From the Los Angeles Times dated May 17, 2011:

The portrait emphasizes the Gateses' humanitarian efforts, which are conducted through the Bill & Melinda Gates Foundation. (The screen behind them in the painting reads "All Lives Have Equal Value.") The artwork makes no direct visual reference to Microsoft, the software company that Gates founded with Paul Allen in 1975.

The couple issued a joint statement Tuesday: "It is an honor to have our portrait joining those of so many outstanding Americans in the National Portrait Gallery. Our thanks go to Jon for creating the portrait in so thoughtful a manner, and for calling out the work of our foundation so evocatively."

From Madeleine K. Albright,  former U.S. Secretary of State:

 

"All former secretaries of state have their portraits hung in the Department of State. When it came my turn to select an artist, I pored through many books and

kept coming back to one painter.

 

Posing for Steven, and going to his studio with its enormous windows and great light was an adventure in itself. In the beginning, we talked a great deal and I came to know him not only as my portrait painter, but also as a wonderful man who is deeply devoted to his family. He is very much a diplomat, as he explained that he needed to get to know me better so he could create an image on a canvas that not only reflects the way I look, but also who I am.   

 

Steven is a brilliant artist and, if I may be a bit immodest, I love the portrait he painted of me. He beautifully portrayed the folds in my suit and the eagle pin I wore when sworn in as secretary. He also captured my eyes, my hands, my stance, and a little smile I have been known to display when I’m in a somewhat mischievous mood. It is my great honor to have had my portrait painted by him."

From Scudder Smith, Publisher of Antiques and the Arts Weekly, The Bee Publishing Company, Inc., Newtown, Connecticut

“Dear Dan,                                                                                                                         I would like you to know that it was both a privilege and an exciting time for me during this period when you painted my portrait. I had no idea how a real artist worked and it was so interesting to watch you swirl your brush, take one to several swipes at the little blobs of paint, mix well, double check-out your subject, and then go to the canvas. And to think, it took only 881/2 hours. I would have guessed that it would have taken longer, considering the colors and pattern of the chair, the detail of the lamp, the shapes of the boxes, and the gray in my hair. I truly want to thank you for the 18 special hours, ones that I will never forget. I keep thinking about the time a lady artist came into the office and I told her that you were doing my portrait. When she heard your name, she said “he is a master.” There is certainly  no doubt about that.”

From Gerald H. Lipkin, Chairman of the Board, President and CEO,

Valley National Bank, NJ

Ying-He’s artwork is truly a testament of her dedication, passion and talent as an artist. 

Her work goes far beyond eye-pleasing aesthetics. Ying-He has a remarkable talent for manipulating colors and textures to create a stunning visualization of reality that embodies the persona and essence of her subjects.  Her portrait is a lasting image that will serve as a reminder of my contributions to our institution long after I am gone. To say that I am pleased with her work is an understatement. 

From Steven K. Herrine, M.D., Department of Gastroenterology, Thomas Jefferson Hospital, Philadelphia

“Alexandra is an artist of stunning humanism, sensitivity and technical ability. I was impressed by her ability to set me at ease while simultaneously making a study of me. What could have been a daunting, even uncomfortable experience, was made uplifting and ennobling. I had complete confidence that she would produce a meaningful “likeness” of me – she succeeded even beyond my expectations.”

From Raymond J Steiner, Art Times

“A humanist, it is above all in depicting the human form- and especially the face- that Burton shows us his true mastery of his medium. ….. We see over and over again- in paintings such as “Claire,” “Woman in a Black Hat,” “Nail Care,” “Park Bench,” “Museum,” “Hanging Out,” “Summer of ’82,” to name a few- more than just a face, but the hints of a deeper humanity, an entire personality “writ large” in not only the facial delineations, but also in the gaze of the eye, the tilt of the head, the cant of the neck and shoulders- physical, idiosyncratic traits that have been built up and that have settled into habitual attitudes and postures over a lifetime of confronting the world.”