Quotes about portrait (201 quotes) | Quotes of famous people

“I leave you my portrait so that you will have my presence all the days and nights that I am away from you.”

Frida Kahlo (1907–1954) Mexican painter

Night

“It is permitted to modern philosophy, all swollen up with Bacon's venom, to repeat to us to satiety, to disgust, to nausea, that we make God similar to man; we will reply as many times that is not quite the same thing to say that a man resembles his portrait or that his portrait resembles him.”

Joseph De Maistre (1753–1821) Savoyard philosopher, writer, lawyer, and diplomat

"Bacon's Religion," p. 293
An Examination of the Philosophy of Francis Bacon (1836)

God , Time

“The reason some portraits don't look true to life is that some people make no effort to resemble their pictures.”

Salvador Dalí (1904–1989) Spanish artist

Life , People , Effort

“In his early twenties, a man started collecting paintings, many of which later became famous: Picasso, Van Gogh, and others. Over the decades he amassed a wonderful collection. Eventually, the man’s beloved son was drafted into the military and sent to Vietnam, where he died while trying to save his friend. About a month after the war ended, a young man knocked on the devastated father’s door. “Sir,” he said, “I know that you like great art, and I have brought you something not very great.” Inside the package, the father found a portrait of his son. With tears running down his cheeks, the father said, “I want to pay you for this.ℍ “No,” the young man replied, “he saved my life. You don’t owe me anything.ℍ The father cherished the painting and put it in the center of his collection. Whenever people came to visit, he made them look at it. When the man died, his art collection went up for sale. A large crowd of enthusiastic collectors gathered. First up for sale was the amateur portrait. A wave of displeasure rippled through the crowd. “Let’s forget about that painting!” one said. “We want to bid on the valuable ones,” said another. Despite many loud complaints, the auctioneer insisted on starting with the portrait. Finally, the deceased man’s gardener said, “I’ll bid ten dollars.ℍ Hearing no further bids, the auctioneer called out, “Sold for ten dollars!” Everyone breathed a sigh of relief. But then the auctioneer said, “And that concludes the auction.” Furious gasps shook the room. The auctioneer explained, “Let me read the stipulation in the will: “Sell the portrait of my son first, and whoever buys it gets the entire art collection. Whoever takes my son gets everything.ℍ It’s the same way with God Almighty. Whoever takes his Son gets everything.”

Jimmy Carter (1924) American politician, 39th president of the United States (in office from 1977 to 1981)

Source: Through the Year with Jimmy Carter: 366 Daily Meditations from the 39th President

Life , God , War , People

“A portrait is not a likeness. The moment an emotion or fact is transformed into a photograph it is no longer a fact but an opinion. There is no such thing as inaccuracy in a photograph. All photographs are accurate. None of them is the truth.”

Richard Avedon (1923–2004) American photographer

Truth

“Every portrait that is painted with feeling is a portrait of the artist, not of the sitter.”

Oscar Wilde book The Picture of Dorian Gray

Source: The Picture of Dorian Gray

Feeling , Painting

“Never be distracted by people’s glamorous portraits of themselves and their lives; search and dig for what really imprisons them.”

Robert Greene book The 48 Laws of Power

Source: The 48 Laws of Power

People , Search

“There are people who have made me see shapes — and others I thought of a great deal, even people I have loved, who make me see nothing. I have painted portraits that to me are almost photographic. I remember hesitating to show the paintings, they looked so real to me. But they have passed into the world as abstractions - no one seeing what they are.”

Georgia O'Keeffe (1887–1986) American artist

1970s, Some Memories of Drawings (1976)

Love , People , World , Painting

“I think yet again of my father, who struggled to become a painter after he was forced into early and unwelcome retirement by the Great Depression. He has reason to be optimistic about his new career, since the early stages of his pictures, whether still or portraits or landscapes, were full of pow. Mother, meaning to be helpful, would say of each one: "That's really wonderful, Kurt. Now all you have to do is finish it." He would then ruin it. I remember a portrait he did of his only brother, Alex, who was an insurance salesman, which he called "Special Agent". When he roughed it in, his hand and eye conspired with a few bold strokes to capture several important truths about Alex, including a hint of disappointment. Uncle Alex was a proud graduate of Harvard, who would rather have been a scholar of literature than an insurance man.
When Father finished the portrait, made sure every square inch of masonite had its share of paint, Uncle Alex had disappeared entirely. We had a drunk and lustful Queen Victoria instead. This was terrible.”

Kurt Vonnegut (1922–2007) American writer

Fates Worse than Death (1991)

Truth , Disappointment , Literature , Thinking

“I started selling my portraits. Sizing up my customer, I charged ten or twenty francs a caricature, and it worked like a charm. Within a month my clientele had doubled. Had I gone on like that I'd be a millionaire today. Soon I was looked up to in the town, I was 'somebody'. In the shop-window of the one and only frame-maker who could make out a livelihood in Le Havre, my caricatures were impudently displayed, five or six abreast, in beaded frames or behind glass like very fine works of art, and when I saw troops of bystanders gazing at them in admiration, pointing at them and crying 'Why, that's so-and-so!', I was just bursting with pride.”

Claude Monet (1840–1926) French impressionist painter

after Monet's death
Source: Denis Rouart (1972) Claude Monet, p. 22 : About the first steps in his career

Art , Cry

“The Large Testament is a hurly-burly of cynical and sentimental reflections about life, jesting legacies to friends and enemies, and, interspersed among these many admirable ballades, both serious and absurd. With so free a design, no thought that occurred to him would need to be dismissed without expression; and he could draw at full length the portrait of his own bedevilled soul, and of the bleak and blackguardly world which was the theatre of his exploits and sufferings. If the reader can conceive something between the slap-dash inconsequence of Byron's Don Juan and the racy humorous gravity and brief noble touches that distinguish the vernacular poems of Burns, he will have formed some idea of Villon's style. To the latter writer – except in the ballades, which are quite his own, and can be paralleled from no other language known to me – he bears a particular resemblance.”

Francois Villon (1431–1463) Mediæval French poet

Robert Louis Stevenson Familiar Studies of Men and Books (London: Chatto & Windus, 1882), ch. 6.
Criticism

Life , World , Soul , Idea

“The Ramayana, the Puranas and the Dharmashastras paint the same portrait of an ancient land, every spot of which is sacred to some cultural memory or the other. The Jainagama and the Tripitaka speak again and again of sixteen Mahajanapadas, which spanned the spread of Bharatavarsha in the life-time of Bhagvan Mahavira and the Buddha. Even a dry compendium on grammar, the Ashtadhyayi of Panini, provides a near complete count of all the Janapadas in ancient India-Gandhara and Kamboja, Sindhu and Sauvira, Kashmir and Kekaya, Madra and Trigarta, Kuru and Panchala, Kaushala and Kashi, Magadha and Videha, Anga and Vanga, Kirata and Kamarupa, Suhma and Udra, Vatsa and Matsya, Abhira and Avanti, Nishadha and Vidarbha, Dandakaranya and Andhra, Karnataka and Kerala, Chola and Pandya. The epic poetry poured out by Kalidasa, Magha, Bharavi and Sriharsha continues the same tradition of talking endlessly about Bharatavarsha as a single and indivisible geographical entity, as a karmabhûmi for Gods and Goddesses, Brahmarshis and Rajarshis, and as higher than heaven for all those who have had the good fortune of being born in it.”

