Man-made things, buildings, boats, etc., we see more decidedly than the other things in a landscape.
In most natural scenes there is a prevailing colour, which the landscape painter must learn to identify, and which must prevail also in a slightly exaggerated form, in his painting, for the sake of truth, harmony and unity.
A landscape painting in which composition is ignored is like a line taken from a poem at random: it lacks context, and may or may not make sense.
A landscape painting is essentially emotional in origin. It exists as a record of an effect in nature whose splendour has moved a human heart, and according as it is well or ill done it moves the hearts of others.
The portrait painter... If he insults his sitters his occupation is gone. Whether he paints the should instead of the features, or the latter with all its natural blemishes, he is as presumptuous as if he shouted, 'What a face. Hide it.' which would never do, although it is analogous to what landscape painters are doing every day.
Is the artist impelled by spiritual forces, by the divine afflatus, by conscious or unconscious emulation of others? Do angles whisper in the ears of the chosen few, and create for them visions of aethereal beauty? Do landscape painters of genius walk the plains of Heaven? Or is it only vanity that urges him to paint?
Long after their associates have gone southward, they linger like the last leaves on the tree. It is indeed "good-bye to summer" when the bluebirds withdraw their touch of brightness from the dreary November landscape at the north to whirl through the southern woods and feed on the waxy berries of the mistletoe.
Clouds are fascinating to paint because they are the only element in a landscape that possesses free movement.
Before Alaska came along and ruined everything, one of every twenty-five square miles in America was Montanan. This much space has nurtured a healthy Cult of Place in which people find perfection, even divinity in the landscape.
Maybe the given person, cup, or landscape is lost before one gets to painting. A figure exerts a continuing and unspecified influence on a painting as the canvas develops. The represented forms are loaded with psychological feeling. It can't ever just be painting.
Our human landscape is overburdened with competitions and contests. Art need not be a contest. Art is a personal quest for quality. Quality is the forerunner of acceptance. Character is the forerunner of quality. Be your own discriminating connoisseur.
I'm not just interested in the pictorial aspects of the landscape - see a pretty place and try to paint it - but in some way to manage it, manipulate it, or see what I can turn it into.
I don't make a lot of distinctions between things like landscape or figure painting, because to me the problems are inherently the same - lighting, color, structure, and so on - certainly traditional and ordinary problems.
To be a landscape painter is to be a perverse individual.
None of Nature's landscapes are ugly so long as they are wild.
Support for shelters and transitional living and housing programs is necessary if we are going to change the landscape for homeless boys and girls in America.
A statue in a garden is to be considered as one part of a scene or landscape.
Man is always and everywhere a blight on the landscape.
Modernism', as a label, has currency in the arts, architecture, planning, landscape, politics, theology, cultural history and elsewhere.
I consider my work non-objective and I think abstract is an abstraction of something, like a landscape. Abstraction means something is abstracted. It relates to something. Non-objective relates to nothing. It has no object.
It's possible to think of photography as an act of editing, a matter of where you put your rectangle pull it out or take it away. Sometimes people ask me about films, cameras and development times in order to find out how to do landscape photography. The first thing I do in landscape photography is go out there and talk to the land - form a relationship, ask permission, it's not about going out there like some paparazzi with a Leica and snapping a few pictures, before running off to print them.
I believe that virtually everyone has the ability to either grow some food at home, or to find an appropriate location to start a garden. I may sound like a kook who plants my landscape with cucumbers instead of carnations, peppers instead of petunias, and fruit trees rather than ficus, but I am convinced that wherever you go, you can grow food! Now is the time for us to join together and plant the seeds that will transform the places in which we live.
Railways are irresistible bazaars, snaking along perfectly level no matter what the landscape, improving your mood with speed, and never upsetting your drink.
Truly, the worst trains take one across the best landscapes.
When we enter the landscape to learn something, we are obligated, I think, to pay attention rather than constantly to pose questions. To approach the land as we would a person, by opening an intelligent conversation. And to stay in one place, to make of that one, long observation a fully dilated experience. We will always be rewarded if we give the land credit for more than we imagine, and if we imagine it as being more complex even than language. In these ways we begin, I think, to find a home, to sense how to fit a place.
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