something i felt for mrs thatcher. so i said no. interesting. so, in a sense, if we look at your portraiture and there are so many, it is a connection that you ve had with all those people. yeah, there has to be a kind of rapport. you re also very well known for, and this is perhaps difficult to get into, but you re very well known for painting death. and indeed, ithink i m right in saying you painted your mother right after she died. you ve painted others in death, too. yes. george melly always said i d go down in art history as maggi coffin hambling. but it s quite obvious. i mean, i don t know why people are surprised, because when somebody is lying in the coffin, like my mother or my father, it s the last
and into the canvas. do you have to like them to want to paint them? well, i did turn down painting mrs thatcher, for instance. what, because you.you just felt you couldn t go there, you couldn t get deep into her or.? well, a work of art has to be a work of love and love is not something i felt for mrs thatcher. so, i said no. interesting. so, in a sense, if we look at your portraiture and there are so many, it is a connection that you ve had with all those people. yeah, there has to be a kind of rapport. you re also very well known for, and this is perhaps difficult to get into, but you re very well known for painting death. and indeed, ithink i m right in saying you painted your mother right after she died. you ve painted others
something i felt for mrs thatcher. so i said no. interesting. so, in a sense, if we look at your portraiture and there are so many, it is a connection that you ve had with all those people. yeah, there has to be a kind of rapport. you re also very well known for, and this is perhaps difficult to get into, but you re very well known for painting death. and indeed, ithink i m right in saying you painted your mother right after she died. you ve painted others in death, too. yes. george melly always said i d go down in art history as maggi coffin hambling. but it s quite obvious. i mean, i don t know why people are surprised, because when somebody is lying in the coffin, like my mother or my father, it s the last time you re going to see them before they go down there.
into her or.? well, a work of art has to be a work of love and love is not something i felt for mrs thatcher. so i said no. interesting. so, in a sense, if we look at your portraiture and there are so many, it is a connection that you ve had with all those people. yeah, there has to be a kind of rapport. you re also very well known for, and this is perhaps difficult to get into, but you re very well known for painting death. and indeed, ithink i m right in saying you painted your mother right after she died. you ve painted others in death, too. yes. george melly always said i d go down in art history as maggi coffin hambling. but it s quite obvious. i mean, i don t know why people are surprised, because when somebody is lying
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