Sita Ram Goel (1921–2003) Indian activist

Muslim Separatism – Causes and Consequences (1987)

Life , God , Memory , Time

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

Jawaharlal Nehru (1889–1964) Indian lawyer, statesman, and writer, first Prime Minister of India

Statement to Nikita Khrushchev, as quoted in The New York Post (1 April 1959), and in The Cynic's Lexicon : A Dictionary of Amoral Advice (1984) by Jonathon Green, p. 184

History , Change

“You cannot lay bare your private soul and look at it. You are too much ashamed of yourself. It is too disgusting. For that reason I confine myself to drawing the portraits of others.”

Mark Twain (1835–1910) American author and humorist

Source: Autobiography of Mark Twain, Volume 1 (2010), p. 16

Soul , Drawing

“I have given up my studio & torn up my father's portrait, & have not touched a brush for six weeks nor ever will again until I see some prospect of getting back to Europe. I am very anxious to go out west next fall & get some employment, but I have not yet decided where.”

Mary Cassatt (1844–1926) American painter and printmaker

Quote from her letter of July, 1871; as quoted in her biography online at https://www.marycassatt.org/biography.html

“My desires are modest. Portraits of the head of the government should not exceed a postage stamp in size.”

Vladimir Nabokov (1899–1977) Russian-American novelist, lepidopterist, professor

Playboy 1964 interview
Context: The fact that since my youth – I was 19 when I left Russia — my political creed has remained as bleak and changeless as an old gray rock. It is classical to the point of triteness. Freedom of speech, freedom of thought, freedom of art. The social or economic structure of the ideal state is of little concern to me. My desires are modest. Portraits of the head of the government should not exceed a postage stamp in size. No torture and no executions.

“One day the last portrait of Rembrandt and the last bar of Mozart will have ceased to be — though possibly a colored canvas and a sheet of notes will remain — because the last eye and the last ear accessible to their message will have gone.”

Oswald Spengler (1880–1936) German historian and philosopher

Source: The Decline of the West, Vol 1: Form and Actuality

Color

“Your library is your portrait.”

Holbrook Jackson (1874–1948) British journalist

“When a girl uses six derogatory adjectives in her attempt to paint the portrait of the loved one, it means something. One may indicate a merely temporary tiff. Six is big stuff.”

P.G. Wodehouse (1881–1975) English author

Source: Jeeves in the Morning

Love , Girl , Painting

“Every man's work, whether it be literature or music or pictures or architecture or anything else, is always a portrait of himself.”

Samuel Butler book The Way of All Flesh

Source: The Way of All Flesh (1903), Ch. 14
Context: Every man’s work, whether it be literature or music or pictures or architecture or anything else, is always a portrait of himself, and the more he tries to conceal himself the more clearly will his character appear in spite of him.

Back To Work , Music , Literature

“Your library is your portrait.”

Linda Fairstein (1947) American writer

Source: Lethal Legacy

“It's a fairly accurate portrait of me at eighteen, minus a few quirks like reckless driving and eating binges. It's accurate but it isn't profound.”

Susanna Kaysen book Girl, Interrupted

Source: Girl, Interrupted

“your handwriting. the way you walk. which china pattern you choose. it's all giving you away. everything you do shows your hand. everything is a self portrait. everything is a diary.”

Chuck Palahniuk book Diary

Source: Diary

Way

“Magnus thought of James Herondale, burning up with too much light, too much love, too much, too much- while the boy in the portrait was as lovely as a dying poet, with the fragile beauty of a candle about to gutter out.”

Cassandra Clare The Bane Chronicles

Source: The Bane Chronicles

Love , Beauty , Boy , Light

“The contents of someone's bookcase are part of his history, like an ancestral portrait.”

Anatole Broyard (1920–1990) American literary critic

‘About Books, Recoiling, Rereading, Retelling’, New York Times, February 22, 1987.

History , Parting

“We prefer to go deformed and distorted all our lives rather than not resemble the portrait of ourselves which we ourselves have first drawn. It’s absurd. We run the risk of warping what’s best in us”

André Gide (1869–1951) French novelist and essayist

Source: Strait is the Gate and The Vatican Cellars

“If you alter or obscure the Biblical portrait of God in order to attract converts, you don't get converts to God, you get converts to an illusion. This is not evangelism, but deception.”

John Piper (1946) American writer

God

“But a Book is only the Heart's Portrait- every Page a Pulse.”

Emily Dickinson (1830–1886) American poet

Books , Heart

“A filmmaker should never assume he's superior to his subject. I often find that even the simplest topic remains an enigma. The best film portraits not only evoke that enigma but ingest it in a process that renders what's invisible visible.”

Damian Pettigrew Canadian filmmaker

On documentary subject matter, Le Parisien (May, 2003)

“Mrs. Burgoyne passed the last twenty years of her life in a large, solemn-looking house at Kensington; it is now a mad-house. How curiously do these changes in dwelling places, once cheerful and familiar, bring the mutability of our existence home! It would be an eventful chronicle, the history of even a few of the old-fashioned houses in the vicinity of London. You ascended a flight of steps, with a balustrade and two indescribable birds on either side, and a large hall, which, strange to say, was more cheerful in winter than in summer. In summer the narrow windows, the black wood with which it was panelled, seemed heavy and dull; but in winter the huge fire gave its own gladness, and had besides the association with old English hospitality which a blazing grate always brings. You passed next through two long drawing-rooms, whose white wainscoting was almost covered with family portraits. There cannot be much said for the taste of Queen Anne's time downwards — bagged, wigged, and hooped; there was not a picture of which the African's question might not have been asked, "Pray tell me, white woman, if this is all you?””

Letitia Elizabeth Landon (1802–1838) English poet and novelist

The Monthly Magazine

Life , Family , Home , History

“Utilitarianism had found [ in Samuel Smiles’ Self-Help] its portrait gallery of heroes, inscribed with a vigorous exhortation to all men to strive in their image; this philistine romanticism established the bourgeois hero-prototype—the penniless office-boy who works his way to economic fortune and this wins his way into the mercantile plutocracy.”

John Carroll (1944) Australian professor and author

Source: Break-Out from the Crystal Palace (1974), p. 12

Men , Smile , Way , Boy

“Some Confederate soldiers switched sides, beginning as early as 1862. When Sherman made his famous march to the sea from Atlanta to Savannah, his army actually grew in number, because thousands of white southerners volunteered along the way. Meanwhile, almost two-thirds of the Confederate army disappeared through desertion. Eighteen thousand slaves joined Sherman, so many that the army had to turn some away. Compare these facts with the portrait common in our textbooks of Sherman's marauders looting their way through a united south. The increasing ideological confusion in the Confederate states, coupled with the increasing strength of the United States, helps explains the Union victory… Many nations and people have continued to fight with far inferior means and weapons… The Confederacy's ideological contradictions were its gravest liabilities, ultimately causing its defeat.”

James W. Loewen book Lies My Teacher Told Me

As quoted in Lies My Teacher Told Me: Everything Your American History Textbook Got Wrong https://books.google.com/books?id=5m23RrMeLt4C&pg=PT225&dq=%22Twenty+Nigger+Law%22+loewen&hl=en&sa=X&ved=0ahUKEwitwZHxq7fKAhXFdR4KHVgMDrYQ6AEIHzAA#v=onepage&q=%22Twenty%20Nigger%20Law%22%20loewen&f=false (2007), New York: New Press, pp. 225–226
2000s, 2007, Lies My Teacher Told Me: Everything Your American History Textbook Got Wrong (2007)

People , Way , Victory , Help

“Charlotte: 'I have some more [paintings she recently made] to show you'.
Daberlohn: Well, let's meet this evening…..
Isn't it absurd to address each other so formally? You're such a baby – here, let me hold your hand.... Real painter's hands'.
Charlotte: 'To me they're just ugly'....'You would be a wonderful subject for a portrait -'
Daberlohn (to himself) : 'Little girl, if you only knew what one has to go through to be able to paint.”

