Quotes about portrait (201 quotes, page 2)

“Father was a beautiful person, Otherwise I couldn't have paint him like that [Jopie points to the portrait of his father in the living-room, hanging next to his mother's]. Painted in seven hours. On a Saturday. About three months before my mother had died. Three times [during the painting-session] he stood up: 'Are you getting ready, finally?' The way I am talking about them is just how you see them here. He was a skipper of mud, afterwards a farmer.”

Jopie Huisman (1922–2000) Dutch painter

translation, Fons Heijnsbroek, 2018
version in original Dutch / citaat van Jopie Huisman, in het Nederlands: Vader was ook een juweel van een mannetje. Anders kun je 'm toch ook niet zo schilderen. [Jopie wijst naar het portret van zijn vader dat in de huiskamer hangt, naast dat van zijn moeder] In zeven uren gemaakt. Op een zaterdag. Toen was m'n moeder een maand of drie dood. Drie keer is ie overeind geweest: 'Ben je al 'ns een keer klaar?' Zoals ik over ze praat, zo zie je ze daar hangen. Het was een modderschippertje, later boer.
Mens & Gevoelens: Jopie Huisman', 1993

Beauty , Way , Time , Painting

“.. there's nothing harder in the world than making art, particularly when no one understands it. Women want portraits without shadow, men want to be dressed up in their Sunday best; there's no way out. To earn money with things like that, you'd be better of walking on a treadmill. At least then you would not be abdicating your convictions.”

Gustave Courbet (1819–1877) French painter

In his letter (Paris, January 1846); as quoted in 'Gustave Courbet', by Georges Riat, Parkstone International, 2015,
1840s - 1850s

Women , Men , Money , World

“Before, the wire studies were subjective, portraits, caricatures, stylized representations of beasts and humans. But these recent things have been viewed from a more objective angle and although their present size is diminutive, I feel that there is no limitation to the scale to which they can be enlarged... One of the canons of the futuristic painters, as propounded by Modigliani, was that objects behind other objects should not be lost to view, but should be shown through the others by making the latter transparent. The wire sculpture accomplishes this in a most decided manner.”

Alexander Calder (1898–1976) American artist

1920s, Statement on Wire Sculpture' (1929)

Feeling , Study

“The excuse that the painters were documenting reality was becoming ridiculous. Photographers and film makers went far beyond them. Already it could be said that a good portrait led one to think about the painter not the model.”

Jean Metzinger (1883–1956) French painter

Cubism was born

Thinking , Reality

“In 1973 I suddenly came into major private problems. I was completely thrown back on myself. Then I found those trousers between the old stuff. A worn-out, eighty times repaired, filthy pair of pants of a milker. I saw myself in it, it reflected the state of my soul. Then I took it with me and painted it [title: Pants of a cow milker]. Moreover because other because people recognized themselves in it, this has become my salvation. I found back my identity through it. As a matter of fact a self-portrait.”

Jopie Huisman (1922–2000) Dutch painter

translation, Fons Heijnsbroek, 2018
version in original Dutch / citaat van Jopie Huisman, in het Nederlands: In 1973 raakte ik plotseling in grote privéproblemen. Ik was helemaal op mezelf teruggeworpen. Toen vond ik tussen de rommel die broek. Een afgetobde, tachtig keer verstelde, smerige melkersbroek. Ik zag mijzelf daarin, hij weerspiegelde de toestand van mijn ziel. Toen heb ik hem meegenomen en geschilderd [titel: Broek van een koemelker]. Ook omdat andere mensen zich erin herkenden, is het mijn redding geweest. Ik heb er mijn identiteit door teruggevonden. Eigenlijk een zelfportret.
p 60
Jopie Huisman', 1981

People , Soul , Problem , Time

“Make portraits of people in familiar and typical positions, above all give their faces the same choice of expression one gives their bodies. Thus if laughter is typical for a person, make him laugh – there are, naturally, feelings that one cannot render…”

Edgar Degas (1834–1917) French artist

Quote from Degas' Notebook of 1869; as quoted in Impressionism and Post Impressionism 1874 – 1904, 'Sources and Documents', Linda Nochlin, Englewood Cliffs, New Yersey, 1966, p. 62
1855 - 1875

People , Feeling , Nature , Laughter

“A great portrait is always more a portrait of the painter than of the painted.”

Samuel Butler (1835–1902) novelist

Portraits
The Note-Books of Samuel Butler (1912), Part VII - On the Making of Music, Pictures, and Books

Painting

“And now something strange happened to our Charlotte. While busy painting, as she always was, she fell asleep in the midday sun. And when she awoke, the finished portrait of her once so ardently beloved Daberlohn [ = Alfred Wolfsohn ] lay before her. However, she tore the sheet into a hundred thousand shreds.... she sought for an explanation... Then her glace fell on one of her old paintings representing Death and the Maiden. And suddenly she knew…”

Charlotte Salomon (1917–1943) German painter

Charlotte's 4th ending, written page in brush, related to no. 4923v https://charlotte.jck.nl/detail/M004923/part/character/theme/keyword/M004923JHM: (555) 'Life? or Theater..', p. 820
Charlotte Salomon - Life? or Theater?

Death , Business , Sun , Painting

“In another's eyes I'm afraid that I can't see
This picture perfect portrait that they paint of me.
They don't realize and I pray they never do,
'Cause every time I look I'm seein' you
In another's eyes.”

Garth Brooks (1962) American country music artist

In Another's Eyes, written by Bobby Wood, John Peppard, and G. Brooks, duet with Trisha Yearwood.
Song lyrics, Sevens (1997)

Time , Painting , Perfection

“When I got my first paycheck, $5'000 or something. I bought a Leger and I bought a Frida Kahlo self-portrait, but I don't know which came first. But I remember buying it and I had just gotten married and it looked completely out of place in my house in Malibu.”

Madonna (1958) American singer, songwriter, and actress

(When asked what was the first painting she bought).
Aperture Magazine 1999 http://allaboutmadonna.com/madonna-interviews-articles/aperture-magazine-summer-1999

Painting , Housing

“The opera world was shocked! But the image is very classical. It's taken from Botticelli's portrait of Venus, who's standing in a seashell with her hair covering her body. It's very sensual. It represents the vulnerable side of me. Although I'm not wearing any clothes, it comes across very well.”

Sarah Brightman (1960) British soprano, musical theatre actress, and dancer

The Straits Times (Singapore) (2001); On the promotional photos for her Classics CD.

World , Clothes

“Don't you think your Corot [to Guilemet the painter] is a little short on temperament? I'm painting a portrait of Vallabreque; the highlight on the nose is pure vermilion”

Paul Cézanne (1839–1906) French painter

remark of Cezanne ca. 1860
Quote in: Cézanne, by Ambroise Vollard, Dover publications Inc. New York, 1984, p. 28
Quotes of Paul Cezanne, 1860s - 1870s

Thinking , Painting

“I call him Governor Bush because that's the only political office he's ever held legally in this country. I don't care where they hang his portrait, I don't care how big his library is. To me, he'll always be "Governor Bush." I don't even capitalize his name when I type it anymore.”

George Carlin (1937–2008) American stand-up comedian

"George Bush"
It's Bad for Ya (2008)

Country

“I should be acting the part of an ungrateful servant, unworthy of the favours which unite my duty to your great kindness, if I were not to say that his Majesty [ Charles V ] forced me to go to him and pays the expenses of my journey, I start discontented because I have not fulfilled your wish and my obligation in presenting myself to my Lord [ Pope Paul III ] and yours, and working in obedience to his intentions [to paint the Pope's portrait].... But I promise as a true servant to pay interest on my return with a new picture in addition to the first.... So with your license, Padron mio unico, I shall go, whither I am called, and returning with the grace of God, I shall serve you with all the strength of the talents which I got from my cradle..”

