Portrait Quotes - page 6
We must enter into the spirit of the character [for making a portrait]: here the challenge is to place this figure in the human space, to work out what he represents in relation to other people, other human personalities; when you've worked this out, you're done. this truth has to stand out in the end result of the portrait.... when this task is complete, and the subject is placed in the realm of the dead that go on living, I hand over my work.
Marino Marini
Five years ago I spent two and a half months in Berlin, and every day I visited the museum to have at least a brief look at this divine masterpiece [a portrait of the soldier of fortune, Alessandro del Borro, then attributed to Diego Velazquez, and later to an unknown master], and every day my soul sang in response to it stronger and stronger. I was very sick then, and that genius alone reconciled me to my life when there was so much suffering in it. Looking at his creation, at these lines, at these half-tones (remember that shadowed jaw against the background or the column against the dress), at all this charm of the art, at this grand style, I started to want to live again, to see it again and again, to live on by painting and perhaps by painting alone.
Marianne von Werefkin
They [Jawlensky and Münter] often lived here in our Murnau house. But Paul Klee and Franz Marc were also close friends, and August Macke, too, whenever he was in Munich... Klee was never as active a theorist, in those years, as Kandinsky or Marianne de Werefkin. Besides, it took Klee much longer to become a truly and conscious modern artist... As you can see in my portrait of Klee, which is painted in 1913 – I mean the one where he is seen seated in one of the rooms here downstairs and wearing white summer slacks – he is not very communicative. That is why I depicted him all hunched up and tense, as if he were constraining some mainspring within himself. In my eyes, it was almost a portrait of silence rather than of Klee, and for many years it no longer occurred to me that he had been my model. But Klee was always a close friend of ours, and Kandinsky and I had great confidence in his talent and his future.
Gabriele Munter
Kuhn had the genius to find the words and sketch the concepts that made important old philosophical problems relevant to the public and newly discussable by philosophers. He had the strength of mind and commitment to lead the discussion. He could speak the truly incommensurable languages of physics, philosophy, and history, all necessary to frame and advance his epistemological quest. He wrote, as one of his admirers, Margaret Masterman, put it, in a "quasi-poetic style," sometimes veiled, sometimes with "rhetorical exaggeration," but always after careful and even painful thought. Or, to switch metaphors, he drew the portrait of science in the manner of the Impressionists. At a distance, where most viewers stand, the portrait appears illuminating, persuasive, and inspiring; close in, where historians and philosophers stare, it looks sketchy, puzzling, and richly challenging.
John L. Heilbron
When drag queen Carlotta agreed to compere and sit for a portrait at an R-rated charity fundraiser in March, she was not prepared for the tool of trade of the artist. The painter was Pricasso, who releases his artistic side by using a particular extremity. Not to put too fine a point on it (and Pricasso couldnt), Carlotta hovered between humour and horror as her portrait came to life.
Pricasso
Each textbook must contain as frontispiece a portrait of Gandhiji and there must be lessons containing the sermons of Gandhiji from Sabarmati to Birla House. This would be the best and the most potent way of offering homage to the memory of the world's greatest man and the Father of the Indian Nation, and is better than building memorials and erecting statues.... His (Gandhiji's) teachings stressed the supreme virtue of the human spirit, utterly indestructible and unconquerable. India can never hope to find a place in the sun, unless it upholds the value of the human spirit.
C. V. Raman
Once I saw the village butcher [in his youth, in Russia] slice the neck of a bird and drain the blood out of it. I wanted to cry out, but his joyful expression caught the sound in my throat... This cry, I always feel it there. When, as a I drew a crude portrait of my professor, I tried to rid myself of this cry, but in vain. When I painted the beef carcass it was still this cry that I wanted to liberate. I have still not succeeded.
Chaim Soutine
What we've lost - 'I said in more or less these terms' - is the proper interest in and taste for detail. We've been noting that for a long time yet the loss is irremediable. In the old days man was everything. A human face was worth a poem. When nature appeared behind a human being it was a kind of backdrop taking the place of the dark background of portrait painters or the gold of the Italian primitives... The day when a separation took place art was diminished. It was transformed the day that the 'subject' and the 'genre' destroyed great painting, denaturing even landscapes.
Eugène Fromentin
Charlotte: 'I have some more [paintings she recently made] to show you'.
Daberlohn: Well, let's meet this evening.....
Isn't it absurd to address each other so formally? You're such a baby – here, let me hold your hand.... Real painter's hands'.
Charlotte: 'To me they're just ugly'....'You would be a wonderful subject for a portrait -'
Daberlohn (to himself) : 'Little girl, if you only knew what one has to go through to be able to paint.
Charlotte Salomon
Daberlohn's diagnosis [about the etching she made as his portrait] holds encouragement for Charlotte.... Daberlohn (in his letter) 'In my opinion you are destined to create something above average.'
....'Above average.' She is elated by his letter and really feels quite proud... While beginning to paint the buttercup-strewn meadow where she happens to be sitting, she decides to make his prophecy come true and actually create something 'above average'.
Charlotte Salomon
And now something strange happened to our Charlotte. While busy painting, as she always was, she fell asleep in the midday sun. And when she awoke, the finished portrait of her once so ardently beloved Daberlohn [ = Alfred Wolfsohn ] lay before her. However, she tore the sheet into a hundred thousand shreds.... she sought for an explanation... Then her glace fell on one of her old paintings representing Death and the Maiden. And suddenly she knew...
Charlotte Salomon
