I painted with my husband a portrait of a naked Serge Gainsbourg draped with a French flag, and it hangs in our bedroom. I love gritty and dark art like what the German couple Herakut does.
I tried each thing, only some were immortal and free.
My head was dizzy, but what of that? Float, stupid wooden head, and care nothing for tomorrow.
A true portrait should, today and a hundred years from today, the Testimony of how this person looked and what kind of human being he was.
Fashion is where I make my living. I'm not knocking it; it's a pleasure to make a living that way. Then there's the deeper pleasure of doing my portraits.
A portrait is not a likeness. The moment an emotion or fact is transformed into a photograph it is no longer a fact but an opinion. There is no such thing as inaccuracy in a photograph. All photographs are accurate. None of them is the truth.
I had rather see the portrait of a dog that I know, than all the allegorical paintings they can show me in the world.
Mehmet was the first sultan, and one of the first Muslims anywhere, to defy religious tradition by allowing his portrait to be made.
I kept wanting to push my image as validity; I wanted to see my portrait on a wall and know it was okay.
I would wish my portraits to be of the people, not like them. Not having a look of the sitter, being them.
But short films are not inferior, just different. I think the short gives a freedom to film-makers. What's appealing is that you don't have as much responsibility for storytelling and plot. They can be more like a portrait, or a poem.
I often concentrate on the eyes and lips, they are great indicators of mood and feeling, and I find that I can project character into my portraits by bringing the viewer's attention to these areas.
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.
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.
I feel like vocals are to music what portraits are to painting. They're the humanity. Landscapes are good and fine, but at the end of the day everyone loves the Mona Lisa.
We know evolution happened because innumerable bits of data from myriad fields of science conjoin to paint a rich portrait of life's pilgrimage.
I have a Madonna portrait done in the style of a Russian icon. My mother, the chef Lidia Bastianich, and I bought it together. It reminds me of her.
Not only are Christians writing about Jesus, but also Communists, Jews, atheists and agnostics are taking up their pens to paint a portrait of Jesus.
All my forebears worked for a living. My grandfather painted portraits. My mother too. My aunt painted seascapes.
The landscape is like being there with a powerful personality and I'm searching for just the right angles to make that portrait come across as meaningfully as possible.
It seems to be a law of nature that no man, unless he has some obvious physical deformity, ever is loth to sit for his portrait.