Titian (1488–1576) Italian painter

In a letter to Cardinal Farnese in Rome, from Venice 24th December 1547; after the original in Rochini's 'Belazione' u.s. pp. 9-10; as quoted 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, pp. 164-165
Titian had to chose between Pope & Emperor when they were on the worst of terms; he decided to obey the Emperor Charles V who ordered Titian to come to his court at Augsburg, Germany
1541-1576

God , Parting , Painting

“One may speculate whether the contemporary idea of American society in decay is not a false notion which has been created, at least partially, by this old movie portrait of a society that was once stable, orderly and governed by the immutable justice of the Hollywood censorship code.
This is the ever-popular myth of a golden age which persuades so many generations that there was once a wonderful moment in the past when the world was sound and good people ruled and evil was justly punished. After Camelot came chaos and despair, except, of course, that Camelot never existed, any more than the world portrayed by those old Hollywood films existed.”

Russell Baker (1925–2019) writer and satirst from the United States

"Golden Oldies" (p.293)
So This Is Depravity (1980)

People , Age , World , Justice

“Dear Mr. Rosenberg [art-dealer in Paris, then], - Many thanks for your good letters which are a great encouragement to me. I assure you that you are the man who has encouraged me the most so far. Please excuse the tone of declaration. I will also show my gratitude when I am in Paris by doing a good life-size portrait of you, or of a member of your family if you prefer, and I would like you to accept it as a gift. I intend to be in Paris around 15 November. My mother and my brother send their best wishes.”

Giorgio de Chirico (1888–1978) Italian artist

Mr. Rosenberg, please accept my devotion, esteem and gratitude.
Quote from De Chirico's letter to Mr. Rosenberg, Rome, 13 Oct. 1925; from LETTERS BY GIORGIO DE CHIRICO TO LÉONCE ROSENBERG, 1925-1939 http://www.fondazionedechirico.org/wp-content/uploads/309-338-Rosenberg_Metaphysical_Art_ENG.pdf, p. 317
1920s and later

Life , Family , Art , Gratitude

“This pursuit of security in the past, this attempt to find a haven in a fixed dogma and an organizational hierarchy as substitutes for creative thought and praxis is bitter evidence of how little many revolutionaries are capable of 'revolutionizing themselves and things,' much less of revolutionizing society as a whole. The deep-rooted conservatism of the People's Labor Party 'revolutionaries' is almost painfully evident; the authoritarian leader and hierarchy replace the patriarch and the school bureaucracy; the discipline of the Movement replaces the discipline of bourgeois society; the authoritarian code of political obedience replaces the state; the credo of 'proletarian morality' replaces the mores of puritanism and the work ethic. The old substance of exploitative society reappears in new forms, draped in a red flag, decorated by portraits of Mao (or Castro or Che) and adorned with the little 'Red Book' and other sacred litanies.”

Murray Bookchin (1921–2006) American libertarian socialist author, orator, and philosopher

"Listen, Marxist!" (May 1969); also available in Post Scarcity Anarchism (1971).
Listen, Marxist!

People , Books , School , Past

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

Propositions, 2
1870 - 1903, The Gentle Art of Making Enemies' (1890)

Painting

“On John Edwards, U. S. Senator from North Carolina: "The stump speech of pretty-boy Senator John Edwards, which I've heard often enough to be able to mouth along with him, has room for everything, including vivid, wrenching portraits of despair: 'Tonight somewhere in America a ten-year-old little girl will go to bed hungry, hoping and praying that tomorrow will not be as cold as today because she doesn't have the coat to keep her warm.'”

Mark Steyn (1959) Canadian writer

You'd have to have a heart of stone not to be doubled up in laughter at that line.
" It's the war, stupid http://www.jewishworldreview.com/0304/steyn030104.asp", 1 March 2004

Hope , Girl , Boy , Laughter

“I started doing paintings of landscapes in private and wanted to show people what I could do, and to really do that, I needed to do portraits, so I started practising.”

Pricasso (1949) Australian painter

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

People , Painting

José Ortega Y Gasset (1883–1955) Spanish liberal philosopher and essayist

"The Dehumanization of Art"
The Dehumanization of Art and Ideas about the Novel (1925)

Fate , Art , Personality , Forgetting

“One of my many favorite tattoos I’ve seen of myself is from a photo shoot I did for the cover of a compilation called Punk Fiction that came out in the 90s. And my friend who was putting it together asked me to re-create the movie poster for Pulp Fiction with me in place of Uma Thurman as Mia Wallace on the bed smoking a cigarette with the wig on and everything. So I went in and did that and it was the cover of the record and posters were made. Since then I’ve seen a portrait tattoo of me as Mia Wallace. That’s my favorite. And that was years before I was publicly dressing as a woman, which I’ve been doing for years now onstage and off. I think Mia Wallace was just one of my earlier excuses to strut around in women’s clothing.”

Davey Havok (1975) American singer

http://web.archive.org/web/20101014172908/http://rocknrolltales.com/read/afi

Women , Photo , Thinking , Tattoo

“Of the huge part of our generation who have used drugs, how many have told their parents, to this day, even though they are now successful professionals and parents and what have you? There's a need to come out of the closet and talk openly about drug use. As things stand, the only kind of use that is visible is either the dysfunctional drug use or the media portraits of it. So there's this incredibly skewed view of what drugs are about.”

Ethan Nadelmann (1957) American writer; campaigner for the legalization of marijuana

The War on Drugs

Parent , Success , Parting

“You please me much by saying that no other fault [in the portrait Gainsborough recently made and sent] is to be found in your picture than the roughness of the surface; for that part being of use in giving force to the effect at a proper distance.... I urn [earn? ] much better pleased that they should spy out things of that kind than to see an eye half an inch out of its place or a nose out of drawing when view'd at a proper distance. I don't think it would be more ridiculous for a person to put his nose close to the canvas and say the colours smell offensive than to say how rough the paint lies; for one is just as material as the other with regard to hurting the effect and drawing of a picture. For Sir Godfrey Kneller used to tell them that pictures were not made to smell of..”

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

Quote in Gainborough's letter, March 1758 from Ipswich, to a correspondent in the neighbouring town of Colchester; 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, pp. 20-21
1755 - 1769

Thinking , Parting , Hurt , Drawing

“Kids, who in the 1960s had portraits of Mao and Che on their college walls, the moral equivalent of having hung portrait of Hitler or Goebbels in one's dorm, now teach our children about the moral superiority of their generation.”

Alan Charles Kors (1943) American academic

2010s, Socialism's Legacy (2011)

Children

“The painter paints his brushes black
Through the canvas runs a crack
Portrait of the pain never answers back.”

Phil Ochs (1940–1976) American protest singer and songwriter

"The Flower Lady" http://web.cecs.pdx.edu/~trent/ochs/lyrics/flower-lady.html
Pleasures of the Harbor (1967)

Pain , Painting

“I got the idea to paint people, in the way I see them. From one face I take to my own idea some very characteristic features of it and then I make of the whole a picture in colors and lines, in the way how I meet that person. The whole thing becomes not at all a portrait in the usual sense... I have tried to make types, but will built in more and more personal qualities and all that kind of things... Everything will be figured out fully abstract of course, it is just a personal feeling and no system at all.”

