Quotes about landscape
page 2

“September 11 was a day of de-Enlightenment. Politics stood revealed as a veritable Walpurgis Night of the irrational. And such old, old stuff. The conflicts we now face or fear involve opposed geographical arenas, but also opposed centuries or even millennia. It is a landscape of ferocious anachronisms: nuclear jihad in the Indian subcontinent; the medieval agonism of Islam; the Bronze Age blunderings of the Middle East.”

Martin Amis (1949) Welsh novelist

"The voice of the lonely crowd" (2002)

Age, Fear, Night

“There is still some study [to do] here for the Dutch landscape, and I believe the best I can do is to stay some time longer. (translation from original Dutch: Fons Heijnsbroek)”

Willem Roelofs (1822–1897) Dutch painter and entomologist (1822-1897)

(original Dutch: citaat van Willem Roelofs, in het Nederlands:) Er is hier voor het Hollandsch landschap nog al wat studie en ik geloof beste te doen nog maar wat te blijven. Quote of Roelofs in his letter from Schiedam, Summer 1865; as cited in Zó Hollands - Het Hollandse landschap in de Nederlandse kunst sinds 1850, Antoon Erftemeijer https://www.franshalsmuseum.nl/wp-content/uploads/2017/12/zohollands_eindversie_def_1.pdf; Frans Hals museum | De Hallen, Haarlem 2011, p. 16 in the Summer of 1865 Roelofs was visiting Schiedam and its surrounding polders. In 1866 he came back here, for making his sketches in open air 1860's

Study, Time

“Characteristically, major social movements are spawned in obscurity at the periphery of public awareness, seem to burst suddenly and dramatically into public view, and eventually fade into the landscape not because they have diminished but because they have become a permanent part of our perceptions and experience.”

Freda Adler (1934) Criminologist, educator

Source: Sisters in Crime: The Rise of the New Female Criminal (1975), P. 5.

Parting

“Landscapes are useful to a figure painter, too; out-of-doors one uses colours one would never think of in the weaker studio light. But landscape painting is a thankless job; you waste half a day for the sake of one hour's painting. You only finish one painting out of ten, because the weather keeps changing. You start work on a sunlight effect and it comes on to rain – or you had a few clouds in the sky, and the wind blows them away. It's always the same story!”

Pierre-Auguste Renoir (1841–1919) French painter and sculptor

Source: undated quotes, Renoir – his life and work, 1975, p. 196 : on painting landscape in open air, to art-buyer George Riviere.

Thinking, Light, Change, Painting

“I have gained very great inspiration from the Cornish land- and seascape, the horizontal line of the sea and the quality of light and colour which reminds me of the Mediterranean light and colour which so excites one’s sense of form; and first and last there is the human figure which in the country becomes a free and moving part of a greater whole. This relationship between figure and landscape is vitally important to me. I cannot feel it in a city.”

Barbara Hepworth (1903–1975) English sculptor

Source: 1932 - 1946, The Studio 132:643', (1946), p. 280

Feeling, Sense, Light, Parting

“.. between ourselves, do you think a worker wants to hang a picture in his home where he sees himself sweating in a factory? He would prefer a bouquet of flowers or a pretty landscape. [Leger's critic on Aragon's Social Realism ]”

Fernand Léger (1881–1955) French painter

Quote, 1950, in: Fernand Léger - The Later Years, catalogue ed. Nicolas Serota, published by the Trustees of the Whitechapel Art gallery, London, Prestel Verlag, 1988, p. 67
Quotes of Fernand Leger, 1950's

Home, Flowers, Thinking

“To be sure, the moment the study passes beyond bare description the student must leave the landscape itself, must go beneath it, even to state what its form represents — to translate the outer foliage of a forest into the forest, the outer surface of buildings into different kinds of buildings, etc…. Our interest in houses, factories, and forests cannot be confined to their surface form; only in the limited field of aesthetic geography could such a restriction be justified. Our very use of such words as house, barn, factory, office building, etc., indicates that we are primarily concerned with the internal functions within these structures, the external form is a secondary aspect which we use simply as a handy means to detect the internal function - and should use only insofar as it is a reliable means for that purpose.”

Richard Hartshorne (1899–1992) American Geographer

Source: The Nature of Geography (1939), p. 215-216; as cited in: John A. Agnew, James S. Duncan (2011) The Wiley-Blackwell Companion to Human Geography. p. 122

Study, Housing

“The institutional scene in which American man has developed has lacked that accumulation from intervening stages which has been so dominant a feature of the European landscape.”

Daniel J. Boorstin (1914–2004) American historian

Introduction, part 2: The Influence of America on the Mind, p. 6.
The Lost World of Thomas Jefferson (1948)

“I am reminded of a comment Lord Dunsany made. He saw a script which had a gorgeous description of a sun setting over a landscape, and this had to be crossed out, and it said, "Sun sets, left." This is what I mean by the visuals being supplied by someone else, in that case the stage designer and the director.”

Lord Dunsany (1878–1957) Irish writer and dramatist

About

Sun

“In 1891 a student in Paris, I found myself face to face with a beautiful development of landscape painting, which was quite new to me. "Impressionism," together with its numerous progeny of eccentric offshoots, was at the time causing a great furore in the schools. Curiously enough I had been charged with copying Monet's style long before I had seen his actual work, so that my conversion into an enthusiastic Impressionist was short, in fact, an instantaneous process.”

Wynford Dewhurst (1864–1941) British artist

Source: Impressionist Painting: its genesis and development. (1904), p. vii; Preface.

School, Beauty, Time, Painting

“I like to direct landscapes just as I like to direct actors and animals.”

Werner Herzog (1942) German film director, producer, screenwriter, actor and opera director

Herzog on Herzog (2002)

Animals

“Of course, my landscapes are not only beautiful or nostalgic, with a Romantic or classical suggestion of lost Paradises, but above all 'untruthful'... By 'untruthful' I mean the glorifying way we look at Nature – Nature, which in all its forms is always against us, because it knows no meaning, no pity, no sympathy, because it knows nothing and is absolutely mindless: the total antithesis of ourselves.”

Gerhard Richter (1932) German visual artist, born 1932

Source: after 2000, Doubt and belief in painting' (2003), p. 108, note 61

Beauty, Way, Nature

“You see the rivers running east. Then you see mountains rise. Rivers run off them to the west. Mountains come up like waves. They crest, break, and spread themselves westward. When they are spent, there is an interval of time, and then again you see the rivers running eastward. You look over the shoulder of the painter and you see all that in the landscape. You see it if first you have seen it in the rock. The composition is almost infinitely less than the sum of its parts, the flickers and glimpses of a thousand million years.”

John McPhee (1931) American writer

In Suspect Terrain (1983), reprinted in Annals of the Former World (2000) page 209.

Mountain, Time, Parting

“An Eskimo custom offers an angry person release by walking the emotion out of his or her system in a straight line across the landscape; the point at which the anger is conquered is marked with a stick, bearing witness to the strength or length of the rage.”

Lucy R. Lippard (1937) American art curator

Cited in: Rebecca Solnit (2001). Wanderlust: A History of Walking. p. 5.

Rage, Personality, Anger

“I do not see in what way the face of a man should be a less interesting landscape than any other. A man, the physical person of a man, is a little world, like any other a country, with its towns, and suburbs... As a rule what is needed in a portrait is a great deal of the general, and very little of the particular.”