Charlotte Salomon (1917–1943) German painter

written text with brush, in her paintings JHM no. 4640 + 4641 + 4642 + 4643: in 'Life? or Theater..', p. 522-525
Charlotte Salomon - Life? or Theater?

Girl , Baby , Painting

“One of the reasons I was asked to do the portrait [of president J. F. Kennedy, winter of 1962–63, destined for the Truman Library, Independence, Mo] is that, with luck, I can start and finish a life-size portrait in one sitting (after a couple of preliminary sessions of sketches to determine the pose and familiarize myself with my impression of the sitter). After years of working on my portraits (mostly of friends) for months at a time, I found myself getting bogged down in overly conscientious effort and discovered that by working swiftly I could enter into an almost passive relationship to the canvas and get closer to the essential gesture of the sitter. However, working at top speed this way, I require the absolute immobility of the sitter. This was impossible with President Kennedy because of his extreme restlessness: he read papers, talked on the phone, jotted down notes, crossed and uncrossed his legs, shifted from one arm of the chair to another, always in action at rest. So I had to find a new approach.”

Elaine de Kooning (1918–1989) American painter

n.p.
1950 - 1971, Painting a Portrait of the President', Elaine de Kooning (1964)

Life , Way , Effort , Winter

“Fox Business bigwigs are said to be perturbed by a very special guest on the fledgling biz channel the other night - Pricasso, the world's greatest penile artist. That's right, he paints portraits with his private parts.”

Pricasso (1949) Australian painter

[Oh, Baby, Was X-Tina Ragin', New York Daily News, 24 February 2008, Jo Piazza, 18, Daily News L.P.]
About

World , Business , Parting , Painting

“Yeah but everyone was a saint years ago, that seemed to be thrown about back then. Who's a saint now, in this year, who's a saint? And yet this guy, lived in a hut in the woods, 'oh yeah that's Saint John or whatever.' He wasn't a saint, he did nothin [Karl arguing with Steve and Ricky about Russian artifacts containing a portrait of a Russian Saint]”

Karl Pilkington (1972) English television personality, social commentator, actor, author and former radio producer

Podcast Series 1 Episode 5
On Life

Guy

“The Conservative Party in the House of Commons has played ball with Paisley for 18 months, during which he has sat among them on the government benches but voted against them…For was he not the secret weapon of those who wanted to send Ulster the way of white Rhodesia? … That is why the Northern Ireland Secretary, Mr Humphrey Atkins, and the Northern Ireland Office spent the first year-and-a-half of this Parliament building up Ian Paisley and whispering to him and to everybody else that he was going to be the big white chief under a new set-up which they planned to introduce. They recognized in him a man with no dedication to the Union, a man who would abuse the Parliament of the Union to its face and declared that he owed it no allegiance…He is afraid for his own skin, and afraid of the fringe men of violence on whose backs he would fain ride, provided he can distance himself from them when serious trouble looms. The old adage holds good; all bullies are cowards, and most cowards are bullies. That is the last trait which completed the portrait of the man who the enemies of the Union are hoping against hope will put them in business again.”

Enoch Powell (1912–1998) British politician

Source: Speech in Belfast (8 May 1981), reported in The Times (9 May 1981), p. 2

Men , Secret , Hope , Way

“Do you see all those beautiful trees there? I sketched them all thirty years ago; I have had all their portraits. Look at that beech there, the sun lights it up and makes of it a marble column, a column that has muscles, limbs, hands and a fair skin, white and pallid... See the modest green of the heath and its plants, rosy, amaranthine, which distil honey for the bees and fragrance for the butterflies. The sun lights them up and gives them a diapason of extraordinary color. Ah, the sun..”

Théodore Rousseau (1812–1867) French painter (1812-1867)

Quote of Th. Rousseau, Sept. 1867; recorded by fr:Alfred Sensier; as cited by Charles Sprague Smith, in Barbizon days, Millet-Corot-Rousseau-Barye; publisher, A. Wessels Company, New York, July 1902, p. 164
In September 1867 (two months before Rousseau’s death, when already half paralyzed), Th. Rouseau took a ride with Sensier to look once more at the heather. He was pointing to the Sully, a giant of the wood
1851 - 1867

Beauty , Color , Tree , Light

“Behind her chair, from a wall covered in a very expensive velvet-flock paper, a portrait of her grandfather looked down. He had been an Episcopalian bishop, but the picture showed him in the costume of a New England gentleman keeping up the Old English custom of riding to hounds: red coat, brown boots, distinguished with a white dog-collar and black silk front.
Hugh referred to him as being dressed to kill.
The salad was replaced—though Hugh had sampled only a mouthful of his—by a dish of cold fish with mayonnaise. He didn’t even touch this course. He was suddenly afraid of it because it had come from the sea.”

John Brunner book The Sheep Look Up

February “DISGRACE”
The Sheep Look Up (1972)

Dogs , Fish , Sea

“I desire to sever all connection with the Society of American Artists. In deference to some of its older members, who perhaps from sentimental motives requested me to reconsider my resignation last year, I shall explain… For the last three years my paintings have been rejected by you, one of them the Agnew portrait, a composition more important than any I have ever seen on your walls.Rejection for three years eliminates all elements of chance, and while in my opinion there are qualities in my work which entitle it to rank with the best in your Society, your Society's opinion must be that it ranks below much that I consider frivolous and superficial. These opinions are irreconcilable.”

Thomas Eakins (1844–1916) American painter

Letter to the Society of American Artists (1892-05-07).

Motivation , Chance , Painting

“The painter's portrait and the physicist's explanation are both rooted in reality, but they have been changed by the painter or the physicist into something more subtly imagined than the photographic appearance of things.”

Jacob Bronowski (1908–1974) Polish-born British mathematician

Part 4: "The Abacus and the Rose" (p. 103)
Science and Human Values (1956, 1965)

Imagination , Reality , Appearance , Change

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

Helmut Newton (1920–2004) German-Australian photographer

As quoted in Newsmakers (2002) by Laura Avery

“I studied a good deal in the museum at Naples; the Pompeian paintings are extremely interesting from every aspect. So I am staying in the sun – not to paint portraits but while I am warming myself and looking hard at things I hope I will have acquired some of the grandeur and simplicity of the old masters. Raphael didn't work out-of-doors, but he studied the sunlight all the same – his frescoes are full of it. So, by looking around outside, I have finished by seeing only the broad harmonies, and am no longer preoccupied with the little details, which only extinguish the sunlight, instead of increasing its brilliance. I hope therefore, when I get back to Paris, to produce something which will be the outcome of all these general studies, and to give you the benefit of them”

Pierre-Auguste Renoir (1841–1919) French painter and sculptor

in a letter written during his three-weeks-stay, working with Paul Cezanne at l'Estaque, near Marseille
Source: 1880's, Renoir – his life and work, 1975, p. 169 in a letter to madame Charpentier, l'Estaque, January 1882

Hope , Study , Sun , Painting

“Raised an Army brat in a constantly changing scene, Kitsy has always been at ease in any company. While she enjoys formal affairs, she has such an air of informality that in her corner of the room ritual is soon dispensed with. Kitsy was much impressed with the wives of Vietnamese officials. If the Vietnamese men, she liked to say, were half as strong as their women, the country would have no problem. She enjoyed their sense of humor, their propensity for earthly jokes. When she had difficulty deciphering the mixture of languages and getting to the point, one or another of the ladies would take her aside and explain. Kitsy shares some of my lack of affinity for foreign languages; her attempts at French drew the same wry smiles as my attempts at Vietnamese. Kitsy's sense of humor has brightened many an occasion. At a ceremony unveiling my official superintendent's portrait at West Point, the master of ceremonies asked her to say a few words. "This is the second time I have seen Westy unveiled," said Kitsy. "The first time was on our wedding night."”