Jacoba van Heemskerck (1876–1923) Dutch painter

translation from German, Fons Heijnsbroek, 2018
(original version, written by Jacoba in German:) Meine Idee ist es die Menschen zu malen, wie ich sie sehe. Ich nehme aus einem Gesicht einige meiner Ansicht nach am meisten sprechende Züge und ich mache dann vom ganzen ein Bild in den Farben und Linien, wie die Person mir entgegentritt. Das Ganze ist gar kein Porträt im gewöhnlichen Sinne.. .Ich habe mich bemüht, jetz noch Typen zu machen und werde mehr und mehr persönliche Eigenschaften und alle mögliche hereinbringen.. .Alles muss man sich natürlich ganz abstrakt denken, es ist ein persönliches Gefühl und gar kein System.
in a letter to Herwarth Walden, 6 Feb. 1918; as cited by Arend H. Huussen Jr. in Jacoba van Heemskerck, kunstenares van het Expressionisme, Haags Gemeentemuseum The Hague, 1982, p. 20
1910's

People , Color , Way , Feeling

“Without a hint of shyness, and standing totally in the nude except for a large silver top hat, he took out his "brush" and began sketching portraits of those brave enough to be his subjects.”

Pricasso (1949) Australian painter

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

“What an adventure you have thrown me into! Nothing was farther from my thoughts than doing portraits! Now it's all I think about.... and i's all your handiwork”

Jean Dubuffet (1901–1985) sculptor from France

Quote in Dubuffet's letter to American art-promoter Gould, dated 4 August 1946; as cited in Physiognomic Illegibility, by Kent Mitchell Minturn - JEAN DUBUFFET'S POSTWAR PORTRAITS https://www.nyu.edu/gsas/dept/fineart/people/faculty/minturnPDFs/Minturn%20Final%20(low%20res).pdf
1940's

Thinking

“It should also be born in mind that the research on 'movement' and the dynamic outlook on the world, which were the basis of Futurist theory, in no way required one to paint nothing but speeding cars or ballerinas in action; for a person who is seated, or an inanimate object, though apparently static, could be considered dynamically and suggest dynamic forms. I may mention as an example [his paintings] the 'Portrait of Madame S.”

Gino Severini (1883–1966) Italian painter

(1912) and the 'Seated Woman' (1914).
Source: The Life of a Painter - autobiography', 1946, Letters of the great artists', 1963, p. 248

World , Cars , Way , Painting

“.. I also send the picture of the 'Trinity' [also called La Gloria].... in my wish to satisfy your C. M. [Caesarean Majesty] I have not spared myself the pains of striking out two or three times the work of many days to bring it to perfection and satisfy myself, whereby more time was wasted than I usually take to do such things.... the portrait of Signor Vargas [agent of Charles V, who was paying Titian for his works] introduced into the work [very probably in the 'La Gloria' / 'Trinity'] was done at his request. If it should not please your C. M. any painter can, with a couple of [brush] strokes, convert it into another person.”

Titian (1488–1576) Italian painter

In a letter from Venice to the Spanish emperor Charles V in Bruxelles, 10 Sept. 1554; original in the 'Appendix' of 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. 231-232
Titian is announcing in his letter the completion and the delivery of the paintings 'Trinity' and 'Addolorata' and probably a third painting 'Christ appearing to the Magdalen', for Mary of Hungary
1541-1576

Pain , Time , Personality , Perfection

“The weather is superb except for a very keen wind which causes me to lose much time. - I am doing a portrait of your mother in pastel, it seems it is not adequate as a likeness, it is too old, too red, not fine enough, in short, it won't do. This surprises me not at all. You know that everyone accepts the one I made pretty obvious, but that is not much good either.”

Camille Pissarro (1830–1903) French painter

Quote in a letter to his son Lucien, Osny, 10 April 1885; from Camille Pissarro - Letters to His Son Lucien ed. John Rewald, with assistance of Lucien Pissarro; from the unpublished French letters; transl. Lionel Abel; Pantheon Books Inc. New York, second edition, 1943, p. 26
1880's

Time , Weather

“As the natural dignity of the subject(of a portrait)is less, the more the ornamental helps are necessary to its embellishments.”

Joshua Reynolds (1723–1792) English painter, specialising in portraits

Discourse no. 4, delivered on December 10, 1771; vol. 1, p. 86.
Discourses on Art

Nature , Help

“It seems to be a law of nature that no man, unless he has some obvious physical deformity, ever is loth to sit for his portrait.”

Max Beerbohm (1872–1956) English writer

Quia Imperfectum (1920)
And Even Now http://www.gutenberg.org/dirs/etext99/evnow10.txt (1920)

Law , Nature

“He painted till the lamps grew dim, his hand
Scarce conscious what it wrought; at length his lids
Closed in a heavy slumber, and he dream'd
That a fair creature came and kissed his brow,
And bade him follow her: he knew the look,
And rose. Awakening, he found himself
Kneeling before the portrait:—'twas so fair
He deemed it lived, and press'd his burning lips
To the sweet mouth; his soul pass'd in that kiss,—
Young Guido died beside his masterpiece!”

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

The Painter. from The London Literary Gazette: 15th November 1823 Poetic Sketches. Fourth Series. Sketch I.
The Vow of the Peacock (1835)

Soul , Kiss , Painting

“They loved him, I think, because, with all his merits, he showed them to be rich: looking at his portraits, they understood at last how rich they really were.”

Osbert Sitwell (1892–1969) British baronet

Left Hand, Right Hand!, Bk. II, ch. 6.
Of the portrait-painter John Singer Sargent's relationship with his clients.

Love , Thinking

“I feel it, but I cannot express it,… I cannot analyse the Celtic genius to my own satisfaction. In the Middle Ages art came from groups, not from individuals. It was anonymous; the sculptors of cathedrals no more put their names to their works than our workmen put theirs on the pavement that they lay. Ah! what an admirable scorn of notoriety! The signature is what destroys us. We do portraits, but what we do is not so great. Thèse kings and queens, on the cathedrals, were not portraits. The fellow-workers stood for one another, and they interpreted; they did not copy. They made clothed figures; the nude and portraiture only date from the Renascence. And then those fellows cut with the tool's end into the block, that is why they were called sculptors. As for us, we are modellers. And what a disgraceful thing that casting from life is, which so many well-known sculptors do not blush to use! It is a mere swindling in art. Art was a vital function to the image-makers of the thirteenth century; they would hâve laughed at the idea of signing what they did, and never dreamed of honours and titles. When once their work was finished, they said no more about it, or else they talked among themselves. How curious it would hâve been to hear them, to be present at their gatherings, where they must hâve discussed in amusing phrases, and with simple, deep ideas!… Whenever the cathedrals disappear civilisation will go down one step. And even now we no longer understand them, we no longer know how to read their silent language. We need to make excavations not in the earth, but towards heaven…”

Auguste Rodin (1840–1917) French sculptor

Source: Auguste Rodin: The Man, His Ideas, His Works, 1905, p. 63-64; About the genius of the Gothic sculptors.

Life , Age , Dreams , Art

“Your Ceasarean Majesty, I consigned to senõr Don Diego di Mendoza, the two portraits of the most serene Empress [ Isabella ], in which I have used all the diligence of which I was capable. I should have liked to take them to your Majesty in person, but that my age and the length of the journey forbade such a course. I beg your Majesty to send me words of the faults or failings which I may have made, and return the pictures that I may correct them. Your Majesty may not permit anyone else to lay hand on them.... Your Majesty’s most humble and constant servant, Titiano.”

