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“He'd never need a camera to remember this, and damn if he ever wanted anyone but him to see her like she was at this moment.”
― Kelly Moran, Exposure

“All my images are self-portraits, even when I'm not in them.”
― Nuno Roque

“The paint is drying, and time is dying. The pain is crying, lying on my back, trying to get back the time, to brushstrokes too fast, wet went dry and love went dull; now I live in a portrait I never painted.”
― Anthony Liccione

“The missing remained missing and the portraits couldn't change that. But when Akhmed slid the finished portrait across the desk and the family saw the shape of that beloved nose, the air would flee the room, replaced by the miracle of recognition as mother, father, sister, brother, aunt, and cousin found in that nose the son, brother, nephew, and cousin that had been, would have been, could have been, and they might race after the possibility like cartoon characters dashing off a cliff, held by the certainty of the road until they looked down -- and plummeted is the word used by the youngest brother who, at the age of sixteen, is tired of being the youngest and hopes his older brother will return for many reasons, not least so he will marry and have a child and the youngest brother will no longer be youngest; that youngest brother, the one who has nothing to say about the nose because he remembers his older brother's nose and doesn't need the nose to mean what his parents need it to mean, is the one who six months later would be disappeared in the back of a truck, as his older brother was, who would know the Landfill through his blindfold and gag by the rich scent of clay, as his older brother had known, whose fingers would be wound with the electrical wires that had welded to his older brother's bones, who would stand above a mass grave his brother had dug and would fall in it as his older brother had, though taking six more minutes and four more bullets to die, would be buried an arm's length of dirt above his brother and whose bones would find over time those of his older brother, and so, at that indeterminate point in the future, answer his mother's prayer that her boys find each other, wherever they go; that younger brother would have a smile on his face and the silliest thought in his skull a minute before the first bullet would break it, thinking of how that day six months earlier, when they all went to have his older brother's portrait made, he should have had his made, too, because now his parents would have to make another trip, and he hoped they would, hoped they would because even if he knew his older brother's nose, he hadn't been prepared to see it, and seeing that nose, there, on the page, the density of loss it engendered, the unbelievable ache of loving and not having surrounded him, strong enough to toss him, as his brother had, into the summer lake, but there was nothing but air, and he'd believed that plummet was as close as they would ever come again, and with the first gunshot one brother fell within arms' reach of the other, and with the fifth shot the blindfold dissolved and the light it blocked became forever, and on the kitchen wall of his parents' house his portrait hangs within arm's reach of his older brother's, and his mother spends whole afternoons staring at them, praying that they find each other, wherever they go.”
― Anthony Marra, A Constellation of Vital Phenomena

“With lead he shaded love into the woman's eyes.”
― Dean Koontz, Brother Odd

“Eloquence is painted thought, and thus those who, after having painted it, add somewhat more, make a picture, not a portrait.”
― Blaise Pascal, The Thoughts of Blaise Pascal

“The sky was like ebony and the only illumination was the harsh white light of the central streetlamp, which cast shadows so hard it seemed you might cut yourself on them.”
― Jasper Fforde, Shades of Grey

“Slow down, take time, allow yourself to be wildly diverted from your plan. People are the soul of the place; don't forget to meet them and enjoy their company as you explore a place.”
― David duChemin, Within the Frame: The Journey of Photographic Vision

“I've never taken a photograph of someone and created a persona, I've just discovered what was already there.”
― Anthony Farrimond

“…although her mouth uttered fond words, her eyes spoke only venom.”
― Jasper Fforde, Shades of Grey

“The portrait of my parents is a complicated one,
but lovingly drawn.”
― Joyce Maynard

“As he lifted his head, he saw a painting on the wall, in a carved and gilded frame. It was a luminous portrait of the Duchess with her children when they were still young. The group was arranged on the settee, with Ivo, still an infant, on his mother's lap. Gabriel, Raphael, and Seraphina were seated on either side of her, while Phoebe leaned over the back of the settee. Her face was close to her mother's, her expression tender and slightly mischievous, as if she were about to tell her a secret or make her laugh.”
― Lisa Kleypas, Devil's Daughter

“There is always a commanding and simple line around each head. Learn to have a love for the big simple line.”
― Robert Henri

“This is almost always the case: A piece of art receives its f(r)ame when found offensive.”
― Criss Jami, Healology

“A portrait is like an ornamental headstone. It is not for the subject, but for those who look upon it. For those you want to remember.”
― Julie Klassen, The Painter's Daughter