William Westmoreland book A Soldier Reports

Source: A Soldier Reports (1976), p. 263.

Women , Men , Smile , Problem

“What a curious portrait this is for the supposed founder of a religion. The Old Boy didn't preach. He didn't organize or promote. He wrote a few pages on request, rode off on a water buffalo, and that was it was far as he was concerned.”

Huston Smith book The World's Religions

On Lao-Tzu, the legendary author of the Tao Te Ching and founder of Taoism.
The World's Religions (1991)

Religion , Boy , Water

“When magic through nerves and reason passes, imagination, force, and passion will thunder. The portrait of the world is changed.”

Dejan Stojanovic book Circling: 1978-1987

”Alexander the Great,” p. 55
Circling: 1978-1987 (1993), Sequence: “A Warden with No Keys”

World , Imagination , Passion , Change

“When drag queen Carlotta agreed to compere and sit for a portrait at an R-rated charity fundraiser in March, she was not prepared for the tool of trade of the artist. The painter was Pricasso, who releases his artistic side by using a particular extremity. Not to put too fine a point on it (and Pricasso couldnt), Carlotta hovered between humour and horror as her portrait came to life.”

Pricasso (1949) Australian painter

[Gold Coast Bulletin staff, The 2012 Yoohoo Awards, Gold Coast Bulletin, 29 December 2012, 34, Queensland, Australia, News Limited]
About

Life

“Serious color studies of nudes and heads. Only as practice and first training. Very strict determination of color values through water color. On top of it, some oils, simply for blending. The results are quite unattractive, little of importance to be hoped for here. This month of February is devoted to color. I painted many nudes from nature and even the portrait of a head, my syster's!”

Paul Klee (1879–1940) German Swiss painter

Quote (1903), # 485, in The Diaries of Paul Klee, translation: Pierre B. Schneider, R. Y. Zachary and Max Knight; publisher, University of California Press, 1964
1903 - 1910

Hope , Color , Nature , Study

“After four centuries, Montaigne's curious genius still has that effect on his readers and, time and again, one finds in his self-portrait one's own most brilliant aperçus (the ones that somehow we forgot to write down and so forgot) restored to us in his essays—attempts—to assay—value—himself in his own time as well as, if he was on the subject, all time, if there is such a thing.”

Gore Vidal (1925–2012) American writer

"Montaigne"
1990s, United States - Essays 1952-1992 (1992)

Time

“I do not see in what way the face of a man should be a less interesting landscape than any other. A man, the physical person of a man, is a little world, like any other a country, with its towns, and suburbs... As a rule what is needed in a portrait is a great deal of the general, and very little of the particular.”

Jean Dubuffet book Prospectus et tous écrits suivants

Source: 1960-70's, Prospectus et tous écrits suivants, 1967, p. 63-73

World , Way , Personality , Country

“Today I painted my first plain air portrait at the clay pit, a little blond and blue-eyed girl. The way the little thing stood in the yellow sand was simply beautiful – a bright and shimmering thing to see. It made my heart leap. Painting people is indeed more beautiful than painting a landscape. I suppose you can notice that I am dead-tired, after this long day of hard work, cant you? But inside I am so peaceful and happy..”

Paula Modersohn-Becker (1876–1907) German artist

in a letter to her mother, from Worpswede, August 1897; as quoted in Paula Modersohn-Becker, The Letters and Journals by Paula Modersohn-Becker, eds. Günter Busch, Liselotte von Reinken, Arthur S. Wensinger, Carole Clew Hoey - Northwestern University Press, 1998, p. 79
1897

People , Peace , Beauty , Way

“The journalists have constructed for themselves a little wooden chapel, which they also call the Temple of Fame, in which they put up and take down portraits all day long and make such a hammering you can't hear yourself speak.”

Georg Christoph Lichtenberg (1742–1799) German scientist, satirist

D 20
Aphorisms (1765-1799), Notebook D (1773-1775)

“Each textbook must contain as frontispiece a portrait of Gandhiji and there must be lessons containing the sermons of Gandhiji from Sabarmati to Birla House. This would be the best and the most potent way of offering homage to the memory of the world's greatest man and the Father of the Indian Nation, and is better than building memorials and erecting statues…. His (Gandhiji's) teachings stressed the supreme virtue of the human spirit, utterly indestructible and unconquerable. India can never hope to find a place in the sun, unless it upholds the value of the human spirit.”

C. V. Raman (1888–1970) Indian physicist

Raman on Mahatma Gandhi after whom he instituted the Gandhi Memorial Lecture in the Raman Research Institute quoted in Chandrasekhara Venkata Raman:A Legend of Modern India's Science, 22 November 2013, Official Government of India's website Vigyan Prasar http://www.vigyanprasar.gov.in/scientists/cvraman/raman1.htm,

World , Hope , Way , Memory

“In high school the approaching graduation was stirring up excitement among the seniors. I didn't care much for any of it since I couldn't afford any of the mementoes or activities offered for completing the four years. I had not attended the prom or the senior trip, had not purchased a class ring or letterman's jacket or the yearbook—had not even taken my senior portrait—and I wasn't about to attend the ceremony we had been rehearsing all week.”

Rigoberto González (1970) American writer

Butterfly Boy: Memories of a Chicano Mariposa (2006)

School

“They [Jawlensky and Münter] often lived here in our Murnau house. But Paul Klee and Franz Marc were also close friends, and August Macke, too, whenever he was in Munich... Klee was never as active a theorist, in those years, as Kandinsky or Marianne de Werefkin. Besides, it took Klee much longer to become a truly and conscious modern artist... As you can see in my portrait of Klee, which is painted in 1913 – I mean the one where he is seen seated in one of the rooms here downstairs and wearing white summer slacks – he is not very communicative. That is why I depicted him all hunched up and tense, as if he were constraining some mainspring within himself. In my eyes, it was almost a portrait of silence rather than of Klee, and for many years it no longer occurred to me that he had been my model. But Klee was always a close friend of ours, and Kandinsky and I had great confidence in his talent and his future.”

Gabriele Münter (1877–1962) German painter

Source: Interview by Edouard Roditi (1958), p. 120

Confidence , Communication , Silence , Future

“What we've lost - 'I said in more or less these terms' - is the proper interest in and taste for detail. We've been noting that for a long time yet the loss is irremediable. In the old days man was everything. A human face was worth a poem. When nature appeared behind a human being it was a kind of backdrop taking the place of the dark background of portrait painters or the gold of the Italian primitives… The day when a separation took place art was diminished. It was transformed the day that the 'subject' and the 'genre' destroyed great painting, denaturing even landscapes.”

Eugène Fromentin (1820–1876) French painter

Quote of Fromentin, as cited by Sarah Anderson in Between Sea and Sahara: An Orientalist Adventure, 'Chapter IV', Eugène Fromentin, (1859); transl. Blake Robinson; publisher I.B. Tauris 2004, p. 4

Art , Nature , Appearance , Loss

“Mayor Helen Zille has shrugged off the news that her portrait has been painted by an 'artist' who uses his penis as a brush, saying it is his constitutional right to exercise his freedom of expression 'in this unusual way.”

