In the case of the Obama poster, I was just exercising my First Amendment rights - and my free speech is exercised visually. People who want to talk or write in order to share an opinion about Obama can do that, but when I want to say what I think about him, I need to make a portrait.
A house is very much like a portrait. I cannot disconnect houses from people. The thought of arrangement, the curves and straight lines. It gives an indication of the character at the heart of it.
When you start with a portrait and search for a pure form, a clear volume, through successive eliminations, you arrive inevitably at the egg. Likewise, starting with the egg and following the same process in reverse, one finishes with the portrait.
If I had gone to art college and everybody was being a conceptual artist, I probably would have wanted to be a portrait or landscape painter.
Every portrait that is painted with feeling is a portrait of the artist, not of the sitter.
In writing 'A Portrait of Athens' I have attempted - rather impressionistically - to give a panorama of its present. But I have also brought in its past because I sincerely think that there is a continuity.
For years, I've had a hankering for the portrait of Benjamin Franklin by Joseph Duplessis. Franklin is credited with so many inventions: the postal system, lightning rods, the constitution. He was a rock star before there was such a thing.
Trump may not like the fact that 20-plus anonymous sources provided the 'Times' with an unflattering portrait of his campaign, but that doesn't make it 'false.' Of course, Trump had no problem with news outlets running with his made-up claim in 2011 that President Obama 'doesn't have a birth certificate.'
'Cunnamulla' is a beautifully bleak portrait of a lonely town in which people are leading lives of sort of quiet desperation.
I had no portrait, now, but am small, like the wren; and my hair is bold, like the chestnut bur; and my eyes, like the sherry in the glass, that the guest leaves.
I wanted to become a cartoon artist, a portrait artist, and an illustrator. This was my first idea.
I've jokingly painted some of my favorite collectors as black men, so there's a really great portrait of David LaChapelle, the photographer - my version of him - that's in his collection.
In Edna, I created a satiric portrait of my hometown of Melbourne, a large provincial English city paradoxically in far Southeast Asia. She's a theatrical figure, related to vaudeville in some respects. She inhabits a world in which there are comparatively few female exponents of comedy.
Nobody worked harder than Mozart. By the time he was twenty-eight years old, his hands were deformed because of all the hours he had spent practicing, performing, and gripping a quill pen to compose. That's the missing element in the popular portrait of Mozart.
In a portrait, you have room to have a point of view and to be conceptual with a picture. The image may not be literally what's going on, but it's representative.
The countenance is the portrait of the soul, and the eyes mark its intentions.
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.
I would hardly call myself an artist in that sense; I doodle, I draw, I'm not a trained artist, I couldn't sit down and do an accurate portrait of anyone.
My first black-on-black picture was 'The Portrait of an Artist as a Shadow of His Former Self.' I started using it as an emblem of this undercurrent of wickedness, malevolence, and irony - all of that.
When you don't have access to a subject, and all you have is ex-members and critics, there is this gravitational pull toward telling a certain version of events. Scientology would say this, and they have a point, that it's like doing a portrait of a marriage in which you're only hearing from the ex-wife and not the ex-husband.