“I love portraits. I've always been fascinated by the fact that when you put a frame on something you create limits for it. It makes it look dead. The same works with labels, which is a popular hobby most people have nowadays, labeling.”
― Nuno Roque

“What my portraits are made of?
10% showing the reality, 90% showing my philosophy.”
― Scuro Chiaro

“J'ai une passion pour les tulipes, plus que pour aucune autre fleur de printemps; gaies, robustes, gracieuses, elles semblent de jeunes filles sortant du bain à côté des jacinthes, ces femmes aux formes opulentes dont chaque mouvement sature l'air de patchouli. Leur parfum, délicat et léger, est un comble de raffinement. Existe-t-il au monde rien de plus charmant que l'ardeur avec laquelle elles tendent leurs petits visages vers le soleil ? On les a taxées de prétention, et de vanité, alors que pour moi elles sont toute grâce et modestie, et ne sont coupables que de vouloir jouir de la vie sans craindre de regarder le soleil en face.”
― Elizabeth von Arnim, Elizabeth and Her German Garden

“blue eyes so light that it looked like she sent them out to be bleached”
― James Ellroy

“I take my cues from the world around me and carefully paint a self-portrait that the world can’t help but accept. However, I would be much wiser to put down all such artistic notions and hold up the portrait of me painted by God simply because that is a picture at which the world can’t help but marvel.”
― Craig D. Lounsbrough

“We weren’t happy together but we lived in a state of easy, mild contentment. We shared everything except the stupid fucking secret hanging round your neck. I imagined tiny photographs: portraits in sepia of your parents, their faces partially obscured by goitres. Meanwhile, maybe not tomorrow, maybe not next year, maybe not even in a decade from now but one day: the planet would fall apart.”
― Jon Gresham, We Rose Up Slowly

“A portrait is a painting in which there is something wrong with the mouth.”
― E. Speicher

“My studio team and I approached the creation of this series with enthusiasm, wit, sincerity and sometimes more than a dash of humour. Is the result just another foray into the clichés of Orientalism? I think not. For the most part the people photographed became co-conspirators in our elaborate game of recreating reality. They enjoyed chai with us and a morning samosa (we most always shoot in the early morning since it is the best time to utilize available light). Our models were indeed “posed and paid��, but they cooperated by suggesting so many things themselves�� eagerly grasping the process we were undertaking and joining in the creation of what generally became more than just a photo shoot. Each session in the studio became an “event”…an episode of manufactured expression in which all participated and all remembered.”
― Waswo X Waswo, Men of Rajasthan

“Looking at Loh’s photographs, it is obvious that there is nothing simpler and richer than a face when stripped of all effects and affects, poses and postures, stances and pretences. The Singaporeans featured here are almost
expressionless, as if the photographer wanted to leave us clueless about them. What do their faces tell us? Why are they so familiar? Why do we feel we know this auntie that we don’t know? And this guy with the nondescript look? And this girl with no distinguishing mark? Have we met before?”
― Raphael Millet

“In a few years, it is very likely that this series will be considered a milestone in the history of Singapore photography.”
― Raphael Millet

“Broken heart is flute.i blow into the flute & design walking portrait with empty pen”
― basant nayak

“In an inexplicable way he was quite different from anyone else....He was smallish, neat, solidly built....Possibly he was a man who at once became self-conscious before a camera. Even snapshots tend to give him an air of swagger, a kind of cockiness he did not possess at all. [On. F. Scott Fitzgerald]”
― Anthony Powell

“He set his miniature of Lara on the semicircular table against the wall, and ran his finger lightly along the worn edges of the enameled frame. With an expert touch he opened the frame to reveal the delicate portrait inside. The familiar sight of her face soothed and refreshed him as always.
The portrait artist hadn't adequately captured the lushness of her mouth, the singular sweetness of her expression, the color of her eyes, like mist in a green meadow. No mere brush on canvas could have conveyed such things.
Lara was a rare woman with an unusual capacity for caring about others. Generous and easily entreated, she seemed to have a talent for accepting people with all their flaws.”
― Lisa Kleypas, Stranger in My Arms

“An eloquent orgasm paints the most beautiful portrait of life.”
― Alan Maiccon

“A portrait that declines to name its subject becomes complicit, if inadvertendy in the cult of celebrity that has fueled an insatiable appetite for the opposite sort of photograph: to grant only the famous their names demotes the rest to representative instances of their occupations, their ethnicities, their plights.”
― Susan Sontag, Regarding the Pain of Others