Pricasso (1949) Australian painter

[Cape Argus staff, Artist uses a different stroke on Zille portrait, Cape Argus, South Africa, 7 May 2008, 3, Independent Online]
About

Way , Exercises , Freedom , Painting

“Sociologists and anthropologists have long been concerned with how individuals are linked to one another and how these bonds of affiliation serve as both a lubricant for getting things done and a glue that provides order and meaning to social life. The attention to networks of association, which began in earnest in the 1970s, provided welcome texture and dynamism to portraits of social life. This work stood in stark contrast to the reigning approaches in the social sciences. In contrast to deterministic cultural (oversocialized) accounts, network analysis afforded room for human agency, and in contrast to individualist, atomized (undersocialized) approaches, networks emphasized structure and constraint (Granovetter, 1985). Network studies offered a middle ground, a third way, even if no one was quite sure whether networks were a metaphor, a method, or a theory (Barnes 1979). But the sociologists and anthropologists who initially studied networks did not pay sustained attention to economic activity, although some industrial sociologists (Roy, 1954; Dalton, 1959) had long stressed the role of informal networks as an antidote to formal organization practices and structures.”

Walter W. Powell (1948) American sociologist

Walter W. Powell and Laurel Smith-Doerr. "Networks and economic life." The handbook of economic sociology. (1994). p. 368-380; introduction.

Life , Way , Study , Science

“As you first see him he wonders frequently whether he is not without honor and slightly mad, a shameful and obscene thinness glistening on the surface of the world like oil on a clean pond, these occasions being varied, of course, with those in which he thinks himself rather an exceptional young man, thoroughly sophisticated, well adjusted to his environment, and somewhat more significant than any one else he knows.
This was his healthy state and it made him cheerful, pleasant, and very attractive to intelligent men and to all women. In this state he considered that he would one day accomplish some quiet subtle thing that the elect would deem worthy and, passing on, would join the dimmer stars in a nebulous, indeterminate heaven half-way between death and immortality. Until the time came for this effort he would be Anthony Patch — not a portrait of a man but a distinct and dynamic personality, opinionated, contemptuous, functioning from within outward — a man who was aware that there could be no honor and yet had honor, who knew the sophistry of courage and yet was brave.”

F. Scott Fitzgerald (1896–1940) American novelist and screenwriter

Quoted, The Beautiful and Damned (1922)

Death , Women , Men , World

“Alexander Hamilton has been on the $10 since 1928, he's been well honored by the country, he was a great Secretary of the Treasury. But of all the people on the currency, the only one who isn't a president." [Note: Benjamin Franklin, whose portrait appears on the $100 bill, also was not a president. ]”

Grover Norquist (1956) Conservative Lobbyist

interview with CNNs Judy Woodruff on the possibility of putting Ronald Reagan on the $10 bill, June 8, 2004
2004

People , Appearance , Country

“Probably every portrait photographer resorts to some such "dodge" for making a face lighter or other similar purpose, and he finds that the application of water-color paint in ever so thin a wash makes so much difference to the printing density that blue is commonly used as being a quick printing color, the effect of which is therefore not so great; an equally dense layer of blue and of red to any portion of a negative would print very differently, the red shutting off the light action much more powerfully than the blue.”

Alfred Horsley Hinton (1863–1908) British photographer

Source: Part II : Practical Pictorial Photography, Fidelity to nature and justifiable untruth, p. 20

Color , Light , Water , Painting

“Most serene and Powerful King [Ferdinand], most Clement Lord,... The portraits of the serene daughters of your Majesty will be done in two days, and I shall take them to Venice, whence – having finished them with all diligence – I shall send them quickly to your Majesty. As soon as your Majesty has seen them, I am convinced I shall receive much greater favours than those which have been previously done me, and so I recommend myself humbly to your Majesty.”

Titian (1488–1576) Italian painter

Your Majesty's faithful servant, Titiano.
In a letter to King Ferdinand, from Innsbruck, 20th Oct 1548; original in the 'Appendix' in Titian: his life and times - With some account of his family... Vol. 2., J. A. Crowe & G.B. Cavalcaselle, Publisher London, John Murray, 1877, p. 189
The king's daughters were nine and five years old, and a young baby in long clothes; the preparatory work of the paintings was probably done by Cesare Vecelli. Titian's share in these portraits was very slight; he added only a very little to the heads
1541-1576

Faith , Daughters

“Or indeed we may say again, it is in what I called Portrait-painting, delineating of men and things, especially of men, that Shakspeare is great. All the greatness of the man comes out decisively here. It is unexampled, I think, that calm creative perspicacity of Shakspeare. The thing he looks at reveals not this or that face of it, but its inmost heart and generic secret: it dissolves itself as in light before him, so that he discerns the perfect structure of it. Creative, we said: poetic creation, what is this too but seeing the thing sufficiently? The word that will describe the thing, follows of itself from such clear intense sight of the thing. And is not Shakspeare's morality, his valour, candour, tolerance, truthfulness; his whole victorious strength and greatness, which can triumph over such obstructions, visible there too? Great as the world!”

Thomas Carlyle (1795–1881) Scottish philosopher, satirical writer, essayist, historian and teacher

1840s, Heroes and Hero-Worship (1840), The Hero as Poet

Men , Truth , Secret , World

“Illustrious Lord, hearing that your Excellency has gone to the court of his Imperial Majesty [Charles V], I abstain from coming to Mantua, sighing at my bad fortune in not having left Bologna soon enough to meet your Grace. At Venice I shall prepare the copy of the portrait of his Majesty, which I take home with me at your Excellency's bidding.”

Titian (1488–1576) Italian painter

In a letter to the Duke of Mantua, from Bologna, 10 March 1533; as quoted by J.A.Y. Crowe & G.B. Cavalcaselle in Titian his life and times - With some account..., publisher John Murray, London, 1877, p. 370
The portrait which Titian took home and repeated a second time he doubtless sent to Charles V. The replica was not sent to Mantua till after 1536, but there it appears to have remained. Another example besides that of the Madrid Museum came into the hands of Charles the First of England.
1510-1540
Source: https://commons.wikimedia.org/wiki/Titian#/media/File:Tizian_081.jpg
Source: https://commons.wikimedia.org/wiki/Titian#/media/File:Tizian_081.jpg

Home

“Once I saw the village butcher [in his youth, in Russia] slice the neck of a bird and drain the blood out of it. I wanted to cry out, but his joyful expression caught the sound in my throat... This cry, I always feel it there. When, as a I drew a crude portrait of my professor, I tried to rid myself of this cry, but in vain. When I painted the beef carcass it was still this cry that I wanted to liberate. I have still not succeeded.”

Chaim Soutine (1893–1943) painter

remark to his friend and biographer
Source: Soutine et son temps, Emile Szittya, La Bibliothèque des Arts, Paris, 1955, pp. 107-108; as quoted in Chaim Soutine, Catalogue Raisonné, eds. Maurice Tuchman, Esti Dunow, Klaus Perls, Benedikt Taschen Verlag, p. 16

Youth , Feeling , Bird , Painting

“The portrait I have to paint is of…an ambiguous character, a mixture of virtues and vices, a perpetual contrast between good impulses and bad actions.”

Antoine François Prévost (1697–1763) French novelist

J'ai à peindre…un caractère ambigu, un mélange de vertus et de vices, un contraste perpétuel de bons sentiments et d'actions mauvaises.
Avis de l'auteur, p. 30; translation p. 3.
L'Histoire du chevalier des Grieux et de Manon Lescaut (1731)

Painting

“The only American woman deserving a place on U. S. paper currency is, of course, Anne Hutchinson, a devout 17th century Protestant New Englander who was a fearless champion of religious liberty, family, free speech, and equality — not preference — for women in religious affairs. Perhaps a new piece of currency could be created, one to which the attachment of her portrait would do honor. Ms. Hutchinson, however, is out of contention in the Democrats’ virulent anti-Southern currency crusade because her character traits – and the fifteen children she had with one husband — just do not jive with being Modern Democratic Party Women, those who glory in, and seek legal, economic, and political preference for their talents in whining, vamping, aborting, as well as recognition for their indispensable and eagerly given help in making the United States one of the world’s industrial-scale producers of both pornography and the dismembered corpses of infants. There may be something that can be done, however. The portrait of another Democratic icon named Woodrow Wilson now adorns the $100,000 bill, which appears to be to be used mainly in transactions.”