Titian (1488–1576) Italian painter

In a letter to Emperor Charles V, from Venice, 5 Oct, 1544; copied in the 'Archives of Simancas' by Mr. Bergenroth; as quoted by J.A.Y. Crowe & G.B. Cavalcaselle in Titian his life and times - With some account... Volume II, publisher John Murray, London, 1877, p. 103
This letter is written by Titian himself - free from the polite style of his secretary/friend Arentino; he is telling the Emperor that he had finished two portraits of the Empress Isabella, he painted after her death after a probably Flemish original. The two portraits were sent to the court in Brussels.
1541-1576
Source: https://en.wikipedia.org/wiki/Titian#/media/File:Isabella_of_Portugal_by_Titian.jpg

Age , Personality

“We must enter into the spirit of the character [for making a portrait]: here the challenge is to place this figure in the human space, to work out what he represents in relation to other people, other human personalities; when you've worked this out, you're done. this truth has to stand out in the end result of the portrait.... when this task is complete, and the subject is placed in the realm of the dead that go on living, I hand over my work.”

Marino Marini (1901–1980) Italian sculptor

As quoted by the Marini Marini Museum: http://www.museomarinomarini.it/section.php?page=fondazione

People , Truth , Personality , Dead

“.. it is only in this way, or almost, that a portrait can be painted today [because] all the things punt into the picture have the same importance, they are in the right place.”

Giorgio Morandi (1890–1964) Italian painter

Quote of Morandi on a self-portrait by the painter Henri Rousseau; as cited in Morandi 1894 – 1964, ed: M. C. Bandera & R. Miracco, Museo d’Arte Moderna di Bologna, 2008; p. 54
1925 - 1945

Way , Painting

“We [Frida and Diego] moved from the house on Reforma [street] to Coyoacán, and that had an enormous influence on me. How we painted the house and the Mexican furniture, all that influenced my painting a lot. While still on Reforma, I painted a self-portrait [Self-portrait 'Time Flies', 1929] that is owned by Morillo Safa. Once in Coyoacán I began to make paintings with backgrounds and Mexican things in them. I painted the portraits of Hale's sister.... and the one of Diego, which I did not finish [this painting is lost and was never documented before]. Those three paintings, who knows where they are. Mirillo Safa has the third self-portrait [her Self-portrait of 1930], showing me bald and sitting in a cane chair.”

Frida Kahlo (1907–1954) Mexican painter

1950
Source: 1946 - 1953, "Song of herself"; interviews by Olga Campos, Sept. 1950, Chapter 'My Painting', p. 75

Sister , Time , Painting , Housing

“History has a way of reducing individuals to flat, two-dimensional portraits. It is the enemy of subjectivity, which is why Stephen Dedalus called it "a nightmare from which I am trying to awake". If we think of Kierkegaard, of Nietzsche, of Hölderlin, we see them standing alone, outside of history. They are spotlighted by their intensity, and the background is all darkness. They intersect history, but are not a part of it. There is something anti-history about such men; they are not subject to time, accident and death, but their intensity is a protest against it. I have elsewhere called such men "Outsiders" because they attempt to stand outside history. which defines humanity on terms of limitation, not of possibility.”

Colin Wilson (1931–2013) author

Source: Rasputin and the Fall of the Romanovs (1964), p. 13-14

Death , Men , Way , History

“Unfortunately her portrait will cure no one of the addiction to loving sweetly smiling angels with dreamy looks, innocent faces, and a strong-box for a heart.”

Honoré de Balzac (1799–1850) French writer

Malheureusement, ce portrait ne corrigera personne de la manie d’aimer de anges au doux sourire, à l’air rêveur, à figure candide, dont le cœur est un coffre-fort.
La cousine Bette http://fr.wikisource.org/wiki/La_Cousine_Bette_-_4#XXXVII._R.C3.A9flexions_morales_sur_l.E2.80.99immoralit.C3.A9 (1846), translated by Sylvia Raphael, ch. XXXVII: Moral reflections on immorality.

Love , Smile , Angels , Strong

“Both these men are in love with Natasha, Count Rostov's younger daughter, and in her Tolstoy has created the most delightful girl in fiction. Nothing is so difficult as to portray a young girl who is at once charming and interesting. Generally the young girls of fiction are colorless (Amelia in Vanity Fair), priggish (Fanny in Mansfield Park), too clever by half (Constantia Durham in The Egoist), or little geese (Dora in David Copperfield), silly flirts or innocent beyound belief. It is understandable that they should be an awkward subject for the novelist to deal with, for at that tender age the personality is undeveloped. Similarly a painter can only make a face interesting when the vicissitudes of life, thought, love and suffering have given it character. In the portrait of a girl the best he can do is to represent the charm and beauty of youth. But Natasha is entirely natural. She is sweet, sensitive, and sympathetic, willful, childish, womanly already, idealistic, quick-tempered, warm-hearted, headstrong, capricious and in everything enchanting. Tolstoy created many women and they are wonderfully true to life, but never another who wins the affection of the reader as does Natasha.”

W. Somerset Maugham (1874–1965) British playwright, novelist, short story writer

Leo Tolstoy and War and Peace
Great Novelists and Their Novels

Love , Life , Women , Men

“His cheek was pale as marble, and as cold;
But his lip trembled not, and his dark eyes
Glanced proudly round. But when they bared his breast
For the death-shot, and took a portrait thence,
He clenched his hands, and gasped, and one deep sob
Of agony burst from him; and he hid
His face awhile—his mother's look was there.
He could not steel his soul when he recalled
The bitterness of her despair. It passed—
That moment of wild anguish; he knelt down;
That sunbeam shed its glory over one,
Young, proud, and brave, nerved in deep energy;
The next fell over cold and bloody clay....”

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

The Deserter from The London Literary Gazette (8th June 1822) Poetic Sketches. Second Series - Sketch the Sixth
The Improvisatrice (1824)

Death , Soul , Despair

“The landscape of any farm is the owner's portrait of himself.”

Aldo Leopold (1887–1948) American writer and scientist

"The Farmer as a Conservationist" [1939]; Published in The River of the Mother of God and Other Essays by Aldo Leopold, Susan L. Flader and J. Baird Callicott (eds.) 1991, p. 263.
1930s

“They [Kandinsky, Jawlensky and Paul Klee ] were constantly arguing about art and each of them, at first, had his own ideas and his own style. Jawlensky was far less intellectual than Kandinsky or Klee and was often frankly puzzled by their theories. My 1908 portrait entitled 'Zuhören' ('Listening') actually represents Jawlensky, with an expression of puzzled astonishment on his chubby face, listening to Kandinsky's new theories of art.”

Gabriele Münter (1877–1962) German painter

Source: Interview by Edouard Roditi (1958), p. 117

Art , Idea

“Visitors to the expo were amused and fascinated by portrait painter Pricasso and his unique brush.”

Pricasso (1949) Australian painter

[Daily News staff, Daily News, South Africa, Pole-dancing vixens keep visitors agog at Sexpo, 26 August 2011, 3, Independent Online]
About

“I've ripped it to pieces; your portrait, you know. I tried to work on it this morning, but it went from bad to worse, so I destroyed it..”