Jean Dubuffet book Prospectus et tous écrits suivants

Source: 1960-70's, Prospectus et tous écrits suivants, 1967, p. 63-73

World, Way, Personality, Country

“That landscape painter who does not make his skies a very material part of his composition, neglects to avail himself of one of his greatest aids. Sir Joshua Reynolds speaking of the "Landscape" of Titian & Salvator & Claude says 'Even their skies seem to sympathise with the Subject.' I have often been advised to consider my sky as a 'hite Sheet thrown behind the Objects'. Certainly, if the sky is 'obtrusive,' (as mine are) it is bad, but if they are 'evaded' (as mine are not) it is worse, they must and always shall with me make an effectual part of the composition. It will be difficult to name a class of landscape in which the sky is not the 'key note,' the 'standard of Scale' and the chief 'Organ of sentiment.'”

John Constable (1776–1837) English Romantic painter

You may conceive, then, what a "white sheet" would do for me, impressed as I am with these notions.
Letter to Rev. John Fisher (23 October 1821), as quoted in Richard Friedenthal, Letters of the great artists – from Blake to Pollock (Thames and Hudson, London, 1963), p. 42
1820s

Parting

“Today I painted my first plain air portrait at the clay pit, a little blond and blue-eyed girl. The way the little thing stood in the yellow sand was simply beautiful – a bright and shimmering thing to see. It made my heart leap. Painting people is indeed more beautiful than painting a landscape. I suppose you can notice that I am dead-tired, after this long day of hard work, cant you? But inside I am so peaceful and happy..”

Paula Modersohn-Becker (1876–1907) German artist

in a letter to her mother, from Worpswede, August 1897; as quoted in Paula Modersohn-Becker, The Letters and Journals by Paula Modersohn-Becker, eds. Günter Busch, Liselotte von Reinken, Arthur S. Wensinger, Carole Clew Hoey - Northwestern University Press, 1998, p. 79
1897

Happiness, People, Peace, Beauty

“…the end result of the adoption of permaculture strategies in any country or region will be to dramatically reduce the area of the agricultural environment needed by the households and the settlements of people, and to release much of the landscape for the sole use of wildlife and for re-occupation by endemic flora.”

Bill Mollison (1928–2016) Australian permaculturist

Source: Permaculture: A Designers' Manual (1988), chapter 1.3

People, Country

“Arranging props in a scene such as this is a joy. With gravity on my side, everything at arms length and no arduous physical conditions constricting me, I can go for hours at a clip, sculpting piles of stuff into a landscape of intersecting shape, form and color until my eye wanders endlessly among the details. In such conditions, how the image is captured has little bearing on the success of the arrangement – though the time-saving work flow enabled by digital preview, capture and post processing, certainly helps.”

Walter Wick (1953) American photographer and creator of children's books

Photo-Illusions In The Digital Age http://www.walterwick.com/blog/2015/11/16/photo-illusions-in-the-digital-age (November 16, 2015)

Color, Time, Success, Help

“.. and since we are now living in the Summer-time, I don't have a trick to imagine me Winter so strongly that I would be able to paint one [a winter-landscape].... and you must have patience until next winter.”

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

translation from original Dutch: Fons Heijnsbroek (original Dutch, citaat van Schelfhout, uit zijn brief:) ..en daar wij nu in het Zomer leeven zijn heb ik geen truk [truc] van mij de Winter zoo danig voor den geest te halen dat ik in staat zoude zijn er een te kunnen schilderen.. ..en gij zou den gedult moeten nemen tot aanstaande winter. Quote of Schelfhout in a letter to his client nl:Johannes Immerzeel, June 1832; as cited in 'Andreas Schelfhout Onsterfelijk schoon', Simonis & Buunk 2005 https://www.simonis-buunk.nl/wp-content/uploads/2016/06/catalogus_schelfhout.pdf, p. 17

Imagination, Winter, Time, Summer

“The American settlers came to take and shape the land. The first occupants of the land — the "Indians" whom the European migrants encountered — would not be treated, in the pattern of the Romans, as people to be incorporated into an empire. Instead, they were treated as part of the landscape. Most of them were simply cleared away, like the forest, or pushed back, like the wilderness.”

Daniel J. Boorstin (1914–2004) American historian

Source: The Republic of Technology (1978), p. 38.

People, Parting

“But what an eye Monet has, the most prodigious eye since painting began! I raise my hat to him. As for Courbet, he already had the image in his eye, ready-made. Monet used to visit him, you know, in his early days... But a touch of green, believe me, is enough to give us a landscape, just as a flesh tone will translate a face for us..”

Paul Cézanne (1839–1906) French painter

Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 164, in: 'What he told me – I. The motif'

Painting

“The hypothesis underlying all approaches to the landscape is that there is a cosmological setting in which different regions or epochs of the universe can have different effective laws. This implies the existence of spacetime regions not directly observable… These regions must either be in the past of our big bang, or far enough away from us to be causally unrelated.”

Lee Smolin (1955) American cosmologist

"A perspective on the landscape problem" arXiv (Feb 15, 2012)

Law, Universe, Past

“In my figures [of his famous painting 'Vision After the Sermon'] I have achieved a great simplicity, which is both rustic and superstitious….. In this picture the landscape and the struggle [between Jacob wrestling with the angel ] exist only in the imagination of the people whom the sermon has moved to prayer. That's why there is a contrast between the people, depicted naturally, and the struggle in its unnatural and dis-proportioned landscape.”

Paul Gauguin (1848–1903) French Post-Impressionist artist

Source: 1870s - 1880s, The Writings of a Savage (1996), p. 24: quote in his letter to Vincent van Gogh, c. 1888

People, Angels, Imagination, Nature

“On the abolition of the Macedonian monarchy, the supremacy of Rome was not only an established fact from the Pillars of Hercules to the mouths of the Nile and the Orontes, but, as if it were the final decree of fate, pressed on the nations with all the weight of an inevitable necessity, and seemed to leave them merely the choice of perishing in hopeless resistance or in hopeless endurance. If history were not entitled to insist that the earnest reader should accompany her through good and evil days, through landscapes of winter as well as of spring, the historian might be tempted to shun the cheerless task of tracing the manifold and yet monotonous turns of this struggle between power and weakness, both in the Spanish provinces already annexed to the Roman empire and in the African, Hellenic, and the Asiatic territories which were still treated as clients of Rome. But, however unimportant and subordinate the individual conflicts may appear, they possess collectively a deep historical significance; and, in particular, the state of things in Italy at this period is only intelligible in the light of the reaction which the provinces exercised over the mother-country.”

Theodor Mommsen (1817–1903) German classical scholar, historian, jurist, journalist, politician, archaeologist and writer

Vol. 3, pg. 1, translated by W.P. Dickson
The History of Rome - Volume 3

Fate, Exercises, History, Intelligence

“What we've lost - 'I said in more or less these terms' - is the proper interest in and taste for detail. We've been noting that for a long time yet the loss is irremediable. In the old days man was everything. A human face was worth a poem. When nature appeared behind a human being it was a kind of backdrop taking the place of the dark background of portrait painters or the gold of the Italian primitives… The day when a separation took place art was diminished. It was transformed the day that the 'subject' and the 'genre' destroyed great painting, denaturing even landscapes.”