Michael Scheuer (1952) American counterterrorism analyst

As quoted in Michael Scheuer's Non-Intervention http://non-intervention.com/1689/democrats-scourge-the-south-after-the-battle-flag-it%e2%80%99s-on-to-old-hickory/ (9 July 2015), by M. Scheuer.
2010s

Women , Children , World , Family

“One is never satisfied with a portrait of a person that one knows.”

Johann Wolfgang von Goethe book Elective Affinities

Bk. II, Ch. 2
Elective Affinities (1809)

Personality

“One Sunday, Diego came to the house to see my paintings and critiqued all of them in a very clear manner, and he told me all the possibilities he saw in them. Then I painted two or three things, which are around the house, that to me seem very influenced by him [circa 1928]. They are portraits of thirteen- or fourteen-year-old kids... In 1929, I joined the Communist Party, I got married to Diego, and I had my first abortion. In that year I painted a portrait of Cristina Moya.... and other drawings that Morillo Safa [her main patron] owns. The unfinished [self-]portrait of my first abortion was my first Surrealist painting ['Frida and the Caesarean', she painted in 1929] but not completely. I have it [at home].”

Frida Kahlo (1907–1954) Mexican painter

1950
Source: 1946 - 1953, "Song of herself"; interviews by Olga Campos, Sept. 1950, Chapter 'My Painting', p. 74

Home , Drawing , Painting , Housing

“The intensity with which a subject is grasped (still life's, portraits, or creations of the imagination) – that is what makes for beauty in art.”

Paula Modersohn-Becker (1876–1907) German artist

excerpt of her Journal, Worpswede 1899; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 198
1899

Life , Beauty , Art , Imagination

“This character of depersonalization is certainly a constant of all my personages.... The charm of my Portraits enterprise consisted exactly in undergoing a treatment of depersonalization of the effigies of the persons designated. This persistent drive to depersonalize the persons seems to me to precede the paintings (and is more or less conscious in my mind throughout their execution).... [this depersonalisation requires] imagination from the viewer to recognize and complete the portrait.”

Jean Dubuffet (1901–1985) sculptor from France

Quote in a letter to Max Loreau, 29 June, 1963, reprinted in Prospectus II, Jean Dubuffet; Gallimard, Paris, 1967, pp. 374–375
1960-70's

Imagination , Painting , Personality

“The Captain's fore-arm like buncht-up rope,
With Anita wrigglin' free onto skull n' dagger,
And a portrait of Christ, nailed to an anchor,
Etched into the upper…”

Nick Cave (1957) Australian musician

Song lyrics, From Her to Eternity (1984), Cabin Fever!

Christ

“Until the end of the fascist era and of the war [World War 2. ], I continued to hark back to the sober realism [in his human figure sculptures, then] of the artists of the Etruscan funerary figures, or the sculptors of some Roman portraits, especially the earlier ones. My own way of reacting against the imperialist pathos of official Fascist art continued, until 1944, to consist in identifying my art very consciously with my private life, so that I never allowed myself any form of expression that might seem too blatantly public.”

Marino Marini (1901–1980) Italian sculptor

Source: Interview with Edouard Roditi' (1958), p. 87

Life , War , World , Art

“The annual Sexpo exhibition comes but once a year, and is not always memorable but this year one of our scouts discovered a truly unique talent at the show - a man who paints portraits with his, errm, manhood. Yes, Pricasso, as he calls himself, took Darling Harbour by storm last week.”

Pricasso (1949) Australian painter

[Annette Sharp, The Diary: Painting by members, The Sun-Herald, Sydney, Australia, 29 July 2007, 2, Fairfax Media Publications Pty Limited]
About

Painting , Scouting

“Excellent Lord: —Knowing your Excellency's love for painting and your passion for protecting it as shown in the patronage of Ginlio Eomano; —being further desirous of pleasing your Excellency, —I have taken the opportunity of Messer Pietro Aretino's arrival [in Venice] to paint his likeness, and as he comes — a second St. Paul —to preach the virtues of your Excellency, and I likewise know that you are fond of so faithful a servant because of his many virtues, I make you herewith a present of his portrait. But I also bear in remembrance the Signor Girolamo Adorno who adored the Marquis of Mantua, and as he was a qualified gentleman, I send your Excellency a present of him also. These may not be gifts worthy of so great a person as your Excellency.... Most devoted servant, Titiano Vecellio.”

Titian (1488–1576) Italian painter

Quote from a letter of Titian, to the Marquess Gonzaga of Mantua, from Venice 22 Juin 1527; as quoted by J.A.Y. Crowe & G.B. Cavalcaselle in Titian his life and times - With some account..., publisher John Murray, London, 1877, p. 317
Assuredly Titian at this time had Messer Pietro Aretino for a sitter; this letter proves his intimacy with the secretary of Giovanni de Medici
1510-1540

Love , Faith , Passion , Painting

“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.”

Susan Sontag book On Photography

"The Heroism of Vision", p. 105
On Photography (1977)

Art , Painting

“You use things; the idea is, of course, to eliminate things [in making a picture]. And just as fifteen or eighteen years ago [when Guston made whole figurative series of children's pictures: 'all sort of props and so on'] I stretched out to get that, - put it in and took it out - to get that look in that's kid's eye and the way his mouth was open or wasn't - I mean a very particular kind of look - I'd do the same now. In other words, I can't find any freedom in abstract painting [but Guston did abstract painting in 1960 - till in 1967 he moved to figuration]. I'am just as stuck with locations, a few areas of colour in relation to some kind of totality that I want, as I was before. And so the problem of figuration is somehow irrelevant to me. I think some of the best painting done in New York today is figuration, but it's not recognised as such... Well I think of my pictures as a kind of figuration... I think every good painter here in New York really paints a self-portrait..”

Phillip Guston (1913–1980) American artist

Source: 1950 - 1960, Interview with David Sylvester, BBC (March 1960), pp. 92-93

Children , Way , Idea , Problem

“Every time I paint a portrait I lose a friend.”

John Singer Sargent (1856–1925) American painter

Quoted in Bentley and Esar, Treasury of Humorous Quotations (1951)

Time , Painting

“What is a portrait good for, unless it shows just how the subject was seen by the painter? In the old days before photography came in a sitter had a perfect right to say to the artist: "Paint me just as I am." Now if he wishes absolute fidelity he can go to the photographer and get it.”

Aubrey Beardsley (1872–1898) English illustrator and author

As quoted in Aubrey Beardsley : A Biography (1999) by Matthew Sturgis, p. 189

Painting , Perfection

“The portraits of the Viennese modernists, with their conscious and dramatic attempts to depict their subject's inner feelings, represent an ideal example of how psychological and biological insights can enrich our relationship with art.”

Eric R. Kandel (1929) American neuropsychiatrist

The Age of Insight (2012)

Art , Feeling

“Ancient portraits are symbolic images without any immediate relation to the individuals represented; they are not portraits as we understand them. …It is remarkable that philologists who are capable of carrying accuracy to the extremes in the case of words are as credulous as babies when it comes to "images," and yet an image is so full of information that ten thousands words would not add up to it.”

George Sarton (1884–1956) American historian of science

Preface.
A History of Science Vol.2 Hellenistic Science and Culture in the Last Three Centuries B.C. (1959)

Understanding , Baby

“The street resembled fairgrounds deserted in haste. There was a little of everything: suitcases, briefcases, bags, knives, dishes, banknotes, papers, faded portraits. All the things one planned to take along and finally left behind. They had ceased to matter.
Open rooms everywhere. Gaping doors and windows looked out into the void. It all belonged to everyone since it no longer belonged to anyone. It was there for the taking. An open tomb.”

