The shadkhn was impressing the young woman with the boundless virtues of a female and ended: “And to look at, she’s a regular picture!” The young man could not wait for his blind date. But when he accosted the shadkhn the next day, his voice was frosty: “Her eyes are crossed, her nose is crooked, and when she smiles one side of her mouth goes down — ” “Just a minute,” interrupted the shadkhn. “Is it my fault you don’t like Picasso?

I was a painter and became Picasso.

"I couldn't see his face, because the light came in from behind him and he was in shadow, and he said, "I am Picasso." And I said, "Well, so what?

He had a new girl, and I told him she looked like Marilyn Monroe. He smiled because he thought I meant she was beautiful, and I smiled because I meant she looked like a corpse.

he [Picasso] used to say quite often, paper lasts quite as well as paint and after all it all ages together, why not, and he said further, after all, later, no one will see the picture, they will see the legend of the picture, the legend that the picture has created, then it makes no difference if the picture lasts or does not last.

But, of course, of course, I imitated everyone! Except myself. — Pablo Picasso

I like it when people say, ‘Gee, that’s a pretty good-looking painting.’ But it’s my painting, and when somebody says, ‘Why don’t you use more red instead of blue?’ Good-bye. It’s my painting. And I don’t care what they sell it for. The painting itself will never be finished. That’s one of the great things about it.

You have to find your own shtick. A Picasso always looks like Picasso painted it. Hemingway always sounds like Hemingway. A Beethoven symphony always sounds like a Beethoven symphony. Part of being a master is learning how to sing in nobody else's voice but your own.

"One morning I fell to sketching a face: what sort of a face it was to be, I did not care or know. I took a soft black pencil, gave it a broad point, and worked away. Soon I had traced on the paper a broad and prominent forehead and a square lower outline of visage: that contour gave me pleasure; my fingers proceeded actively to fill it with features. Strongly-marked horizontal eyebrows must be traced under that brow; then followed, naturally, a well-defined nose, with a straight ridge and full nostrils; then a flexible-looking mouth, by no means narrow; then a firm chin, with a decided cleft down the middle of it: of course, some black whiskers were wanted, and some jetty hair, tufted on the temples, and waved above the forehead. Now for the eyes: I had left them to the last, because they required the most careful working. I drew them large; I shaped them well: the eyelashes I traced long and sombre; the irids lustrous and large. "Good! but not quite the thing," I thought, as I surveyed the effect: "they want more force and spirit;" and I wrought the shades blacker, that the lights might flash more brilliantly — a happy touch or two secured success. There, I had a friend's face under my gaze; and what did it signify that those young ladies turned their backs on me? I looked at it; I smiled at the speaking likeness: I was absorbed and content.

Is that a portrait of some one you know?" asked Eliza, who had approached me unnoticed. I responded that it was merely a fancy head, and hurried it beneath the other sheets. Of course, I lied: it was, in fact, a very faithful representation of Mr. Rochester. But what was that to her, or to any one but myself? Georgiana also advanced to look. The other drawings pleased her much, but she called that 'an ugly man.

She was standing before a fine portrait of the old gentleman when the door opened again, and, without turning, she said decidedly, 'I'm sure now that I shouldn't be afraid of him, for he's got kind eyes, though his mouth is grim, and he looks as if he had a tremendous will of his own. He isn't as handsome as my grandfather, but I like him.' 'Thank you, ma'am,' said a gruff voice behind her, and there, to her great dismay, stood old Mr. Laurence.

He had the very greatest admiration. He admire her for her truthfulness, for her cleanness of mind, and the clean-run-ness of her limbs, for her efficiency, for the fairness of her skin, for the gold of her hair, for her religion, for her sense of duty. It was a satisfaction to take her about with him.

She sat with great intensity, giving the whole of her mind to it, and was capable of remaining for an hour almost as motionless as if she were before a photographer's lens. I could see she had been photographed often, but somehow the very habit that made her good for that purpose unfitted her for mine. At first I was extremely pleased with her lady-like air, and it was a satisfaction, on coming to follow her lines, to see how good they were and how far they could lead the pencil. But after a few times I began to find her too insurmountably stiff; do what I would with it my drawing looked like a photograph or a copy of a photograph. Her figure had no variety of expression — she herself had no sense of variety. You may say that this was my business, was only a question of placing her. I placed her in every conceivable position, but she managed to obliterate their differences. She was always a lady certainly, and into the bargain was always the same lady. She was the real thing, but always the same thing. There were moments when I was oppressed by the serenity of her confidence that she WAS the real thing.

That man, especially when he slept, when his features were motionless, showed me my own face, my mask, the flawlessly pure image of my corpse […] in a state of perfect repose, this resemblance was strikingly evident, and what is death, if not a face at peace – its artistic perfection? Life only marred my double; thus a breeze dims the bliss of Narcissus; thus, in the painter’s absence, there comes his pupil and by the superfluous flush of unbidden tints disfigures the portrait painted by the master.

I hope the artist who illustrates this work will take care to do justice to his portrait. Mr. Clive himself, let that painter be assured, will not be too well pleased if his countenance and figure do not receive proper attention.