. . . into the novel goes such taste as I have for rational behaviour and social portraiture. The short story, as I see it to be, allows for what is crazy about humanity: obstinacies, inordinate heroisms, "immortal longings.
What a conception of art must those theorists have who exclude portraits from the proper province of the fine arts! It is exactly as if we denied that to be poetry in which the poet celebrates the woman he really loves. Portraiture is the basis and the touchstone of historic painting.
Self-portraiture is something one should never get involved in, since it is wrong to lie even though one endeavours to tell the truth.
It is in some respect greater love in Jesus to sanctify than to justify, for He maketh us most like Himself, in His own essential portraiture and image in sanctifying us.
I'm an odd portrait painter in that I'm not just interested in human faces. I consider almost all of my paintings to be portraits.
I have a really strong suspicion of the romantic nature of portraiture, the idea that you're telling some essential truth about the interior lives of your subject.
Roger Fry is painting me. It is too like me at present, but he is confident he will be able to alter that. Post-Impressionism is at present confined to my lower lip. . . and to my chin.
Beware how in making the portraiture thou breakest the pattern: for divinity maketh the love of ourselves the pattern; the love of our neighbours but the portraiture.
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.
All art is self-portraiture.
You know, if one paints someone's portrait, one should not know him if possible.
We have a lot of sort of received historical ways of viewing portraiture. And I suppose in some way I'm sort of questioning that by toying with the rules of the game.
If my people look as if they're in a dreadful fix, it's because I can't get them out of a technical dilemma.
I wanted to make photographs that were immediate and revealing - different from traditional portraiture that called for formal distance between artist and subject.
There is no self-portrait of me.
I don't have lots of things in the background. I do like large faces, I find them strong and contemporary.
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.
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 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 work doesn't speak about individuals (it's not portraiture in the traditional sense), it tries to speak about life in general in cities of the West - which is where I live and what I understand.