Elie Wiesel book Night

Night (1960)

“You [the interviewer Edouard Roditi, in 1958] have probably understood that I had always been mainly a plain-air painter, though I also painted portraits and still-life compositions. At first I experienced great difficulty with my brushwork – I mean with that the French call 'la touche de pinceau'. So Kandinsky taught me how to achieve the effects that I wanted with a palette knife. In the view from my window in Sèvres, that I painted in 1906, when we were together in France, you can see how well he taught me. Later of course, here in Murnau, I learned to handle brushes, too, but I managed this by following Kandinsky's example, first with a palette knife, than with brushes.”

Gabriele Münter (1877–1962) German painter

Source: Interview by Edouard Roditi (1958), p. 120

Life , Learning , Painting

“Treasure maps; Czarist bonds; a case of stuffed dodos; Scarlett O'Hara's birth certificate; two flattened and deformed silver bullet heads in an old matchbox; Baedeker's guide to Atlantis (seventeenth edition, 1902); the autograph score of Schubert's Unfinished Symphony, with Das Ende written neatly at the foot of the last page; three boxes of moon rocks; a dumpy, heavy statuette of a bird covered in dull black paint, which reminded him of something but he couldn't remember what; a Norwich Union life policy in the name of Vlad Dracul; a cigar box full of oddly shaped teeth, with CAUTION: DO NOT DROP painted on the lid in hysterical capitals; five or six doll's-house-sized books with titles like Lilliput On $2 A Day; a small slab of green crystal that glowed when he opened the envelope; a thick bundle of love letters bound in blue ribbon, all signed Margaret Roberts; a left-luggage token from North Central railway terminus, Ruritania; Bartholomew's Road Atlas of Oz (one page, with a yellow line smack down the middle); a brown paper bag of solid gold jelly babies; several contracts for the sale and purchase of souls; a fat brown envelope inscribed To Be Opened On My Death: E. A. Presley, unopened; Oxford and Cambridge Board O-level papers in Elvish language and literature, 1969-85; a very old drum in a worm-eaten sea-chest marked F. Drake, Plymouth, in with a load of minute-books and annual accounts of the Winchester Round Table; half a dozen incredibly ugly portraits of major Hollywood film stars; Unicorn-Calling, For Pleasure & Profit by J. R. Hartley; a huge collection of betting slips, on races to be held in the year 2019; all water, as far as Paul was concerned, off a duck's {back]”

Tom Holt (1961) British writer

The Portable Door (2003)

Love , Life , Death , Pleasure

“I'm sick of Portraits and wish very much to take my viols-da-gamba and walk off to some sweet village, where I can paint landskips [landscapes] and enjoy the fag - end of life in quietness and ease. But these fine ladies [very probably his wife and daughters] and their tea-drinkings, dancings, husband-huntings, &c, &c. &c., will fob me out of the last ten years, and I fear miss getting husbands too. But we can say nothing to these things you know, Jackson, we must jog on and be content with the jingling of the bells, only, d-[damned]-it I hate a dust, the kicking up a dust, and being confined in harness to follow the track whilst others ride in the waggon, under cover, stretching their legs in the straw at ease, and gazing at green trees and blue skies without half my 'Taste'. That's d-d [damned] hard. My comfort is I have five viols-da-gamba: three 'Jayes' and two 'Barak Normans”

Thomas Gainsborough (1727–1788) English portrait and landscape painter

Adieu.
2 Quotes from Gainsborough's letter to his friend William Jackson of Exeter, from Bath, 4 June 1768; as cited in Thomas Gainsborough, by William T, Whitley https://ia800204.us.archive.org/6/items/thomasgainsborou00whitrich/thomasgainsborou00whitrich.pdf; New York, Charles Scribner's Sons – London, Smith, Elder & Co, Sept. 1915, p. 385 (Appendix A - Letter VIII)
1755 - 1769

Life , Hate , Fear , Drink

“I intend to make this day forward the first day of the rest of my life. We can change our lives. You say, 'Well, what's wrong with your life, Michael?' Well, it's not that there's anything wrong with my life, but it's not what I want it to be. I don't feel that I'm inspiring people in the way I want to inspire them. You see, you can inspire through hate; you can inspire through love, hope, humor – the positives. I look at the history of the world, and I look at the world today, and I realize that if we don't inspire each other through positive attributes – love, hope and humor – we're gonna descend into the barbarism of the Left and the barbarism of ISIS. You like me to be hard, you like me to be tough, you like me to give you the breaking news, you like me to be cynical, you like me to analytical, you like me to give you stuff that you don't hear anywhere else – I get that. But there's a limit to that. There's a lot of area beyond all that.I think of Christmas. Christianity is the religion of peace. Christianity is the true religion of peace. 'Turn the other cheek.' 'Do unto others as you would have them do unto you.' These are messages that come from Christianity. What can you do in an age of deceit and lies and terror? You can go to church again. However un-needing you think you really are, you know in your heart that there's something missing in you. You know that you crave something greater. Because the human being is not a dog. We are unique creatures. And we need something different than the bear, the dog, the snake and the eagle. What is that thing that we need? It's that 'thing' called God.The media has promulgated the idea, and promoted the idea, that we only need food and fornication. And so when people are empty that's what they seek. And when they are really empty, what happens? They become drug addicts. They start with marijuana, they end up with heroin, crack, you name it. As God has been driven out of America, drugs have entered America. What does an empty soul look to do? An empty soul looks to fill itself. Just as an empty vessel needs to be filled with a liquid to be complete, an empty human being needs to fill itself to be complete. And how does it fill itself? I know, again, many of you will laugh because you're cynical; it's through those things I'm talking about – inspiration. Do you think a musician can play one day without inspiration from somewhere? The greatest artists in the history of the world were not drug-addicts. They were usually God-addicts. Look at the greatest art in history, you'll find most of them were super religious people, who literally saw God in their living room, and they took the power of God and that was transmitted through the paintbrush, or through that piece of marble. How could a man like Rodin take a piece of inert stone, and inside that stone see the essence of the human form, and sculpt from that block of inert stone, a marble, the portrait of a human being that looks so real – a hundred years later I go and look at them in the museum, and literally inside that carved eye I can see the person; how is that possible? How? It's a different show than I've ever done in my 21 years, because each day to me – I must tell you – I see as my last day, my last day on Earth.”

Michael Savage (1942) U.S. radio talk show host, Commentator, and Author

The Savage Nation (1995- ), 2015

Love , Life , God , Hate

“It paints a portrait of a man attempting to cope with being a human.”

Frances Bean Cobain (1992) American artist

" Frances Bean Cobain on Life After Kurt's Death: An Exclusive Q&A http://www.rollingstone.com/music/features/frances-bean-life-after-kurt-cobain-death-exclusive-interview-20150408" (2015)

Painting

“Dressed flamboyantly in leopard-print leg-warmers and matching hat, the chap managed to churn out a quick portrait of the Prime Minister which bears a striking if not fleshy resemblance to the head of government.”

Pricasso (1949) Australian painter

[Annette Sharp, The Diary: Painting by members, The Sun-Herald, Sydney, Australia, 29 July 2007, 2, Fairfax Media Publications Pty Limited]
About

“Interviewer: Love is certainly at the center of tolerance. They're intertwined, in a certain way. It helps you appreciate difference.
Hockney: Yes. And that's probably why I do portraits. Everybody's different; they look different, and are different. Maybe deep, deep down we're all the same. But on the surface we seem to be different, don't we?”