Eugène Fromentin (1820–1876) French painter

Quote of Fromentin, as cited by Sarah Anderson in Between Sea and Sahara: An Orientalist Adventure, 'Chapter IV', Eugène Fromentin, (1859); transl. Blake Robinson; publisher I.B. Tauris 2004, p. 4

Art, Nature, Appearance, Loss

“Monumentality is an affair of relativity. The truly monumental can only come about by means of the most exact and refined relation between parts. Since each thing carries both a meaning of its own and an associated meaning in relation to something else — its essential value is relative. We speak of the mood we experience when looking at a landscape. This mood results from the relation of certain things rather than from their separate actualities. This is because objects do not in themselves possess the total effect they give when interrelated.”

Hans Hofmann (1880–1966) American artist

'Excerpts from the Teaching of Hans Hofmann', p. 68
Search for the Real and Other Essays (1948)

Mood, Parting

“Light and space … are the sculptor's materials as much as wood or stone … I feel that I can relate my work more easily, in the open air, to the climate and the landscape.”

Barbara Hepworth (1903–1975) English sculptor

1947 - 1960
Source: Interview in Dialogues on Art, Edouard Roditi; London, 1960, pp. 91–92

Feeling, Light

“I have added some ploughmen to the landscape form the park pales which is a great help, but I must try and warm the picture a little more if I can… but I look to do a great deal better in future. I am determined to finish a small picture in the spot for every one I intend to make in future. But this I have always talked about but never yet done – I think however my mind is more settled and determined than ever on this point.”

John Constable (1776–1837) English Romantic painter

Quote in his letter to John Dunthorne (14 February 1814), as quoted in Constable (Tate Gallery Publications, London, 1993), p. 151
1800s - 1810s

Thinking, Future, Help

“While Jesus is saving, I'm spending all my days
in backgrounds and landscapes with the languages of saints.”

St. Vincent (musician) (1982) American singer-songwriter

"Jesus Saves, I Spend" - ( Studio video on YouTube http://www.youtube.com/watch?v=bYoT14ZRY2E - Video of live performance on YouTube http://www.youtube.com/watch?v=qt3ykoc4tu0) Marry Me (2007) Context: While Jesus is saving, I'm spending all my days in backgrounds and landscapes with the languages of saints. While people are spinning like toys on Christmas day, I'm inside a still life with the other absentee.

“This is another matter that will need careful study, because the earth, having only one chief source of light, it follows that if clouds be printed into a landscape, both must show evidence of being lighted from the same direction.”

Alfred Horsley Hinton (1863–1908) British photographer

Source: Practical Pictorial Photography, 1898, Illumination of clouds and the direction of light, p. 101

Study, Light

“In the depths of the mirror the evening landscape moved by, the mirror and the reflected figures like motion pictures superimposed one on the other. The figures and the background were unrelated, and yet the figures, transparent and intangible, and the background, dim in the gathering darkness, melted into a sort of symbolic world not of this world. Particularly when a light out in the mountains shone in the center of the girl's face, Shimamura felt his chest rise at the inexpressible beauty of it.”

Yasunari Kawabata book Snow Country

Snow Country (1948)

World, Beauty, Girl, Mountain

“Nature as it is seen and nature as it is felt, the nature that is there.. (he pointed towards the green and blue plain; J. G.) and the nature that is here (he tapped his forehead, J. G.) both of which have to fuse in order to endure, to live that life, half human and half divine, which is the life of art or, if you will.. the life of god. The landscape is reflected, humanized, rationalized within me. I objectivize it, project it, fix it on my canvas..”

Paul Cézanne (1839–1906) French painter

Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 150, in: 'What he told me – I. The motif'

Life, God, Art, Nature

“I found it very difficult to suddenly depart [from Berlin] since this year I had risen completely in the landscape and life and hardly needed awareness to access this place.”

Ernst Ludwig Kirchner (1880–1938) German painter, sculptor, engraver and printmaker

original German version: 'Es fiel mir schwer, so plötzlich abzureisen, da ich dies Jahr vollständig in der Landschaft und dem Leben da oben aufging und nur fast ohne Bewusstsein zuzugreifen brauchte.'
as quoted in: Ernst Ludwig Kirchner: ein Künstlerleben in Selbstzeugnissen, Andreas Gabelmann; Hatje Cantz Verlag, Ostfildern, Germany 2010, p. 41 (transl. Claire Albiez )
As Kirchner had been busying himself with nature images since the Summer of 1913, the outbreak of World War 1. brought him back to reality; as he describes here
undated

Life

“The fact that, from 1938 onwards, I concentrated more on the interpretation of personal ideas was primarily the result of my departure from Italy. In Switzerland, Belgium, and Holland where I successively established myself, I found the outward appearance of landscapes and architecture to be less striking than those which are particularly to be seen in the southern part of Italy. Thus I felt compelled to withdraw from the more or less direct and true-to-life illustrating of my surroundings.”

M. C. Escher (1898–1972) Dutch graphic artist

Escher's note in a 1960 book introduction; as cited in 'Metamorphosis', in Biography of M.C. Escher http://im-possible.info/english/articles/escher/escher.html 1950's

Life, Idea, Departure, Appearance

“Ladislao de Gauss significantly marks the local scene both as a portraitist and as a landscape artist…”

Tonko Maroević (1941)

Source: Ladislao de Gauss, una monografia per riscoprire un pittore dimenticato http://www.museorevoltella.it/news.php?id_news=488, museorevoltella.it, July 15th 2010.

“People often repeat the fallacy that "film is a passive medium". The statement is usually elaborated like this: "When I read a story in a book, I have to use my imagination to conjure up what the characters look like, the sound of their voices, the appearance of their surroundings, the house, the landscape. When I see a movie, those things are all nailed down for me, so I don't feel as involved." What the person is describing are the most obvious aspects of a given story, that is, its physical properties. They are, in fact, the least interesting and least important components of a story. I do not read books in order to imagine the physical appearance of things.”

Peter Chung (1961) Korean-American animator

The State of Visual Narrative In Film And Comics http://www.awn.com/mag/issue3.4/3.4pages/3.4chung.html

People, Books, Feeling, Imagination

“What interests me most is neither still life nor landscape but the human figure. It is through it that I best succeed in expressing the nearly religious feeling that I have towards life. I do not insist upon the details of the face. I do not care to repeat them with anatomical exactness. Though I happen to have an Italian model whose appearance at first suggests nothing but a purely animal existence, yet I succeed in picking out among the lines of his face those which suggest that deep gravity which persists in every human being.”

Henri Matisse (1869–1954) French artist

Source: 1900s, Notes d'un Peintre (Notes of a Painter) (1908), p. 413

Life, Feeling, Appearance, Animals

“On the water, aboard the Proteus, the crowding, the activities, the tempo, of life in the cities, on the land, are muted, slowed—fictionalized—by the metaphysical distancing a few meters of water can provide. We alter the landscape with great facility, but the ocean has always seemed unchanged, and I suppose by extension we are infected with some feelings of timelessness whenever we set out upon her.”

