Jeff [Koons] called me because he'd seen a portrait of David Bowie, at the beginning of the 80s - I've known Jeff for a long time - and he said, Greg, I want to look like a high-profile celebrity, living on the edge. I think that says it all.
Everything is a self-portrait. A diary. Your whole drug history’s in a strand of your hair. Your fingernails. The forensic details. The lining of your stomach is a document. The calluses on your hand tell all your secrets. Your teeth give you away. Your accent. The wrinkles around your mouth and eyes. Everything you do shows your hand.
Poetry is like a portrait of a moment or person, and the poem is almost like looking at a photograph; it slaps you in the face and kisses you at the same time. Nothing else does that, with that brevity. Songs try to do it, but that's three minutes. A poem, you read it and it kind of changes your life and you don't know how it happened and you can never forget it. It's like the best song lyric, the best line from a film-everything in the world that's short and great put together.
Before the New York Times starts running "Portraits in Grief" of former Enron employees, it's worth remembering that even after the collapse, Enron stock is still worth more than the entire Social Security "trust fund."
You have bits of canvas that are unpainted and you have these thick stretcher bars. So you see that a painting is an object; that it's not a window into something - you're not looking at a landscape, you're not looking at a portrait, but you're looking at a painting. It's basically: A painting is a painting is a painting. And it's what Frank Stella said famously: What you see is what you see.
I was going to have cosmetic surgery until I noticed that the doctor's office was full of portraits by Picasso.
Your dreams are the product of your longings, a portrait of your potential, and a promise of your future.
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.
When you leave them in the morning, they stick their nose in the door crack and stand there like a portrait until you turn the key eight hours later.
The contents of someone's bookcase are part of his history, like an ancestral portrait.
Pre-planning is essential. Research, research, research. If you are going to do a portrait, know as much as you can about the person beforehand. The web makes this very easy.
I was so lucky that I got to meet certain people. It came through Roddy McDowall, who had become a photographer and would do these portraits of celebrities. Then he would get another well-known person to write a thing. He photographed me when I was 15 or 16, and he got Jason Robards to write the thing because he was sort of my mentor. And Roddy would invite me to these dinner parties that were insane. Like, Elizabeth Taylor and Maureen O'Hara and people that were just crazy. I still can't really believe that I met them.
Mann was less interested, I think, in constructing any kind of "portrait of an age" than he was in delineating an individual consciousness in which profound struggles about identity and direction arise - struggles that Mann himself had not only reflected on but felt keenly. Visconti takes up this central focus of the novella, but he couples it with a more social perspective.
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.
A portrait is a painting with something wrong with the mouth.
The image by Barry Blitt of Barack Obama and Michelle in the White House with him dressed as a terrorist, her dressed as an Angela Davis character, a flag burning in the chimney, a portrait of Bin Laden on the wall is an image I'm extremely proud of.
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 takes a long time for a man to look like his portrait.
But when I realized it was actually going to be this portrait of the artist, birth to death, I had to then discover who Margaret as a young woman would be. I had to find the different voices for her throughout her life. I had a lot of fun discovering that. I had a lot of fun writing the childhood sections. By imagining her childhood, I was able to come up with this voice that matures as she gets older.
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.
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.
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.
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 got a portrait in the Smithsonian. Who ever thought that would happen?
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.
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