David Hockney (1937) British artist

Interview with Lester Strong" 'Love is the only serious subject' " http://glreview.com/13.3-hockney.php Gay & Lesbian Review Worldwide, (May/June 2004)
2000s

Love , Way , Help

“I'd imagine Janowicz is a fine lover - a big, bear of a man but with the hands of a miniature portrait painter.”

Ben Dirs journalist

Live - Murray v Janowicz, 2013-07-05, 2013-07-05, BBC http://www.bbc.co.uk/sport/0/tennis/23099746,
Tennis Commentary

Imagination , Lovers

“If the man who paints only the tree, or flower, or other surface he sees before him were an artist, the king of artists would be the photographer. It is for the artist to do something beyond this: 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; in arrangement of colours to treat a flower as his key, not as his model. This is now understood indifferently well – at least by dressmakers. In every costume you see attention is paid to the key-note of colour which runs through the composition, as the chant of the Anabaptists through the 'Prophète', or the Hugenots' hymn in the opera of that name.”

James McNeill Whistler (1834–1903) American-born, British-based artist

In a letter to 'The World', London 22 Mai, 1878; as quoted in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 186
1870 - 1903

Flowers , Tree , Painting , Indifference

“He has painted portraits of some of the world's most famous people - from US President George Bush to the Queen of England - and at the Joburg 2007 Sexpo, he was a huge hit.”

Pricasso (1949) Australian painter

[Lee Rondganger, Artist with unusual technique a Sexpo hit, The Star, South Africa, 28 September 2007, 2, Independent Online]
About

People , World , Painting

“How unflappable do you have to be to go to work, find a stone head on the doorstep, and just go about your day sorting the mail as usual? I'll bet she could pose for a portrait by Pricasso and not bat an eye.”

Pricasso (1949) Australian painter

[Intriguing news reports fresh off the Internet, 5 October 2007, Mary Hanna, Tri-Valley Herald, Pleasanton, California]
About

“Well, you must now imagine my friend at my age or almost there. You must picture him growing gray, tired of life and convinced that he had at last discovered the secret of peace. At this time he met, while visiting some relatives in a country house, a mere girl of twenty, who was the image, the haunting image of her whom he had hoped to marry thirty years before. It was one of those strange resemblances which extend from the color of the eyes to the 'timbre' of the voice, from the smile to the thought, from the gestures to the finest feelings of the heart. I could not, in a few disjointed phrases describe to you the strange emotions of my friend. It would take pages and pages to make you understand the tenderness, both present and at the same time retrospective, for the dead through the living; the hypnotic condition of the soul which does not know where dreams and memories end and present feeling begins; the daily commingling of the most unreal thing in the world, the phantom of a lost love, with the freshest, the most actual, the most irresistibly naïve and spontaneous thing in it, a young girl. She comes, she goes, she laughs, she sings, you go about with her in the intimacy of country life, and at her side walks one long dead. After two weeks of almost careless abandon to the dangerous delights of this inward agitation imagine my friend entering by chance one morning one of the less frequented rooms of the house, a gallery, where, among other pictures, hung a portrait of himself, painted when he was twenty-five. He approaches the portrait abstractedly. There had been a fire in the room, so that a slight moisture dimmed the glass which protected the pastel, and on this glass, because of this moisture, he sees distinctly the trace of two lips which had been placed upon the eyes of the portrait, two small delicate lips, the sight of which makes his heart beat. He leaves the gallery, questions a servant, who tells him that no one but the young woman he has in mind has been in the room that morning.”

Paul Bourget (1852–1935) French writer

Pierre Fauchery, as quoted by the character "Jules Labarthe"
The Age for Love

Love , Life , Secret , Age

“The Roman Catholic portrait at the reception of the Indian YMCA displayed the generic Christ, the timorous, blonde-haired, blue-eyed face upturned to the heavens, a lost middle-class student searching for guidance in an inhospitable world.”

Amit Chaudhuri (1962) contemporary Indian-English novelist

Odysseus Abroad (2014)

World , Search , Christ

“Listen what happened to me when I was in the fifth form (ca. 1904), in the drawing lesson. An old-timer in the front row, the one who pinched me the most often, suddenly showed me a sketch on tissue paper, copied from the magazine "Niva": The Smoker. In this pandemonium! Leave me alone. I don't remember very well but this drawing, done not by me but by that fathead, immediately threw me into a rage. It roused a hyena in me. I ran to the library, grabbed that big volume of "Niva" and began to copy the portrait of the composer Rubinstein, fascinated by his crow's-feet and his wrinkles, or by a Greek woman and other illustrations; maybe I improvised some too, I hung them all up in my bedroom..”

Marc Chagall (1887–1985) French artist and painter

Quote in Marc Chagall - the Russian years 1906 – 1922, editor Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, pp. 24-25
1920's, My life (1922)

Rage , Drawing

“If I were an academician.... or a believer in a higher reality outside me, as most people are (lucky creatures!), I would have no need for any justification for painting landscapes, or portraits, or social realism. I would rely on my so-called common sense, on which I see and feel, and I would enjoy it. Or I would fix one point in the distant haze of that unknown reality, would try to approach it as nearly as I could, and would find solace in the fanatical belief that I am the only one who is portraying that reality which is the only truth.”

Naum Gabo (1890–1977) Russian sculptor

Quote of Naum Gabo (1950), cited in: Eidos: a journal of painting, sculpture and design. Nr.1, p. 32 cited in: Herbert E. Read, Sir Herbert Edward Read (1971) The philosophy of modern art: collected essays. p. 94
1936 - 1977

People , Truth , Feeling , Reality

“I am busy on a portrait of my self and my aunt and my two cousins, I will show it to you when you get back. I am doing it as if I were doing a picture. I've got to do it well, because I want to leave it as a momento... The older one is really a lovely thing, the younger one has the devil in her as well as the kindness of an angel. I am doing them with their black dresses and little white pinafores which suit them delightfully. I have ideas for the picture's background running through my head. I would like a certain gracefulness with a nobleness of feeling that I don't know how to describe.”

Edgar Degas (1834–1917) French artist

Quote in a letter (27 November, 1858) to Degas' friend and painter Gustave Moreau; as quoted in More unpublished Letters of Degas, Theodore Reff, Art Bulletin LI, No. 3., Sept. 1969, pp. 282-283
1855 - 1875

Love , Angels , Feeling , Idea

“Kuhn had the genius to find the words and sketch the concepts that made important old philosophical problems relevant to the public and newly discussable by philosophers. He had the strength of mind and commitment to lead the discussion. He could speak the truly incommensurable languages of physics, philosophy, and history, all necessary to frame and advance his epistemological quest. He wrote, as one of his admirers, Margaret Masterman, put it, in a "quasi-poetic style," sometimes veiled, sometimes with "rhetorical exaggeration," but always after careful and even painful thought. Or, to switch metaphors, he drew the portrait of science in the manner of the Impressionists. At a distance, where most viewers stand, the portrait appears illuminating, persuasive, and inspiring; close in, where historians and philosophers stare, it looks sketchy, puzzling, and richly challenging.”

John L. Heilbron (1934) American historian

Thomas Samuel Kuhn: 18 July 1922-17 June 1996 (1998)

Pain , History , Problem , Appearance

“Portrait likenesses cooked and preserved in memory, likenesses burst in the memory of Mr. Jean Dubuffet, painter.”

Jean Dubuffet (1901–1985) sculptor from France

Two quotes, Jean Dubuffet placed on the poster announcing his painting-show 'Les gens sont plus beaux qu'ils croient, in Galerie René Drouin, Paris (October 7–31, 1947)
1940's

Memory , Cooking