What have we done to our images? What have we done to our embarrassed landscapes? I have said this before and will repeat it again as long as I am able to talk: if we do not develop adequate images we will die out like dinosaurs.
My landscapes are not only beautiful or nostalgic, with a Romantic or classical suggestion of lost Paradises, but above all 'untruthful'.
No one can improve on nature's landscapes. I feel I've hit the mark when I've captured a balance between mood, look, and feel... when viewers say they sense the desert heat, or the chill of a mountain snowfall.
We are all of us walking communities of bacteria. The world shimmers, a pointillist landscape made of tiny living beings.
The quilt format is highly appropriate for repetition and serialization. Formal issues of balance and color, space and light in landscape are endlessly engaging. I try to use the medium to its maximum, pushing well beyond tradition.
You have to love writing a song and architecture. You have to give it a form. It is my job to create a sonic landscape. I like to create ambiance and atmosphere. The writing is the intimate part of it. It is a sketch. The production is the whole painting.
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.
The artist reserves the right to remove a blot on the landscape, to change positions of things, to suit his composition, providing only that he does not transgress the laws of probability.
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 beauty and wonders of nature are as alluring as the pursuit of Art, and made of me a landscape painter.
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?
The painter who is so enamoured by the beauties of the parts of a landscape, that he strives to represent all, cannot succeed. His picture will be an arrangement of a series of portraits of things without unity... There must be variety and contrast, but in measured doses.
While it is emotion that gives an impulse to the landscape painter, it is his style that inspires the critic's praise, and his subject that inveigles the untutored beholder.
Take away a painter's vanity, said a famous landscape painter, and he will never touch a pencil again.
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.
When you are painting a landscape, assume the painting is real and the landscape is an illusion.
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.
Landscape painting tends to fall under more academic controls. I must say I often like working within these controls. It gives me the feeling that I'm taking part in a noble tradition.
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.
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