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.
Faces are the most interesting things we see; other people fascinate me, and the most interesting aspect of other people - the point where we go inside them - is the face. It tells all.
Every single person is unlike anyone else. Therefore, in creating a portrait of someone... we must look carefully to catch that particular unique quality. In fact, we can neglect nothing because everything we select or do sends a message to the observer.
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.
I leave you my portrait so that you will have my presence all the days and nights that I am away from you.
If a figure doesn't look back at you, you forget it.
When one starts from a portrait and seeks by successive eliminations to find pure form... one inevitably ends up with an egg.
Ah! Portraiture, portraiture with the thought, the soul of the model in it, that is what I think must come.
There's no symmetry in nature. One eye is never exactly the same as the other. There's always a difference. We all have a more or less crooked nose and an irregular mouth.
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.
I paint self-portraits because I am so often alone, because I am the person I know best.
I do not paint a portrait to look like the subject, rather does the person grow to look like his portrait.
The person portrayed and the portrait are two entirely different things.
Nothing in a portrait is a matter of indifference. Gesture, grimace, clothing, decor even - all must combine to realize a character.
The painter must always seek the essence of things, always represent the essential characteristics and emotions of the person he is painting.
Make portraits of people in typical, familiar poses, being sure above all to give their faces the same kind of expression as their bodies.
Like Chekhov, I am a collector of souls... if I hadn't been an artist, I could have been a psychiatrist.
My nose isn't big. I just happen to have a very small head.
With an 'advanced' artist, it's not now possible to make a portrait.
I am living a new and exalted life of late. It steeps me in a sacred rapture to see a portrait develop and take soul under my hand. First, I throw off a study - just a mere study, a few apparently random lines - and to look at it you would hardly ever suspect who it was going to be; even I cannot tell, myself.
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?
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 try to paint from life, but I had such a miserable experience with Bonaparte, who wouldn't sit still and kept mumbling about catching a cold and something incoherent about Wellington , so I finally decided to work from photos.
I want to paint men and women with that something of the external which the halo used to symbolize, and which we now seek to give by the actual radiance and vibrancy of our colorings.
Everything I paint is a portrait, whatever the subject.
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