Roger Zelazny (1937–1995) American speculative fiction writer

Home is the Hangman (1975)

Life, Feeling, Water

“Life cannot be reconciled with the idea that back of the universe is a Supreme Being, all merciful and kind, and that he takes any account of the human beings and other forms of life that exist upon the earth. Whichever way man may look upon the earth, he is oppressed with the suffering incident to life. It would almost seem as though the earth had been created with malignity and hatred. If we look at what we are pleased to call the lower animals, we behold a universal carnage. We speak of the seemingly peaceful woods, but we need only look beneath the surface to be horrified by the misery of that underworld. Hidden in the grass and watching for its prey is the crawling snake which swiftly darts upon the toad or mouse and gradually swallows it alive; the hapless animal is crushed by the jaws and covered with slime, to be slowly digested in furnishing a meal. The snake knows nothing about sin or pain inflicted upon another; he automatically grabs insects and mice and frogs to preserve his life. The spider carefully weaves his web to catch the unwary fly, winds him into the fatal net until paralyzed and helpless, then drinks his blood and leaves him an empty shell. The hawk swoops down and snatches a chicken and carries it to its nest to feed its young. The wolf pounces on the lamb and tears it to shreds. The cat watches at the hole of the mouse until the mouse cautiously comes out, then with seeming fiendish glee he plays with it until tired of the game, then crushes it to death in his jaws. The beasts of the jungle roam by day and night to find their prey; the lion is endowed with strength of limb and fang to destroy and devour almost any animal that it can surprise or overtake. There is no place in the woods or air or sea where all life is not a carnage of death in terror and agony. Each animal is a hunter, and in turn is hunted, by day and night. No landscape is beautiful or day so balmy but the cry of suffering and sacrifice rends the air. When night settles down over the earth the slaughter is not abated. Some creatures are best at night, and the outcry of the dying and terrified is always on the wind. Almost all animals meet death by violence and through the most agonizing pain. With the whole animal creation there is nothing like a peaceful death. Nowhere in nature is there the slightest evidence of kindness, of consideration, or a feeling for the suffering and the weak, except in the narrow circle of brief family life.”

Clarence Darrow (1857–1938) American lawyer and leading member of the American Civil Liberties Union

Source: The Story of My Life (1932), p. 383

Life, Death, Pain, Family

“The landscape problem represents a serious problem in the development of science. Its solution requires… the construction of speculative cosmological scenarios, which posit regions or epochs of our universe for which we presently have no observable evidence. Nonetheless we must insist on taking seriously only scenarios and hypotheses that make falsifiable or strongly verifiable predictions, otherwise people can just make stuff up and the distinction between science and mythology becomes porous. …there are already candidate solutions that make real, falsifiable predictions.”

Lee Smolin (1955) American cosmologist

"A perspective on the landscape problem" arXiv (Feb 15, 2012)

People, Problem, Universe, Science

“You think it a great triumph to make the sun draw brown landscapes for you! That was also a discovery, and some day may be useful. But the sun had drawn landscapes before for you, not in brown, but in green, and blue, and all imaginable colours, here in England. Not one of you ever looked at them, then; not one of you cares for the loss of them, now, when you have shut the sun out with smoke, so that he can draw nothing more, except brown blots through a hole in a box. There was a rocky valley between Buxton and Bakewell, once upon a time, divine as the vale of Tempe; you might have seen the Gods there morning and evening, — Apollo and all the sweet Muses of the Light — walking in fair procession on the lawns of it, and to and fro among the pinnacles of its crags. You cared neither for Gods nor grass, but for cash (which you did not know the way to get); you thought you could get it by what the Times calls "Railroad Enterprise." You Enterprised a Railroad through the valley — you blasted its rocks away, heaped thousands of tons of shale into its lovely stream. The valley is gone, and the gods with it; and now, every fool in Buxton can be at Bakewell in half-an-hour, and every fool in Bakewell at Buxton; which you think a lucrative process of exchange — you Fools Everywhere.”

John Ruskin book Fors Clavigera

Fors Clavigera, letter v (1 May 1871).
Fors Clavigera (1871-1878 and 1880-1884)

Love, God, Fools, Way

“He (Delacroix) turns David [French painter] upside down. His painting is iridescent. Seeing one Constable [famous English landscape painter, admired by French painters, then] is enough to make him understand all the possibilities of landscape, and he too sets up his easel by the sea... And he has a sense of human being, of life in movement, of warmth. Everything moves, every glistens. The light!... There is more warm light in this interior [probably: Delacroix's 'Woman of Algiers'] of his than in all of Corot's landscapes..”

Paul Cézanne (1839–1906) French painter

Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 196 in: 'What he told me – II. The Louvre'

Life, Understanding, Sense, Light

“Fine Art then, records by idealised imitation the glorious works of good men, whilst it holds those of bad men up to our abhorrence — it gives to posterity their images, either on the tinted canvass or the sculptured marble — it imitates the beautiful effects of nature as seen in the glowing landscape or the rising storm, and perpetuates the appearance of those beauteous gems of the seasons — flowers and fruits, which, though fading whilst the painter catches their tints, yet live after decay by and through his genius.
Industrial Art, on the contrary, aims at the embellishment of the works of man, by and through that power which is given to the artist for the investigation of the beautiful in nature; and in transferring it to the loom, the printing machine, the potter's wheel, or the metal worker's mould, he reproduces nature in a new form, adapting it to his purpose by an intelligence arising out of his knowledge as an artist and as a workman. In short, the adaptation of the natural type to a new material compels him to reproduce, almost create, as well as imitate — invent as well as copy”

George Wallis

design as well as draw! George Wallis. " Art Education for the people. No IV. The principles of Fine Art as Applied to Industrial Purposes http://books.google.com/books?id=l55GAQAAIAAJ&pg=PA231." In: People's & Howitt's Journal: Of Literature, Art, and Popular Progress, Vol. 3. John Saunders ed. 1847, p. 231.

Men, Beauty, Art, Intelligence

“The whole landscape lies behind the transparent gauze of the fog that now rises, drawn upwards by the sun, and as it rises, reveals the silver-spangled river, the fields, the cottages, the further scene. At last one can discern all that one could only guess at before... The sun is up! There is a peasant at the end of the field, with his wagon drawn by a yoke of oxen... Everything is bursting into life, sparkling in the full light – light, which as yet is still soft and golden. The background, simple in line and harmonious in colour, melts into the infinite expanse of sky, through the bluish, misty atmosphere. The flowers raise their heads the birds flutter hither and thither... The little rounded willows on the bank of the stream look like birds spreading their tails. It's adorable! And one paints! And paints!”

Jean-Baptiste-Camille Corot (1796–1875) French landscape painter and printmaker in etching

Corot's description of a morning in Switzerland, Château de Gruyères, 1857, as quoted in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963
1850s

Life, Flowers, Bird, Light

“I am now mainly painting faces and landscapes; I am obsessed day and night by the vision of faces and colours. And the spiritual vision is my mystical world.”

Alexej von Jawlensky (1864–1941) Russian painter

Quote of Jawlensky from a letter to his brother Dimitri, c. 1917/18; as cited in Alexej von Jawlensky, Museum Boymans-van-Beuningen, Rotterdam; exhibition catalog 25/9 – 27/11-1994, p. 150
1900 - 1935

World, Painting, Night

“When one crosses a landscape by automobile or express train, it becomes fragmented; it loses in descriptive value but gains in synthetic value. The view through the door of the railroad car or the automobile windshield, in combination with the speed, has altered the habitual look of things. A modern man registers a hundred times more sensory impressions than an eighteenth-century artist; so much so that our language, for example is full of diminutives and abbreviations.”

Fernand Léger (1881–1955) French painter

Quote, 1914, in 'Functions of Painting by Fernand Leger; p. 11
Quotes of Fernand Leger, 1910's, Contemporary Achievements in Painting, 1914

Cars, Time, Speed, Training

“…Significantly marks the local scene both as a portraitist and as a landscape artist…”

Ladislao de Gauss (1901–1970) Croatian painter, pioneer of the European avant-garde

…Contrassegna in modo significativo la scena locale sia come ritrattista che come paesaggista... Tonko Maroević Ladislao de Gauss, una monografia per riscoprire un pittore dimenticato http://www.museorevoltella.it/news.php?id_news=488, museorevoltella.it, 15 luglio 2010.