Paul Cézanne (1839–1906) French painter

Quote of Cezanne, from his letter to Emile Zola, ca 1861; as quoted in Cezanne, by Ambroise Vollard, Dover publications Inc. New York, 1984, p. 23
Quotes of Paul Cezanne, 1860s - 1870s

“Udnie – I see Again in Memory my Dear Udnie' is no more the portrait of a young girl than 'Edtaonisl' (counterpart of his work 'Udnie'] is the image of a prelate, as we ordinarily conceive of them. They are [both] memories of America, evocations of over there which, subtly set down like musical chords, become representative of an idea, a nostalgia, a fleeting impression.”

Francis Picabia (1879–1953) French painter and writer

'Udnie – I see Again in Memory my Dear Udnie' is the title of a painting, he made in 1913; a memory of the dances performed by Stasia Napierkowska on the ship to New York, to visit the w:Armory Show, where Picabia was presented in 1913 as a 'leading Cubist painter'
1910's
Source: 'Ecrits: vol. 1', 1913 - 1920, Picabia, Belfond, Paris, p. 26

Music , Girl , Idea , Nostalgia

“There is a branch of painting next in profit to Portrait and quite within your power without any more drawing them I'm answer for you having, which is Drapery & Land-skip.”

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

Quote in: Undated letters to Jackson, in The Letters of Thomas Gainsborough, ed. Mary Woodall, 1961
undated, Undated letters to William Jackson

Drawing , Painting

“So one day at a friend's party, where there was plenty of alcohol, I decided to do a portrait of someone. And from there it just grew.”

Pricasso (1949) Australian painter

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

Alcohol

“I maintain that the frustration is an important, almost crucial, ingredient. I think that the best painting involves frustration. The point about the late Rembrandt [paintings] is not that it's satisfying but on the contrary that it is disturbing and frustrating. Because really, what he [Rembrandt] has done is to eliminate any plane - anything between that image and you. The Van Dyck [portrait] hasn't. It says [only] I'm a painting. The Rembrandt says: I am not a painting, I am a real man. But he is not a real man either. What is it then, that you are looking at?”

Phillip Guston (1913–1980) American artist

Source: 1950 - 1960, Interview with David Sylvester, BBC (March 1960), p. 97

Thinking , Painting

“Even of old the Christian world, so bitterly antagonistic to any ideas not specifically contained in their creeds and dogmas, made an exception in Socrates’ case. They recognized his likeness to Christ. He was the example that a soul could be Christlike, not through grace, but by nature. Erasmus said: "Holy Socrates, pray for us." To know him is a help to knowing Christ, and it is not hard to know him. We can see him quite clearly. Plato, who drew his portrait, could not, of course, keep himself out of it, any more than Christ’s recorders could; but at least magic did not dog Plato’s footsteps, as it did everyone’s footsteps when the Gospels were written. In the fourth century B. C. Greeks had no leaning to marvels. Also in the centuries that followed no one founded a church on Socrates and built up around him a theology and hung creeds and ceremonials upon him. To see what he was, we do not have to brush anything away, except a bit of Plato. We can use him as a stepping stone to Christ, a first aid in realizing what Christ was.”

Edith Hamilton (1867–1963) American teacher and writer

"The Rediscovery of Christ," Witness to the Truth: Christ and His Interpreters (1962)

World , Dogs , Soul , Idea

“Obviously, I am the cook. The cook is the director. He arranges the menu, the seating order of the guests; he gives refuge to the lovers; he prepares the repast of the lover's body. The cook is a perfectionist and a rationalist, a portrait of myself.”

Peter Greenaway (1942) British film director

In an interview in Die Zeit, 24 Nov 1989
The Cook, The Thief, His Wife, and Her Lover

Lovers , Cooking

“Contented, unambitious people are all very well in their way. They form a neat, useful background for great portraits to be painted against, and they make a respectable, if not particularly intelligent, audience for the active spirits of the age to play before. I have not a word to say against contented people so long as they keep quiet.”

Jerome K. Jerome book Idle Thoughts of an Idle Fellow

"On Getting On in the World".
Idle Thoughts of an Idle Fellow (1886)

People , Age , Way , Intelligence

“Daberlohn's diagnosis [about the etching she made as his portrait] holds encouragement for Charlotte…. Daberlohn (in his letter) 'In my opinion you are destined to create something above average.'
….'Above average.' She is elated by his letter and really feels quite proud… While beginning to paint the buttercup-strewn meadow where she happens to be sitting, she decides to make his prophecy come true and actually create something 'above average'.”

Charlotte Salomon (1917–1943) German painter

written text with brush, in her paintings JHM no. 4599 https://charlotte.jck.nl/detail/M004599/part/character/theme/keyword/M004599 + 4600 https://charlotte.jck.nl/detail/M004600/part/character/theme/keyword/M004600: in 'Life? or Theater..', p. 482-483
Charlotte Salomon - Life? or Theater?

Feeling , Painting

“Goodbye my dear Suzanne [his wife], your portraits are hanging in every corner of the bedroom, so I see you first and last thing..”

Edouard Manet (1832–1883) French painter

Quote from Manet's letter to his wife, Suzanne Leenhof, 3 December 1870; as quoted in Manet by Himself, Correspondence & Conversation; Paintings, pastels, prints and drawings, ed. Juliette Bareau-Wilson; Macdonald (1991)
1850 - 1875

“Always when I look at anyone's art, I get flashes of the person. If I walk into a room and there's a painting by Joan Mitchell, I say, "There's Joannie." Or Grace, if it's Grace Hartigan. And to me all art is self-portraits.”

Elaine de Kooning (1918–1989) American painter

Quote in: an tape-recorded interview with Elaine de Kooning on August 27, 1981 http://www.aaa.si.edu/collections/interviews/oral-history-interview-elaine-de-kooning-11999; conducted by Phyllis Tuchman, for the Archives of American Art, Smithsonian Institution: Oral Histories.
1972 - 1989

Art , Painting , Personality

“The only 'penile portrait painter' in the world.”

Pricasso (1949) Australian painter

[Barbara Cole, Putting fun back into sex, Daily News, South Africa, 8 February 2008, 5, Independent Online]
About

World

“Early findings from the most comprehensive large study ever undertaken of the relationship between diet and the risk of developing disease are challenging much of American dietary dogma. The [Cornell–Oxford] study, being conducted in China, paints a bold portrait of a plant-based eating plan that is more likely to promote health than disease. The study can be considered the Grand Prix of epidemiology.”

Jane E. Brody (1941) American writer

"Huge Study Of Diet Indicts Fat And Meat", in The New York Times (8 May 1990) http://www.nytimes.com/1990/05/08/science/huge-study-of-diet-indicts-fat-and-meat.html

Health , Disease , Study , Painting

“In portraits you need a lot of general, very little of specific. Usually there is too much specificity, always too much... For a portrait to really work well for me, I need for it to be hardly a portrait. Almost for it to no longer be a portrait. It is then that it begins working at full capacity. I like things carried to the extreme limits of what is possible.”

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

“Speeches Of The Hon. Alexander Mackenzie During His Recent Visit To Scotland: With His Principal Speeches In Canada Since The Session Of 1875, accompanied by portrait and sketch of his life and public services. 1876, 226 pages”

Alexander Mackenzie (1822–1892) 2nd Prime Minister of Canada

References

Life

“Nevertheless I like being in Norway [to escape the Nazi threat Schwitters fled to Norway, c. 1937], for it is a country of unparalleled beauty... I paint landscapes and portraits, model portrait, glue and paint abstract pictures and glue abstract plastic art; besides, I write poetry in German... What distresses me most of all is that I cannot live in my 'Merzraum' [a sculptured studio-space, Schwitters had built in Germany in the 1920's, but bomb-damaged in the war] and that it may be given up to destruction. For that reason I ask you once more, can you keep your ear to the ground again, to see if anyone in America is willing to give me an opportunity to shape a three-dimensional room?”

