portrait

His office is full of memorabilia from his own projects mixed with photos of Old Hollywood, including one signed by George Burns and a portrait of Clark Gable and Marilyn Monroe from “The Misfits.”

Trier wisely leaves the specifics of this father-daughter tension vague, painting his characters gingerly and with loving detail until the knockout final stretch of the film pulls back, revealing a full family portrait.

Mapplethorpe genuflects at the altar of that icon with a platinum portrait of Warhol, backed by a halo of light and surrounded by silk panels that form a cross.

Contemporary newspapers published flattering portraits apparently written by publicists on Dillon’s dime.

Their approaches, wrote the 19th-century historian Thomas Babington Macaulay, differ as “a portrait differs from the representation of an imaginary scene.”