“To select, combine and concentrate that which is beautiful in nature and admirable in art is as much the business of the landscape painter in his line as in the other departments of art.”

J.M.W. Turner (1775–1851) British Romantic landscape painter, water-colourist, and printmaker

Quote of Turner, c. 1810; as quoted in: Dennis Hugh Halloran (1970) The Classical Landscape Paintings of J.M.W. Turner. p. 75
1795 - 1820

Beauty, Art, Business, Nature

“Life is like a landscape. You live in the midst of it but can describe it only from the vantage point of distance.”

Charles Lindbergh (1902–1974) American aviator, author, inventor, explorer, and social activist

As quoted in Lindbergh: Flight's Enigmatic Hero (2002) by Von Hardesty

Life

“Nature has always been recorded by artists, from prehistoric cave paintings to twentieth-century landscape photography. I too wanted to make nature the subject of my work, but in new ways. I started working outside using natural materials like grass and water, and this evolved into the idea of making a sculpture by walking … My first work made by walking, in 1967, was a straight line in a grass field, which was also my own path, going ‘nowhere’. In the subsequent early map works, recording very simple but precise walks on Exmoor and Dartmoor, my intention was to make a new art which was also a new way of walking: walking as art.”

Richard Long (1945) artist

Richard Long in: Ben Tufnell (ed.), Richard Long: Selected Statements & Interviews, London 2007, p. 39; Cited in: " Richard Long: A Line Made by Walking 1967 http://www.tate.org.uk/art/artworks/long-a-line-made-by-walking-ar00142/text-summary," at Tate.org 2000s

Art, Way, Idea, Nature

“People have different professions, different points of view. They are like observers looking at the world through the narrow windows of an otherwise closed structure. Occasionally they assemble at the center and discuss what they have seen; then one observer will talk about a beautiful landscape with red trees, a red sky, and a red lake in the middle; the next one about an infinite blue plane without articulation; and the third about an impressive, five-floor-high building; they will quarrel. The observer on top of the structure (me) can only laugh at their quarrels-but for them the quarrels will be real and he (the observer on top) will be an unworldly dreamer. Real life… is exactly like that. Every person has his own well-defined opinions, which color the section of the world he percieves. And when people come together, when they try to discover the nature of the whole which they belong, they are bound to talk past each other; they will understand neither themselves nor their companions.”

Paul Karl Feyerabend book Killing Time

Pg 48.
Killing Time (1995)

Life, People, World, Beauty

“The three horizontal bands at the top [ in his collage: landscape with paintings 1954] correspond to sea, sand and sky, while the yellow/white and red/white shapes at the bottom are the paintings – though of a kind I actually painted only later. It was the collage that suggested the idea of doing such paintings.”

Ellsworth Kelly (1923–2015) American painter, sculptor, and printmaker

Source: 1969 - 1980, In: "Ellsworth Kelly: Works on Paper," 1987, p. 18 : 'Notes from 1969'

Idea, Painting, Sea

“One shining morning, at the head of the Pacheco Pass, a landscape was displayed that after all my wanderings still appears as the most divinely beautiful and sublime I have ever beheld. There at my feet lay the great central plain of California, level as a lake thirty or forty miles wide, four hundred long, one rich furred bed of golden Compositae. And along the eastern shore of this lake of gold rose the mighty Sierra, miles in height, in massive, tranquil grandeur, so gloriously colored and so radiant that it seemed not clothed with light, but wholly composed of it, like the wall of some celestial city. Along the top, and extending a good way down, was a rich pearl-gray belt of snow; then a belt of blue and dark purple, marking the extension of the forests; and stretching along the base of the range a broad belt of rose-purple, where lay the miners' gold and the open foothill gardens — all the colors smoothly blending, making a wall of light clear as crystal and ineffably fine, yet firm as adamant. Then it seemed to me the Sierra should be called, not the Nevada or Snowy Range, but the Range of Light. And after ten years in the midst of it, rejoicing and wondering, seeing the glorious floods of light that fill it, — the sunbursts of morning among the mountain-peaks, the broad noonday radiance on the crystal rocks, the flush of the alpenglow, and the thousand dashing waterfalls with their marvelous abundance of irised spray, — it still seems to me a range of light.”

John Muir (1838–1914) Scottish-born American naturalist and author

" The Treasures of the Yosemite http://books.google.com/books?id=ZzWgAAAAMAAJ&pg=PA483", The Century Magazine, volume XL, number 4 (August 1890) pages 483-500 (at page 483) 1890s

Beauty, Color, Way, Mountain

“The technological landscape of the present day has enfranchised its own electorates — the inhabitants of the marketing zones in the consumer society, television audiences and news magazine readerships, who vote with money at the cash counter rather than with ballot paper at the polling boot. These huge and passive electorates are wide open to any opportunist using the psychological weaponry of fear and anxiety, elements that are carefully blanched out of the world of domestic products and consumer software.”

J. G. Ballard (1930–2009) British writer

"The Consumer Consumed", originally published in Ink (1971)
A User's Guide to the Millennium (1996)

Money, World, Fear

“Is aught so fair
In all the dewy landscapes of the spring,
In the bright eye of Hesper or the morn,
In nature's fairest forms, is aught so fair
As virtuous friendship? as the candid blush
Of him who strives with fortune to be just?
The graceful tear that streams for others' woes?
Or the mild majesty of private life,
Where peace with ever blooming olive crowns
The gate; where Honour's liberal hands effuse
Unenvied treasures, and the snowy wings
Of Innocence and Love protect the scene?”

Mark Akenside book The Pleasures of the Imagination

Book I, line 500–511
The Pleasures of the Imagination (1744)

Love, Life, Friendship, Peace

“There are landscapes in which we feel above us not sky but space. Something larger, deeper than sky is sensed, is seen, although in such settings the sky is invariably immense. There is a place between the cerebrum and the stars where sky stops and space commenses, and should we find ourselves on a particular prairie or mountaintop at a particular hour […] our relationship with sky thins and loosens while our connection with space becomes as solid as bone.”

Tom Robbins Half Asleep in Frog Pajamas

Half Asleep in Frog Pajamas (1994)

Feeling, Star, Sense

“My picture [A Boat Passing a Lock, 1823-6] is liked at the [Royal] Academy, indeed it forms a decided feature and its light can not be put out. Because it is the light of nature — the Mother of all that is valuable in poetry — painting or anything else… my execution annoys most of them and all the scholastic ones – perhaps the scarifies I make for 'lightness' and 'brightness' is too much but these things are the essence of Landscape.”

John Constable (1776–1837) English Romantic painter

Letter to Rev. John Fisher, 1824, as quoted in Leslie Parris and Ian Fleming-Williams, Constable (Tate Gallery Publications, London, 1993), p. 288
1820s

Nature, Light, Painting

““Machines!” the Clerk said scornfully. “We have many of them, some exquisitely complex. But event the best of them are much like idiot savants. They do adequately on tedious straightforward tasks like building stars or destroying planets. But give them something tough, like solacing a widow, and they simply go to pieces. Would you believe it, the largest computer in our section can landscape an entire planet; but it cannot fry an egg or carry a tune, and it knows less about ethics than a newborn wolf cub. Would you want something like that to run your life?”
“Of course not,” Carmody said. “But couldn’t someone build a machine with creativity and judgment?”
“Someone has,” the Clerk said. “It has been designed to learn from experience, which means that it must make errors in order to arrive at truths. It comes in many shapes and sizes, most of them quite portable. Its flaws are readily apparent, but seem to exist as necessary counterweights to it virtues. No one has yet improved on the basic design, though many have tried. This ingenious device is called ‘intelligent life.’””