Kurt Schwitters (1887–1948) German artist

In a letter to w:Galka Scheyer, 24 July 1937; as quoted in I is Style, ed. Siegfried Gohr & Gunda Luyken, Stedelijk Museum Amsterdam, NAI Publishers, Rotterdam 2000, p. 41.
1930s
Source: http://www.sprengel-museum.de/bilderarchiv/sprengel_deutsch/fotos/merzbau1933_530.jpg

War , Beauty , Art , Painting

“For the image possesses qualities which, under certain circumstances, can make it much more interesting than the object which inspired it. The portrait of a commonplace person can astound us with an air of distinction, reminding us that the best portrait is that which resembles the painter, not the model.”

Jean Metzinger (1883–1956) French painter

Cubism was born

Personality

“A group from Glasgow sought in 1891 to purchase his portrait of w:Thomas Carlyle was shocked that Whistler's price was 1000 guineas. A spokesman countered that the portrait was not even life size. Whistler replied, 'But, you know, few men are life size.”

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

Tom Prideaux and Time-Life Books, The World of Whistler (1970)
posthumous published

Life , Men

“Alas I shall very probably not be able to dine with you [madame Charpentier who frequently had receptions in Paris which Renoir frequently visited]. I began a portrait this morning; I begin another this evening, and it is extremely likely that I shall have a third to do afterwards. If I have to stay for dinner, and begin tomorrow, all these people will go away, and my head is in a complete muddle with them.”

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

in a letter to madame Charpentier, c. 1876; as quoted in Renoir – his life and work, Francois Fosca, Book Club Associates / Thames and Hudson Ltd, London 1975, p. 80
1870's

People

“'In the fitful light of the dusky hall the newcomer's face suddenly appeared fiery-eyed and menacing, and, glancing at a portrait of Mephistopheles, Rosamond exclaimed, "Why, you are the very image of Meph--"”

Louisa May Alcott A Long Fatal Love Chase

A Long Fatal Love Chase (1866)

Light , Appearance

“and here I give it under my hand that I will most willingly begin upon a new canvas [after his first portrait of Lady Dartmouth was criticized and rejected]. But I only for the present beg your Lordship will give me leave to try an experiment upon that picture to prove the amazing effect of dress. I meant to treat it as a cast-off picture and dress it (contrary, I know, to Lady Dartmouth's taste) in the modern way; the worst consequence that can attend it will be her ladyship's being angry with me for a time. I am vastly out in my notion if the face does not immediately look like; but I must know if Lady Dartmouth powders or not in common. I only beg to know that and to have the [first] picture sent down [back] to me..”

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

Quote from Gainborough's letter to Lord Dartmouth, 13 April 1771; 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. 74
1770 - 1788

Way , Time

“What was the truth for the painters of yesterday is but a falsehood today. We declare, for instance, that a portrait must not like the sitter... To paint a human figure, you must not paint it; you must render its surrounding [aura-like] atmosphere. Space no longer exists... Who can still believe in the opacity of bodies, since our sharpened and multiplied sensibilities has already penetrated the obscure manifestations of mediums? Why should we forget in our creations the doubled power of our sight, capable of giving analogous to those of X-rays?”

Umberto Boccioni (1882–1916) Italian painter and sculptor

As quoted in: John F. Moffitt (2003) Alchemist of the Avant-Garde: The Case of Marcel Duchamp, p. 87.
1910, Manifesto of Futurist Painters,' April 1910

Truth , Painting , Forgetting

“One knows that later Giacometti broke this domination surrealist influence of Breton, and he became completely interested again in the figure, he became figurative – he did nothing in the end but portraits of his brother and so on, and all very.... not realistic, but interested in life, in nature, and not so much in the dream or in the fantasy.”

Henry Moore (1898–1986) English artist

Quote in 'Henry Moore in Spain' / 'Henry Moore interview', c. 1981, HMF Library; as cited in Henry Moore writings and Conversations, ed. Alan Wilkinson, University of California Press, California 2002, p. 152
1970 and later

Life , Dreams , Nature

“I guess it was the big plane crash picture [why Warhol started his 'Death'-series], the front page of a newspaper: '129 DIED'. I was also painting the Marilyns [the Marylin Monroe portraits, Warhol started after her tragic death in 1962] I realized that everything I was doing must have been death. It was Christmas or Labor Day - a holiday - and very time that you turned on the radio they said something like '4 millions are going to die'. That started it. But when you see I gruesome picture over and over again, it doesn't really have any effect.”

Andy Warhol (1928–1987) American artist

Source: 1963 - 1967, What Is Pop Art? Interviews with Eight Painters, Part 1 (1963), pp. 116-19

Death , Time , Holiday , Christmas

“We meet people every day whose bodies are evidently those of men and women long dead, but whose appearance we know through their portraits.”

Samuel Butler (1835–1902) novelist

Ramblings In Cheapside (1890)

Women , Men , People , Appearance

“If the Hindus sang Vande Mãtaram in a public meeting, it was a ‘conspiracy’ to convert Muslims into kãfirs. If the Hindus blew a conch, or broke a coconut, or garlanded the portrait of a revered patriot, it was an attempt to ‘force’ Muslims into ‘idolatry’. If the Hindus spoke in any of their native languages, it was an ‘affront’ to the culture of Islam. If the Hindus took pride in their pre-Islamic heroes, it was a ‘devaluation’ of Islamic history. And so on, there were many more objections, major and minor, to every national self-expression. In short, it was a demand that Hindus should cease to be Hindus and become instead a faceless conglomeration of rootless individuals. On the other hand, the ‘minority community’ was not prepared to make the slightest concession in what they regarded as their religious and cultural rights. If the Hindus requested that cow-killing should stop, it was a demand for renouncing an ‘established Islamic practice’. If the Hindus objected to an open sale of beef in the bazars, it was an ‘encroachment’ on the ‘civil rights’ of the Muslims. If the Hindus demanded that cows meant for ritual slaughter should not be decorated and marched through Hindu localities, it was ‘trampling upon time-honoured Islamic traditions’. If the Hindus appealed that Hindu religious processions passing through a public thoroughfare should not be obstructed, it was an attempt to ‘disturb the peace of Muslim prayers’. If the Hindus wanted their native languages to attain an equal status with Urdu in the courts and the administration, it was an ‘assault on Muslim culture’. If the Hindus taught to their children the true history of Muslim tyrants, it was a ‘hate campaign against Islamic heroes’. And the ‘minority community’ was always ready to ‘defend’ its ‘religion and culture’ by taking recourse to street riots.”

Sita Ram Goel (1921–2003) Indian activist

Muslim Separatism – Causes and Consequences (1987)

Hate , Children , Peace , Religion

“He [ Richard Wagner ] was very happy but very nervous [Renoir proposed him to paint his portrait]... In short, I think I spent my time well, thirty five minutes is not long, but if I had stopped sooner it would have been better, because my model [Wagner] ended up by losing some of his good humor, and he became stiff. I followed these changes too closely [in the portrait]... At the end Wagner asked to see it. He said 'Ah! Ah! It's true that I look like a Protestant minister.”

