famous men, yet now millions of people have quite a clear idea - based on replicas of copies of rather poorly painted portraits. Even more pervasive and indelible are the smile of Mona Lisa, The Scream of Edvard Munch, and the silhouettes of various fictional extraterrestrials. These are memes, living a life of their own, independent of any physical reality. "This may not be what George Washington looked like then," a tour guide was overheard saying of the Gilbert Stuart painting at the Metropolitan Museum of Art, "but this is what he looks like now." Exactly. — James Gleick