Robert Sheckley book Dimension of Miracles

Source: Dimension of Miracles (1968), Chapter 3 (pp. 25-26)

Life, Truth, Error, Star

“The century after the Civil War was to be an Age of Revolution—of countless, little-noticed revolutions, which occurred not in the halls of legislatures or on battlefields or on the barricades but in homes and farms and factories and schools and stores, across the landscape and in the air—so little noticed because they came so swiftly, because they touched Americans everywhere and every day. Not merely the continent but human experience itself, the very meaning of community, of time and space, of present and future, was being revised again and again, a new democratic world was being invented and was being discovered by Americans wherever they lived.”

Daniel J. Boorstin (1914–2004) American historian

The Americans: The Democratic Experience (1973), as cited in: Robert J. Gordon (2016), The Rise and Fall of American Growth, p. 1.

War, Age, World, School

“Wyman's overpopulated universe is in many ways unlovely. It offends the aesthetic sense of us who have a taste for desert landscapes.”

Willard van Orman Quine (1908–2000) American philosopher and logician

"On What There Is", p. 4. a humorous comment on the idea "unactualized possible".
From a Logical Point of View: Nine Logico-Philosophical Essays (1953)

Way, Sense, Universe

“Yes, Wordsworth often personified objects in nature and gave them the human aspect, and personally I have done rather the reverse process in sculpture. I’ve often found that by taking formal ideas from landscape, and putting them into my sculpture I have, as it were, related a human figure to a mountain, and so got the same effect as a metaphor in painting.”

Henry Moore (1898–1986) English artist

Quote in 'The Listener', 13 November 1941, pp. 657-9; as cited in Henry Moore writings and Conversations, ed. Alan Wilkinson, University of California Press, California 2002, pp. 126-27
1940 - 1955

Mountain, Idea, Nature, Painting

“.. my own paintings of that period (1916 – 1919) remain pure still-life compositions and never suggest any metaphysical, surrealist, psychological, or literary considerations at all [reacting on similarities with the art of Carrà, and de Chirico, suggested by the interviewer]. My milliners' dummies, for instance, are objects like others and have not been selected to suggest symbolic representations of human beings of legendary or mythological characters. The only titles that I chose for these paintings were conventional, like 'Still Life, Flowers or Landscape', without any implications of strangeness of an unreal world”

Giorgio Morandi (1890–1964) Italian painter

as in Surrealism or in 'Pittura Metafisica' of De Chirico
Source: 1945 - 1964, Interview, 1960, pp. 106-107

Life, World, Art, Flowers

“America's first great surrealist artists were named Walt Disney, Max Fleischer, and Tex Avery. Their artistic medium was cartoon animation, though we must remember that cartoons of this era were seen not only by children but by a mixed audience, consisting mainly of adults. These men took — quite literally — the principles of surrealism and turned them into mass entertainment. As Fleischer's scantily clad Betty Boop ran through a phantasmagoric underground landscape to the driving beat of Cab Calloway's "Minnie the Moocher," moviegoers of the Thirties saw surrealist dream-logic unfold more powerfully than in any experimental poem created in Greenwich Village. To this day the greatest moment of North American surrealism is probably Dumbo's drunken nightmare choreographed to the demonic oom-pah-pah of "Pink Elephants on Parade" from Walt Disney's 1941 movie. When the surrealist style was so quickly assimilated into mass-media comedy, what avant-garde poet could consider it sufficiently chic?”

Dana Gioia (1950) American writer

"James Tate and American Surrealism," BBC Radio 3, published in Denver Quarterly (Fall 1998)
Essays

Men, Children, Dreams, Animals

“If space in infinite, how about the space inside man? Blake said that eternity opens from the center of an atom. My former terror vanished. Now I saw that I was mistaken in thinking of myself as an object in a dead landscape. I had been assuming that man is limited because his brain is limited, that only so much can be packed into the portmanteau. But the spaces of the mind are a new dimension. The body is a mere wall between two infinities. Space extends to infinity outwards; the mind stretches to infinity inwards.”

Colin Wilson book The Mind Parasites

Source: The Mind Parasites (1967), p. 38

Thinking, Dead

“'God!' said the Ghost, glancing around the landscape.
'God what?' asked the Spirit.
'What do you mean, "God what"?' asked the Ghost.
'In our grammar God is a noun' said the Spirit.”

Clive Staples Lewis book The Great Divorce

Source: The Great Divorce (1944–1945), Ch. 9

God

“.. Our life is a pilgrim's progress. I once saw a very beautiful picture: it was a landscape at evening. In the distance on the right-hand side a row of hills appeared blue in the evening mist. Above those hills the splendour of the sunset, the grey clouds with their linings of silver and gold and purple. The landscape is a plain or heath covered with grass and its yellow leaves, for it was in autumn. Through the landscape a road leads to a high mountain far, far away, on the top of that mountain is a city wherein the setting sun casts a glory. On the road walks a pilgrim, staff in hand. He has been walking for a good long while already and he is very tired. And now he meets a woman, or figure in black, that makes one think of St. Paul's word: As being sorrowful yet always rejoicing. That Angel of God has been placed there to encourage the pilgrims and to answer their questions and the pilgrim asks her: Does the road go uphill then all the way? And the answer is: "Yes to the very end."”

Vincent Van Gogh (1853–1890) Dutch post-Impressionist painter (1853-1890)

Quote of Vincent van Gogh, from his 'First Sunday Sermon' http://www.vggallery.com/misc/archives/sermon.htm: 'I Am a Stranger on the Earth..'; 29 October 1876 1870s

Life, God, Beauty, Angels

“If I were the government I would have a special brigade of gendarmes to keep an eye on artists who paint landscapes from nature. Oh, I don't mean to kill anyone; just a little dose of bird-shot now and then as a warning.”

Edgar Degas (1834–1917) French artist

"Some of Degas' Views on Art" (p. 56)
Degas hated to paint outdoor and even to see landscape-paintings, like for instance the 'draughty' ones of Monet
posthumous quotes, Degas: An Intimate Portrait' (1927)

Nature, Bird, Painting

“They passed a farmhouse, a simple shack surrounded by animals — a lazy burro, clucking chickens, a litter of pigs. The farmhouse stood alone in the desolate landscape. There was no sign of a living person anywhere. And then it was gone, lost in the swirling dust plume of the car.”

Michael Crichton book Zero Cool

Zero Cool, written under the pseudonym John Lange (1969)

Cars, Animals, Personality

“When I am on my own and quiet, the landscape tells you a great deal and Turner and Cotman talk to me from the clouds.”

Rigby Graham (1931–2015) British author and illustrator

Obituary, Daily Telegraph,London, 20th May 2015

“First of all, why a descent into novelty rather than an ascent? It was my thing to do as I wanted to do it, and it seemed to me—the way I thought of time was I thought of it like a river. And so I thought of it as flowing toward its lowest level. And I thought of history as a river and Eternity as the ocean. So naturally history flows downhill to reach Eternity. I also like the fact that when the descent in elevation is rapid, the river runs faster, and when the landscape is almost flat, the river broadens out and meanders. So it was to preserve this idea of time as a fluid. The other reason is a mathematical reason. It has to do with the fact that if we have novelty moving downward, then the maximum of novelty is zero.”