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

But I [Renoir] was very happy it wasn't too much of a flop: There is something of that admirable face in it'
Quote of Renoir, in his letter to a friend, 15 Jan. 1882; as cited in 'Pierre Auguste Renoir - Richard Wagner', text of museum D'Orsay http://www.musee-orsay.fr/en/collections/works-in-focus/search/commentaire/commentaire_id/richard-wagner-11042.html?no_cache=1
At the beginning of 1882, Renoir was travelling in the south of Italy and visited Palermo where Wagner was staying. Renoir proposed a short sitting for the following day and Wagner agreed; he had just finished his 'Parsifal'.
1880's

Thinking , Change , Time , Painting

“Five years ago I spent two and a half months in Berlin, and every day I visited the museum to have at least a brief look at this divine masterpiece [a portrait of the soldier of fortune, Alessandro del Borro, then attributed to Diego Velazquez, and later to an unknown master], and every day my soul sang in response to it stronger and stronger. I was very sick then, and that genius alone reconciled me to my life when there was so much suffering in it. Looking at his creation, at these lines, at these half-tones (remember that shadowed jaw against the background or the column against the dress), at all this charm of the art, at this grand style, I started to want to live again, to see it again and again, to live on by painting and perhaps by painting alone.”

Marianne von Werefkin (1860–1938) expressionist painter

Quote in Werefkin's Letter to Igor Grabar on August 10, 1895; Department of Manuscripts of the State Tretyakov Gallery, Fund 106. Item 3242
1895 - 1905

Life , Art , Soul , Suffering

“I have always noticed that in portraits of really great writers the mouth is always firmly closed.”

Gertrude Stein (1874–1946) American art collector and experimental writer of novels, poetry and plays

What Are Masterpieces and Why Are There So Few of Them (1936), Afterword of a later edition

“I returned to school [after the bus accident], but I felt very sore and had little strength. I took my paintings to Diego [Rivera], and he liked them a lot, most of all the self-portrait. But of the rest he told me that I was influenced by Doctor Atl [a Mexican painter and revolutionary] and by Montenegro, and that I should try to paint whatever I wanted without being influenced by anyone else. That impressed me a lot, and I began to paint that I believed in. Then the friendship and almost courtship with Diego began. I would go to see him paint in the afternoon, and afterwards he would take me home by bus or in a Fordcito – a little Ford that he had – and he would kiss me.”

Frida Kahlo (1907–1954) Mexican painter

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

Friendship , School , Home , Kiss

“A cloud of dust is not a beautiful thing to look at. Very few painters have done portraits of huge clouds of dust or included them in their landscapes or still life. Film directors rarely choose huge clouds of dust to play the lead roles in romantic comedies, and as far as my research has shown, a huge cloud of dust has never placed higher than twenty-fifth in a beauty pageant.”

Daniel Handler book The Vile Village

Lemony Snicket
The Vile Village (2001)

Life , Beauty

“My drawings [c. 1945 - 1955] were almost always figures, many pseudo-self-portraits, which I often set against a kind of sun or focus, as if the whole universe radiated from my head, from a point between my eyes. My few oils make even clearer this vision of an axial character, centrally placed, facing the spectator, or turned around, with symmetrical postures, as one in prayer; they show the influence of [medieval] Catalan Romanesque art. In general, molecular rays from the periphery appear to form the central figure and converge in his head, or come out of it, and give life to his surroundings.”

Antoni Tàpies (1923–2012) Catalan painter, sculptor and art theorist

as quoted in 'Tàpies: From Within', June/November 2013 - Presse Release text, Museu Nacional d'Art de Catalunya (MNAC), p. 9
1971 - 1980, Memòria Personal', 1977

Life , Art , Universe , Appearance

“A family portrait not too stale to record
Of a pleasant old buffer, nephew to a lord,
Who believed that the bank was mightier than the sword,
And that an umbrella might pacify barbarians abroad:
Just like an old liberal
Between the wars.”

William Plomer (1903–1973) South African-British writer

"Father and Son: 1939", line 1.
The Dorking Thigh, and Other Satires

War , Family

“Nobody is familiar with his own profile, and it comes as a shock, when one sees it in a portrait, that one really looks like that to people standing beside one.”

Robert Graves (1895–1985) English poet and novelist

Source: Claudius the God (1935), Ch. 6.
Context: Nobody is familiar with his own profile, and it comes as a shock, when one sees it in a portrait, that one really looks like that to people standing beside one. For one's full face, because of the familiarity that mirrors give it, a certain toleration and even affection is felt; but I must say that when I first saw the model of the gold piece that the mint-masters were striking for me I grew angry and asked whether it was intended to be a caricature. My little head with its worried face perched on my long neck, and the Adam's apple standing out almost like a second chin, shocked me. But Messalina said: "No, my dear, that's really what you look like. In fact, it is rather flattering than otherwise."

People

“It is impossible to deny that dishonest men often grow rich and famous, becoming powerful in their parish or in parliament. Their portraits simper from shop windows; and they live and die respected. This success is theirs; yet it is not the success which a noble soul will envy.”

George Henry Lewes (1817–1878) British philosopher

The Principles of Success in Literature (1865)
Context: It is impossible to deny that dishonest men often grow rich and famous, becoming powerful in their parish or in parliament. Their portraits simper from shop windows; and they live and die respected. This success is theirs; yet it is not the success which a noble soul will envy. Apart from the risk of discovery and infamy, there is the certainty of a conscience ill at ease, or if at ease, so blunted in its sensibilities, so given over to lower lusts, that a healthy instinct recoils from such a state. Observe, moreover, that in Literature the possible rewards of dishonesty are small, and the probability of detection great. In Life a dishonest man is chiefly moved by desires towards some tangible result of money or power; if he get these he has got all. The man of letters has a higher aim: the very object of his toil is to secure the sympathy and respect of men; and the rewards of his toil may be paid in money, fame, or consciousness of earnest effort. The first of these may sometimes be gained without Sincerity. Fame may also, for a time, be erected on an unstable ground, though it will inevitably be destroyed again. But the last and not least reward is to be gained by every one without fear of failure, without risk of change. Sincere work is good work, be it never so humble; and sincere work is not only an indestructible delight to the worker by its very genuineness, but is immortal in the best sense, for it lives for ever in its influence. There is no good Dictionary, not even a good Index, that is not in this sense priceless, for it has honestly furthered the work of the world, saving labour to others, setting an example to successors.

Men , Soul , Success , Envy

“Children do have big eyes. When I'm doing a portrait, the eyes are the most expressive part of the face. And they just got bigger and bigger and bigger.”

Margaret Keane (1927) American artist

2014, Cited by Jesse Hamlin

Children , Parting

“In etherial terms the whole world is beautiful. In physical terms I have rarely seen more scenic beauty than in California or in Texas. What pains me is to see how the blind power of that most powerful society is turning that beauty into something as sinister as the portrait of Dorian Grey.”

Zulfikar Ali Bhutto (1928–1979) Fourth President and ninth Prime Minister of Pakistan

Source: Letter to his daughter (1978), p. 80
Context: Africa will rid herself of the maniacs. Africa will live to show that "Black is beautiful". Africa is ancient but Asia is ageless. Her nimble and graceful beauty has adorned civilization from the birth of mankind. Latin America has become the castanet of an international culture that links Andalusia to Arabia and the Caribbean. What beauty there is in the tap of her flamenco! Europe is glamorous and adorable, so seductive that she is still beautiful after a number of face lifts. America has been watergated. In that flow of stagnant waters you can behold beauty in its reflection. In etherial terms the whole world is beautiful. In physical terms I have rarely seen more scenic beauty than in California or in Texas. What pains me is to see how the blind power of that most powerful society is turning that beauty into something as sinister as the portrait of Dorian Grey.

