“Some paintings become famous because, being durable, they are viewed by successive generations, in each of which are likely to be found a few appreciative eyes. I know a painting so evanescent that it is seldom viewed at all, except by some wandering deer. It is a river who wields the brush, and it is the same river who, before I can bring my friends to view his work, erases it forever.”

“August: The Green Pasture”, p. 51.
A Sand County Almanac, 1949, "August: The Green Pasture," "September: The Choral Copse," "October: Smoky Gold," and "October: Red Lanterns"

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Aldo Leopold 130
American writer and scientist 1887–1948

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Andreas Schelfhout photo

“.. [both of us (Schelfhout ànd J. C. Schotel)] make each a painting that together will form one view, as it were [view of Scheveningen by Schotel / view of The Hague by Schelfhout].... [but] our paintings together will therefore not become one integrated thing, but only pendants... I have taken my drawing from the steps of the Pavilion [in Scheveningen], viewed over the dunes to [the city] The Hague. In the foreground, which is very bare and empty in reality, I have placed some trees.”

Andreas Schelfhout (1787–1870) Dutch painter, etcher and lithographer

translation from original Dutch: Fons Heijnsbroek
(original Dutch, citaat van Schelfhout, uit zijn brief:) ..[dat wij beiden, (Schelfhout èn J.C. Schotel )] elk een schilderij te maaken het welk bijde als het ware één gezigt zoude uitmaken [uitzicht van Scheveningen door Schotel, èn uitzicht op het centrum van Den Haag door Schelfhout].. ..[maar] onze schilderijen zullen dus te zamen geen geheel uitmaken, maar slechts pandanten zijn.. .Ik heb de teekening genomen van het bordes of trap van het pavilloen [in Scheveningen] over de duinen naar Den Haag gezien. Op de voorgrond, die in de natuur zeer kaal en ledig is heb ik eenige bomen geplaatst..
In a letter to J.C. Schotel, 18 Nov. 1828; in: collective Stadsarchief van ErfgoedCentrum DIEP, Dordtrecht, No. 48-d
Schelfhout was referring to the assignment from the Dutch King Willem I for two paintings: one view over the old center of The Hague & one view over the beach of Scheveningen.

Jopie Huisman photo

“I used to paint some things a few times, but I stopped, because I didn't get an answer. If the work has nothing to say to somebody else, I quit. I am not an idiot who is talking to himself and gazing at the tip of his brush. Painting you do together.”

Jopie Huisman (1922–2000) Dutch painter

translation, Fons Heijnsbroek, 2018
version in original Dutch / citaat van Jopie Huisman, in het Nederlands: Voorheen heb ik ook wel eens wat geschilderd, maar omdat ik toen geen antwoord kreeg, ben ik ermee gestopt. Als het een ander niets te zeggen heeft, stop ik ermee. Ik ben geen idioot die in zichzelf zit te praten en naar de punt van het penseel zit te staren. Schilderen doe je met elkaar.
Source: Jopie Huisman', 1981, p. 57

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“A fresh river in a beautiful meadow
Imagined in his mind
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“Wouldn't it be wonderful to paint a nude here? [along the river near Aix ] There are innumerable motifs here on the banks of the river; the same spot viewed from a different angle offers a subject of the utmost interest. It is so varied that I think I could keep busy for months without changing my place, simply turning now tot the right and now to the left.”

Paul Cézanne (1839–1906) French painter

Quote in a conversation with Vollard, along the river near Aix, 1896; as quoted in Cezanne, by Ambroise Vollard, Dover publications Inc. New York, 1984, p. 74
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“When I view all beings not as special creations, but as the lineal descendants of some few beings which lived long before the first bed of the Cambrian system was deposited, they seem to me to become ennobled (emphasis, again, not Darwin's).”

Source: On the Origin of Species (1859), chapter XV: "Recapitulation and Conclusion", page 428 http://darwin-online.org.uk/content/frameset?pageseq=456&itemID=F391&viewtype=image, in the sixth (1872) edition
Context: Authors of the highest eminence seem to be fully satisfied with the view that each species has been independently created. To my mind it accords better with what we know of the laws impressed on matter by the Creator, that the production and extinction of the past and present inhabitants of the world should have been due to secondary causes, like those determining the birth and death of the individual. When I view all beings not as special creations, but as the lineal descendants of some few beings which lived long before the first bed of the Cambrian system was deposited, they seem to me to become ennobled (emphasis, again, not Darwin's).

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Left unqualified, that characterization is false. My view of cosmic meaning is indeed nihilistic. I think that there is no cosmic meaning. If I am right about that, then calling me a nihilist about cosmic meaning is entirely appropriate. However, my view is not nihilistic about all meaning because I believe that there is meaning from some perspectives. Our lives can be meaningful, but only from the limited, terrestrial perspectives. There is a crucial perspective—the cosmic one—from which our lives are irredeemably meaningless. In thinking about meaning in life, two broad kinds of mistakes are made. There are those who think that the only relevant meaning is what is attainable. They ignore our cosmic meaninglessness or they find ways either to discount questions about cosmic meaning or to minimize the importance of cosmic meaninglessness. The other kind of mistake is to think that because we are cosmically insignificant, “nothing matters,” where the implication is that nothing matters from any perspective. If we lack cosmic meaning but have other kinds of meaning, then some things do matter, even though they only matter from some perspectives. It does make a difference, for example, whether or not one is adding to the vast amounts of harm on earth, even though that makes no difference to the rest of the cosmos.

p. 32
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