Terence McKenna (1946–2000) American ethnobotanist

Talk at the Cathedral Church of Saint John the Divine, NYC https://web.archive.org/web/20120429183018/http://www.abrupt.org/abruptlog/logos/terence-mckenna-at-saint-johns-2785/ 25 April 1996

Way, History, Mathematics, Idea

“Confronted, when the weather is fine and I am in propitious emotional circumstances, with certain landscapes, certain works of art, certain human beings, I know, for the time being, that God's in his heaven and all's right with the world. On other occasions, skies and destiny being inclement, I am no less immediately certain of the malignant impersonality of an uncaring universe. Every human being has had similar experiences. This being so, the sensible thing to do would be to accept the facts and frame a metaphysic to fit them. But with that talent for doing the wrong thing, that genius for perversity, so characteristically human, men have preferred, especially in recent times, to take another course. They have either denied the existence of these psychological facts; or if they have admitted them, have done so only to condemn as evil all such experiences as cannot be reconciled in a logical system with whatever particular class of experiences they have chosen, arbitrarily, to regard as "true" and morally valuable. Every man tries to pretend that he is consistently one kind of person and does his best consistently to worship one kind of God. And this despite the fact that he experiences diversity and actually feels himself in contact with a variety of divinities.”

Aldous Huxley (1894–1963) English writer

“One and Many,” pp. 3–4
Do What You Will (1928)

Men, God, World, Art

“It is possible, in Iran, Greece, North Africa, USA, Mexico, Pakistan, and Australia to see how, in our short history of life destruction, we have brought the hard bones of the earth to the surface by stripping the life skin from it for ephemeral uses. We can, if we persist, create a moon-landscape of the earth. So poor goatherds wander where the lake-forests stood and the forest deities were worshipped. The religions of resignation and fanaticism follow those of the nature gods, and man-built temples replace trees and tree spirits.”

Bill Mollison (1928–2016) Australian permaculturist

Source: Permaculture: A Designers' Manual (1988), chapter 8.20

Life, God, Religion, History

“The true beloveds of this world are in their lover's eyes lilacs opening, ship lights, school bells, a landscape, remembered conversations, friends, a child's Sunday, lost voices, one's favorite suit, autumn and all seasons, memory, yes, it being the earth and water of existence, memory.”

Truman Capote book Other Voices, Other Rooms

Other Voices, Other Rooms (1948)

World, School, Lovers, Autumn

“Artists encounter the landscape they propose to paint — they look at it, observe it from this angle and that. They are, as we say, absorbed in it. Or, in the case of abstract painters, the encounter may be with an idea, an inner vision, that in turn may be led off by the brilliant colors on the palette or the inviting rough whiteness of the canvas.”

Rollo May (1909–1994) US psychiatrist

Ch 2 : The Nature of Creativity, p. 41
The Courage to Create (1975)

Color, Idea, Painting

“What to leave out is the first thing the artist has to decide; a painter who “held the mirror up to nature” would spend his life on the leaves of one landscape. The work of art’s fluctuating and idiosyncratic threshold of attention—the great things disregarded, the small things seized and dwelt on—is as much of a signature as anything in it.”

Randall Jarrell (1914–1965) poet, critic, novelist, essayist

“The Profession of Poetry”, p. 162
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)

Life, Art, Nature

“Art is an adventure. When it ceases to be an adventure, it ceases to be art. Not all of us pursue the inaccessible landscapes of the twelve-tone scale, just as not all of us strive for inaccessible mountain-tops, or glory in storms at sea. But the human incidence is there. Could it be that these two impractical pursuits - of beauty and of adventure’s embrace - are simply two differing profiles of the same uniquely human reality?”

Robert Ardrey book The Hunting Hypothesis

The Hunting Hypothesis: A Personal Conclusion Concerning the Evolutionary Nature of Man (1976)

Beauty, Art, Mountain, Reality

“It is the first time in my life that I have not been able to do anything. I am in a bad state of mind and I am demoralized, and that influences me. I have only [made] seven canvases. I am sorry. I wanted to leave Cagnes, this landscape that I cannot endure. I even went for a few days to Cap Martin, where I thought of settling down. It displeased me. I had to rub out the canvases I started... I am in Cagnes again, against my will, where, instead of landscapes, I shall be forced to do some miserable still lifes. You will understand in what a state of indecision I am. Can't you suggest some place for me? Because, several times I have had the intention of returning to Paris.”

Chaim Soutine (1893–1943) painter

quote in 1929
In a letter to his Paris art-dealer w:Léopold Zborowski, 1923; as quoted in Soutine, Monrou Wheeler, Museum of modern art, New York, 1950; p. 61

Life, Quotes, Understanding, Time

“I am anxious that the world should be inclined to look to painters for information about painting. I hope to show that ours is a regularly taught profession; that it is scientific as well as poetic; that imagination alone never did, and never can, produce works that are to stand by a comparison with realities;; and to show, by tracing the connecting links in the history of landscape painting, that no great painter was ever self-taught.”

John Constable (1776–1837) English Romantic painter

Quote from 'The History of Landscape Painting,' first lecture, Royal Institution (26 May 1836), from notes taken by C.R. Leslie
1830s, his lectures History of Landscape Painting (1836)

World, Hope, Imagination, History

“The German landscape is something unique that we cannot disturb and have no right to destroy. The more densely populated our 'living space' becomes with settlements, the greater our hunger will grow for unspoilt nature. The ever increasing spiritual damage caused by life within the big city will make this hunger practically uncontrollable… when we build here on this the landscape of our homeland we must be clear that we will protect its beauty; and in places where this beauty has already disappeared, we will reconstruct it.”

Fritz Todt (1891–1942) German engineer and senior Nazi figure

Quoted in "Fritz Todt: Baumeister des Dritten Reiches" (München: F.A. Herbig, 1986), by Franz W. Seidler, p. 113.

Life, Hunger, Beauty, Nature

“Growing up in such a stunning landscape is inevitably going to have an effect on you, whether you rebel or whether you embrace, because it's so striking. I lived on this rugged, rugged coastline with the North Sea hammering at the cliffs, and the weather changes literally every half hour. My parents met as rock climbers, so they're absolute outdoors fiends, and we were constantly up hills and under canvas and camping and tramping around. They're very fond memories and something I still love to do.”

KT Tunstall (1975) Scottish singer-songwriter and guitarist

Barnes & Noble Interview with David Sprague (February 2006).

Love, Parent, Memory, Change

“Papa painted small landscapes by the river in Coyoacán, and copied sentimental paintings in watercolour and oil. Afterwards, he gave me a little box of paints that belonged to him. Ángel Salas gave me a small book that told me how to prepare the canvases, and I made them smooth, smooth. The courtship with Gómez Arias lasted from 1922 until 1925, when the bus crushed us both. Gómez Arias brought me books on painting and painters from Europe. These were the first books on art that fell into my hands.”

Frida Kahlo (1907–1954) Mexican painter

1950
Source: 1946 - 1953, "Song of herself"; interviews by Olga Campos, Sept. 1950, Chapter 'My Painting', p. 73

Books, Art, Painting, Box

“In a parched African landscape like this at Omo, man first put his foot to the ground. That seems a pedestrian way to begin the ascent of man.”

