Portrait Painting Quotes

For years, I've been painting black men as a way to respond to the reality of the streets. I've asked black men to show up in my studio in the clothes that they want to be wearing. And often times, those clothes would be the same trappings people would see on television and find menacing.

[Alexander] Hamilton estimated portrait painters as thieves of time.

Everything I paint is a portrait, whatever the subject.

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.

There's nothing more superficial to do than to paint a beautiful woman. The most beautiful portraits in art were of ugly women. If you paint Brigitte Bardot, it's a disaster. Sunsets, you have to stay away from sunsets. You paint a sunset, you are in great danger.

I'm an odd portrait painter in that I'm not just interested in human faces. I consider almost all of my paintings to be portraits.

I hate to paint portraits! I hope never to paint another portrait in my life. Portraiture may be all right for a man in his youth, but after forty I believe that manual dexterity deserts one, and, besides, the color-sense is less acute. Youth can better stand the exactions of a personal kind that are inseparable from portraiture. I have had enough of it.

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.

Nudes are the greatest to paint. Everything you can find in a landscape or a still life or anything else is there: darkness and light, character dimension, texture. I painted heads too, of course.

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 see the President almost every day. I see very plainly Abraham Lincoln's dark brown face with its deep-cut lines, the eyes always to me with a deep latent sadness in the expression. None of the artists or pictures has caught the deep, though subtle and indirect expression of this man's face. There is something else there. One of the great portrait painters of two or three centuries ago is needed.

Sometimes small incidents, rather than glorious exploits, give us the best evidence of character. So, as portrait painters are more exact in doing the face, where the character is revealed, than the rest of the body, I must be allowed to give my more particular attention to the marks of the souls of men.

A portrait is a picture in which there is just a tiny little something not quite right about the mouth.

When you're trying to paint a portrait of a very specific world, you're trying to show what makes the world different. So, sometimes it means exaggerating certain kind of aspects, but I don't think it's that important or it's that much of an issue as long as you get an emotional truth across.

I always think photographs abominable, and I don't like to have them around, particularly not those of persons I know and love. Those photographic portraits wither much sooner than we ourselves do, whereas the painted portrait is a thing which is felt, done with love.

To anyone who has served in Washington, there is something oddly familiar about [having your portrait painted]. First, you're painted into a corner, then you're hung out to dry and, finally, you're framed.

The tradition of portrait painting, to embellish or idealize the subject, remains the aim of everyday and of commercial photography, but it has had a much more limited career in photography considered as art. Generally speaking, the honors have gone to the Cordelias.

People don't have time to wait for somebody to paint their portraits anymore. The money is in photography.

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

It took the Metropolitan Museum of Art nearly 50 years to wake up to Pablo Picasso. It didn't own one of his paintings until 1946, when Gertrude Stein bequeathed that indomitable quasi-Cubistic picture of herself - a portrait of the writer as a sumo Buddha - to the Met, principally because she disliked the Museum of Modern Art.

My earliest drawing is a supposed Carracci. It wasn't very expensive, I guess, because they don't know if it's a real Carracci. But it has all these seals on it of people who've owned it, and one of the great portrait painters of England, Reynolds, had owned it, so that's the earliest.

When I paint a portrait I want to know more than just the looks of the person. I want to know how they live and what their feelings are... It then becomes more than just physiognomy, but the feel of the person.

From the first shock of the contemplation of a face depends the principal sensation which guides me throughout the entire execution of a portrait.

A man cannot paint portraits till he has seen faces.

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!