I sometimes find the surface interesting. To say that the mark of a good portrait is whether you get them or get the soul - I don't think this is possible all of the time.
Franz Kline, who became known for his black and white paintings, did a whole series of gorgeous landscapes and wonderful portraits that may still hang in Greenwich Village.
I have a portrait of Saint Thomas More in my office.
You know, if one paints someone's portrait, one should not know him if possible.
'The Portrait of Dorian Grey' beautifully articulates how the altruistic part of ourselves clashes with our essentially narcissistic state.
I have always loved reading, so was interested in the literary world, and took many literary portraits.
It may seem unfashionable to say so, but historians should seize the imagination as well as the intellect. History is, in a sense, a story, a narrative of adventure and of vision, of character and of incident. It is also a portrait of the great general drama of the human spirit.
For me, an aerial picture is no different than a close-up portrait. It's a question of framing and angle. Helicopters are great for that. But I've also used planes. Of course, I always have a harness.
Type is one of the most eloquent means of expression in every epoch of style. Next to architecture, it gives the most characteristic portrait of a period and the most severe testimony of a nation's intellectual status.
The people have to know what my portraits are like in order to behave in such a way that the result is one of my portraits.
Like most portrait photographers, I aim to record the instant the subject is not thinking about being photographed, striving to get beyond the practiced facial performance, reaching for something unplanned. While trying to be as objective as possible, I acknowledge that every gesture is still an act of artifice.
And I was very successful at baby photography... Strange isn't it? Because some of my portraits of babies were - I used dramatic lighting, shadow lighting, and I didn't use flash. We didn't have flash in those days, we just had floodlights, and I was photographing babies as I would an object - an inanimate object, for that matter.
Everything in a wide sense is a kind of a self-portrait. It's just the way you see things and you're curious about certain things and just excited about them.
Kenneth Hari does not paint portraits as they are but as he is. I feel he is hiding something from me. To board a train into his mind would give me a ride into dark adventure.
I've got a portrait in the Smithsonian. Who ever thought that would happen?
Yet each of us also carries another portrait with us, a picture far more important than any in our wallet. Psychologists have a name for it. They call that mental picture of ourselves, our self-image. ... there's always the person whose self-image is bent all out of shape, like a photo carried too long in a wallet.The good news of the tremendous worth we have in God's eyes can light up our inner self-portrait.
I was hoping to do an impressionist painting, but I wanted a good likeness and I wanted to create a feeling of the lady as a person, as a human being rather than as a figurehead for the monarchy and a pomp-and-circumstance sort of formal portrait. I wanted more of a relaxed portrait.
I've always felt the portrait is an occasion for marks to happen. I've never viewed the portrait as about the sitter. Even when I go to the National Portrait Gallery, I'm not thinking about the sitter; I'm thinking about how the artist chose that color or that highlight. It becomes about the time, place, and context.
There should be a statute of limitation on grief. A rulebook that says it is all right to wake up crying, but only for a month. That after 42 days you will no longer turn with your heart racing, certain you have heard her call out your name. That there will be no fine imposed if you feel the need to clean out her desk; take down her artwork from the refrigerator; turn over a school portrait as you pass - if only because it cuts you fresh again to see it. That it's okay to measure the time she has been gone, the way we once measured her birthdays.
In portrait photography there is something more profound that we seek inside a person, while being painfully aware that a limitation of our medium is that the inside is recordable only insofar as it is apparent on the outside...Very often what lies behind the facade is rare and more wonderful than the subject knows or dares to believe.
Photographers who come up with power never get accused of imitating anyone else even though they photograph the same broom, same street, same portraits.
If one could make alive again for other people some cobwebbed skein of old dead intrigues and breathe breath and character into dead names and stiff portraits. That is history to me!
One of the things I learned on the street was to trust life and to keep hands off of it, and that feeling continues in the rest of the works that I do, the portrait, the landscapes, or any interest that I have. Things are good enough as they are, there's no reason to tamper with them.
In assembling this group of portraits of women, I'm aware that I'm treading on dangerous ground. When I was in college, I learned to be distrustful of men's depictions of women. I remember seeing Garry Winogrand's book Women Are Beautiful in the school library and being shocked that it hadn't been defaced for its blatant objectification of women. But looking back, maybe I was too harsh. Whether one photographs men or women, it is always a form of objectification. Whatever you say about Winogrand, his depiction was honest.
Pulls readers in with an ironic, breezy portrait of sinister high school competitiveness. Deft and extraordinarily accomplished.
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