Pain , World , Beauty

“We celebrate kings, we honor great men, we admire aristocrats, we applaud actors, we shower gold on portrait painters and we even, sometimes, reward soldiers, but we always despise merchants.”

Bernard Cornwell (1944) British writer

Colonel Hector McCandless, and Private Richard Sharpe, p. 300
Sharpe (Novel Series), Sharpe's Tiger (1997)
Context: "That's what it's about, Sharpe, trade. That's why you're fighting here, trade." "It seems a funny thing to be fighting about, sir." "Does it? Not to me, Sharpe. Without trade there's no wealth, and without wealth there's no society worth having. Without trade, Private Sharpe, we'd be nothing but beasts in the mud. Trade is indeed worth fighting for, though the good Lord knows we don't appreciate trade much. We celebrate kings, we honor great men, we admire aristocrats, we applaud actors, we shower gold on portrait painters and we even, sometimes, reward soldiers, but we always despise merchants. But why? It is the merchant's wealth that drives the mills, Sharpe; it moves the looms, it it keeps the hammers falling, it fills the fleets, it makes the roads, it forges the iron, it grows the wheat, it bakes the bread, and it builds the churches and the cottages and the palaces. Without God and trade we would be nothing."

Men

“We can write a life of Julius Caesar or of Cicero, because we have in the first line letters, commentaries, and other authentic documents written by them and their friends; in the second, lives written by Plutarch and others who had in their hands monuments of them, now lost; and in the third, masses of contemporary coins and inscriptions. Contrast with this wealth of sources the scanty material which remains, after the examination of the preceding chapters, for a portrait of Jesus of Nazareth. So slender is it, indeed, that it seems not absurd to some critics to-day to deny that he ever lived.”

Frederick Cornwallis Conybeare (1856–1924) British orientalist

p. 139 https://babel.hathitrust.org/cgi/pt?id=mdp.39015005727337;view=1up;seq=163
Myth, Magic, and Morals (1909)

Wealth , Life

“I am the sort of writer who needs another form to tell me who I am and what has happened to me…I think all my novels are self-portraits, but there’s no one character who resolves me, or catalyses me, or is me.”

Maylis de Kerangal (1967) French writer

On writing in “‘What is a heart? You have an organ in your body and you have a symbol of love’” https://www.theguardian.com/books/2017/apr/28/maylis-de-kerangal-interview-wellcome-prize-writing in The Guardian (2017 Apr 28)

Self-confidence , Thinking

“When I first started doing self-portraits – and I didn’t start until I was in my 40s, quite late – I did these portraits where my hand was kind of stretched out toward the canvas, as if about to paint…I suppose I was imitating those famous poses of Goya or Rembrandt. But something felt so false about that. Somehow women don’t have a secure place in the history of art and to portray myself in this way standing squarely, about to paint, it wasn’t right.”

Celia Paul (1959) British artist

On her painting techniques in “Celia Paul on life after Lucian Freud: ‘I had to make this story my own’” https://www.theguardian.com/artanddesign/2019/oct/27/celia-paul-self-portrait-memoir-interview-lucian-freud in The Guardian (2019 Oct 27)

Painting , History , Art , Self-confidence

“All persons exist to society by some shining trait of beauty or utility, which they have. We borrow the proportions of the man from that one fine feature, and finish the portrait symmetrically; which is false; for the rest of his body is small or deformed. I observe a person who makes a good public appearance, and conclude thence the perfection of his private character, on which this is based; but he has no private character. He is a graceful cloak or lay-figure for holidays. All our poets, heroes, and saints, fail utterly in some one or in many parts to satisfy our idea, fail to draw our spontaneous interest, and so leave us without any hope of realization but in our own future. Our exaggeration of all fine characters arises from the fact, that we identify each in turn with the soul. But there are no such men as we fable; no Jesus, nor Pericles, nor Caesar, nor Angelo, nor Washington, such as we have made. We consecrate a great deal of nonsense, because it was allowed by great men. There is none without his foible. I verily believe if an angel should come to chant the chorus of the moral law, he would eat too much gingerbread, or take liberties with private letters, or do some precious atrocity.”

Ralph Waldo Emerson (1803–1882) American philosopher, essayist, and poet

1840s, Essays: Second Series (1844), Nominalist and Realist

Soul , Drawing , Law , Personality

“The nation yesterday was awaiting a clear, statesmanlike call from the Chancellor of the efforts and, if necessary, the sacrifices that are needed to lift the country out of the perpetual series of crises and near crises that have dogged us ever since the war. That was what we were led to believe would happen. What did we get? We had a shambling, fumbling, largely irrelevant and, at one point, degrading speech. The Chancellor told us that the Budget was prepared under the piercing eye of Mr. Gladstone. There was one passage that was quite obviously written under a portrait of Horatio Bottomley.”

Harold Wilson (1916–1995) Former Prime Minister of the United Kingdom

Speech https://api.parliament.uk/historic-hansard/commons/1956/apr/18/budget-proposals-and-economic-situation in the House of Commons (18 April 1956)
Shadow Chancellor of the Exchequer

War , Dogs , Effort , Country

“At stake was not only a serious and viable artistic career as a woman, but the development of a subjectivity that was being defined through the self-portrait. conscious of being both muse and maker, Sher-Gil took on the position of artist and object with a double consciousness of being both.”

Amrita Sher-Gil (1913–1941) Hungarian Indian artist

Above two quotes by art historian Rakhee Balaram in the self in making AMRITA SHER-GIL, 7 December 2013, Kiran Nadar Museum of Arts. http://knma.in/exhibition/self-making-amrita-sher-gil-0.,

Self-confidence

“He was never interested in conventional beauty. Sober, pinched, reflective, lined and melancholy, his portraits remind us of that. But how many American artists said more about the sense of being in the world? Eakins was that extreme rarity, an artist who refused to tell a lie even in the service of his own imagination.”

Thomas Eakins (1844–1916) American painter

Robert Hughes, "Thomas Eakins," Nothing If Not Critical: Selected Essays on Art and Artists (1990).

Imagination , Beauty , Lie , Sense

“Contented, unambitious people are all very well in their way. They form a neat, useful background for great portraits to be painted against, and they make a respectable, if not particularly intelligent, audience for the active spirits of the age to play before.”

Jerome K. Jerome book Idle Thoughts of an Idle Fellow

Idle Thoughts of an Idle Fellow (1886)

Painting , Intelligence , People , Age

“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.”

Samuel Butler book The Way of All Flesh

Source: The Way of All Flesh (1903), Ch. 14

Music , Appearance , Literature

“Why do you like Miss Austen so very much? I am puzzled on that point … I read that sentence of yours, and then I got the book. And what did I find? An accurate daguerreotyped portrait of a commonplace (everyday) face; carefully fenced, highly cultivated garden, with neat borders and delicate flowers; but no glance of bright vivid physiognomy, no open country, no fresh air, no blue hill, no bonny beck. I should hardly like to live with her ladies and gentlemen, in their elegant but confined houses.”

Jane Austen book Pride and Prejudice

Charlotte Brontë, quote in Original Penguin Classics Introduction to Pride and Prejudice. by Taner, Tony (1972). 80 Strand, London, WC2R, England: Penguin Books, Ltd. ISBN 0-141-43951-3.

Housing , Reading , Country , Flowers