The phrase "a partial portrait of" is correct and usable in written English.
It can be used when describing an incomplete or limited representation of a person, idea, or situation.
Example: "The article provides a partial portrait of the artist's life, highlighting only her early years and major achievements."
Alternatives: "an incomplete depiction of" or "a limited representation of".
The Carter Center, which had about 30 observers to monitor 150 voting districts, said its findings reflected only a partial portrait of the process.
Trade bad Latin American debt for bad mortgage debt, and you have a partial portrait of Citigroup at the height of the housing bubble.
Though Apuleius's novel is fiction, it contains a few definitely autobiographical details, and its hero has been seen as a partial portrait of its author.
The authors offer a partial portrait of overall emissions, concentrating on residential electricity and fuel use and the mileage traveled by cars and trucks — factors that contribute about half of overall carbon emissions.
Levin's numbers for both 2016 and 2017, by his own admission, paint only a partial portrait of hate crimes in America.
From 300 hours of material, Mr. Longley has created a collage of images, sounds and characters, an intimate, partial portrait of an unraveling nation — a portrait that gains power partly by virtue of its incompleteness.
15 Including different forms of evidence produces findings that are more relevant to decision-makers, 16 overcomes the issue of a partial portrait based on examining one type of research in isolation, 17 and assists the critical analysis of implementation processes from the viewpoint of the targeted participants.
About a third of the way through "The Center Will Not Hold," Griffin Dunne's intimate, affectionate, and partial portrait of his aunt Joan Didion, which premières on Netflix this week, a riveting moment occurs.
Yes, I do recognize the Richard Rodgers of your article, but I found it a very partial portrait, a psycho-history that tends to diminish the artistry and humanity of its subject by focusing on the troubled parts of the life.
What is the nature of the aesthetic relationship – to frame the question more tightly – between a partial self-portrait of the photographer (identified only by the anonymous blur of his blue jacket) and the Christ-like self-portrait of Dürer he is contemplating in that modern, secular place of worship, the art gallery?
That late-twenties moment is still vivid to Baumbach, and part of the charm of "Frances Ha" has to do with the way it combines, in one character, a partial self-portrait of two writers, from two generations.
