In a sense, every work you do is a self-portrait because your paintings always reveal more about you than about your subject. Your experience of something, not the something itself, is the true underlying subject of every work you do.
It's not the act of arrogance to draw, it's humbling - you must use your God-given talent. And of all the people I sketch, in most cases I feel I have to measure up to the subject.
When one starts from a portrait and seeks by successive eliminations to find pure form... one inevitably ends up with an egg.
A portrait is a painting with something wrong with the mouth.
One is never satisfied with the portrait of a person that one knows.
Nothing in a portrait is a matter of indifference. Gesture, grimace, clothing, decor even - all must combine to realize a character.
I leave you my portrait so that you will have my presence all the days and nights that I am away from you.
Every portrait that is painted with feeling is a portrait of the artist, not of the sitter.
With an 'advanced' artist, it's not now possible to make a portrait.
It is bad enough to be condemned to drag around this image in which nature has imprisoned me. Why should I consent to the perpetuation of the image of this image?
An act of naming should quite rightly enable me to call any-thing a self-portrait, not only any drawing, 'portrait' or not, but everything that happens to me, that I can affect, or that affects me.
To get someone to pose, you have to be very good friends and above all speak the language.
I shall praise those faces which seem to project out of the picture as though they were sculptured, and I shall censure those faces in which I see no art but that of outline.
My nose isn't big. I just happen to have a very small head.
It's really absurd to make... a human image, with paint, today, when you think about it... But then all of a sudden, it was even more absurd not to do it.
The artist does not see both eyes alike. There is always 'the eye' and the other eye... It adds life and plasticity to the drawing if the eye in the light is darker than the one in the shadow. It gives the head vividness.
Some sitters don't engage with the process of having their portrait painted at all. They'll think it's a good opportunity to catch up with all their phone calls.
Listen: if I am a painter and I do your portrait, have I or haven't I the right to paint you as I want?
When I paint, I seriously consider the public presence of a person - the surface facade. I am less concerned with how people look when they wake up or how they act at home. A person's public presence reflects his own efforts at image development.
I do not care to paint portraits indoors. I cannot feel sympathetic.
I always work directly from life, partly because I really enjoy having an interaction with the person in front of me but also because I love having a direct response to shape and color.
Alas, it is just a single image - an extended moment perhaps. Unlike a biography, a portrait cannot present the many differing moments that make up a personality.
The self-portrait is an act of objectifying the self and in that regard is a unique form of portraiture.
Artists with the lack of proper education and experience of working from life will copy whatever is visible on the photograph, without knowing what's underneath. As a result, instead of creating the in-depth and full of character portrait, they draw a mask with no soul.
Don't listen to the fools who say that pictures of people can be of no consequence, or that painting is dead. There is much to be done.
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