Jacob Bronowski The Ascent of Man

Episode 1: "Lower than the Angels"
The Ascent of Man (1973)

Way

“Before us, art relied on memory, an anxious re-evocation of an Object lost (happiness, love, a landscape), and hence was nostalgic, static, charged with suffering and distance. With Futurism, instead, art is turning into art-action, which is to say, into will, optimism, aggression, possession, penetration, delight, brutal reality within art (example: onomatopoiea; —example: noise-tuners = motors), geometrical splendor of forces, projections forward. Thus, art is becoming Presence, new Object, new reality created with the abstract elements of the universe. The hands of the passéist artist used to suffer for the sake of the lost Object; our hand will twitch for the new Object to be created. That is why the new Object (the plastic complex) has miraculously appeared in your hands.”

Filippo Tommaso Marinetti (1876–1944) Italian poet and editor, founder of the Futurist movement

Quote in: Fortunato Depero & Giacomo Balla 'The Futurist Reconstruction of the Universe' in: Direzione del Movimento Futurista, March 11, 1915. Transl. Caroline Tisdall, 1973.
1910's

Love, Happiness, Art, Optimism

“The kingdom is not an amorphous jumble of regions, but a closely organized state in which the character of one region is close to that of its neighbor. There are few sharp boundaries. Rather, the landscape is largely characterized by transitions …”

Peter Atkins (1940) British chemist

Source: Periodic Kingdom (1995), Chapter 1. The Terrain

“With Jackson there was quiet solitude. Just to sit and look at the landscape. An inner quietness. After dinner, to sit on the back porch and look at the light. No need for talking. For any kind of communication.”

Lee Krasner (1908–1984) American artist

Quote of Krasner in: Eleanor C. Munro (1982) Originals: American women artists. p. 114.

Communication, Solitude, Light

“Adieu, adieu, I am going to see up there [after death] whether friend Corot has found me any new subjects for landscape painting.”

Charles-François Daubigny (1817–1878) French painter

Quote, as recorded by Albert Wolff, 1880's, in Notes upon certain masters of the XIX century, - printed not published MDCCCLXXXVI (1886), The Art Age Press, 400 N.Y. (written after the exhibition 'Cent Chefs-d'Oeuvres: the Choice of the French Private Galleries', Petit, Paris / Baschet, New York, 1883, p. 74
Daubigny's final thought for art in 1878 was appearently strongly connected with Corot.
1860s - 1870s

Death, Painting

“…death seemed the most prevalent feature of the landscape.”

Cormac McCarthy book Blood Meridian

Blood Meridian (1985)

Death

“The Bible is like a wide and beautiful landscape seen afar off, dim and confused; but a good telescope will bring it near, and spread out all its rocks and trees and flowers and v__ulant fields and winding rivers at one's very feet. That telescope is the Spirit's teaching.”

Thomas Chalmers (1780–1847) Scottish mathematician and a leader of the Free Church of Scotland

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 317.

Beauty, Flowers, Tree

“What the newer landscape artists see in a circle of a hundred degrees in Nature they press together unmercifully into an angle of vision of only forty-five degrees. And furthermore, what is in Nature separated by large spaces, is compressed into a cramped space and overfills and oversatiates the eye, creating an unfavorable and disquieting effect on the viewer.”

Caspar David Friedrich (1774–1840) Swedish painter

cited by Timothy Mitchell, (September 1984), in 'Caspar David Friedrich's Der Watzmann: German Romantic Landscape Painting and Historical Geology', 'The Art Bulletin', 66 (3), p. 452–464, doi:10.2307/3050447, JSTOR 3050447
undated

Nature

“In whatever light we view religion it appears solemn and venerable. It is a temple full of majesty, to which the worshiper may approach with comfort, in the hope of obtaining grace and finding mercy; but where they cannot enter without being inspired with awe. If we may be permitted to compare spiritual with natural things, religion resembles not those scenes of natural beauty where every object smiles. It cannot be likened to the gay landscape or the flowery field. It resembles more the august and sublime appearances of Nature — the lofty mountain, the expanded ocean, and the starry firmament; at the sight of which the mind is at once overawed and delighted; and, from the union of grandeur with beauty, derives a pleasing but a serious devotion.”

Hugh Blair (1718–1800) British philosopher

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 493.

Religion, Smile, Beauty, Hope

“National loyalty is founded in the love of place, of the customs and traditions that have been inscribed in the landscape and of the desire to protect these good things through a common law and a common loyalty.”

Roger Scruton (1944–2020) English philosopher

England and the Need for Nations (2006)

Love, Law, Loyalty

“The Futurists were the first painters, poets, and architects who exalted modern work with their art—
they painted speeding automobiles—
they painted lamps bursting with light—
they painted steaming locomotives and swift bicyclists—
the Futurists stylized their compositions, adopting a violently colored look; with synoptic and geometric shapes they multiplied and decomposed the rhythms of objects and landscapes in order to increase their dynamic qualities and to give an effective rendering of their swift ideas, the states of mind, their conceptions.”

Fortunato Depero (1892–1960) Italian painter, writer, sculptor and graphic designer

Depero (1931) "Futurism and Adverticing Art"; Republished in: Futurism : an anthology http://modernistarchitecture.files.wordpress.com/2011/09/ebooksclub-org__futurism__an_anthology__henry_mcbride_series_in_modernism_.pdf. edited by Lawrence Rainey, Christine Poggi, and Laura Wittman, (2011), p. 290

Art, Color, Idea, Light

“The Relativity theory, the copernican upheaval, or any great scientific convulsion, leaves a new landscape. There is a period of stunned dreariness; then people begin, antlike, the building of a new human world. They soon forget the last disturbance. But from these shocks they derive a slightly augmented vocabulary, a new blind spot in their vision, a few new blepharospasms or tics, and perhaps a revised method of computing time.”

Wyndham Lewis (1882–1957) writer and painter

"The Great God Flux".
Source: The Art of Being Ruled (1926), p. 336

People, World, Time, Forgetting

“I can say without fear of falling into the slightest exaggeration that each outline of a rock, / and / of the beaches of Cadaques [in North-Spain, where Dali spent his childhood], each of the geological anomalies of its landscape and its unique light I know by heart, for in the paths of my wandering solitudes, it was these silhouettes of stones and its states of light attached to the structure / and the aesthetic substance / of the landscape that were the sole protagonists on the mineral impossibility of which I project day after day all the accumulated and chronically unsatisfied tension of mt erotic-emotional life.”

Salvador Dalí (1904–1989) Spanish artist

Quote from the catalog of the exhibition 'Dali una vida de libro', Bibliotheca de Catalunya, Barcelona 2004
Dali's memory is written in a mixture of French and Catalan accent
Quotes of Salvador Dali, 1981 - 1989

Life, Fear, Solitude, Light

“I'm sick of Portraits and wish very much to take my viols-da-gamba and walk off to some sweet village, where I can paint landskips [landscapes] and enjoy the fag - end of life in quietness and ease. But these fine ladies [very probably his wife and daughters] and their tea-drinkings, dancings, husband-huntings, &c, &c. &c., will fob me out of the last ten years, and I fear miss getting husbands too. But we can say nothing to these things you know, Jackson, we must jog on and be content with the jingling of the bells, only, d-[damned]-it I hate a dust, the kicking up a dust, and being confined in harness to follow the track whilst others ride in the waggon, under cover, stretching their legs in the straw at ease, and gazing at green trees and blue skies without half my 'Taste'. That's d-d [damned] hard. My comfort is I have five viols-da-gamba: three 'Jayes' and two 'Barak Normans”

Thomas Gainsborough (1727–1788) English portrait and landscape painter

Adieu. 2 Quotes from Gainsborough's letter to his friend William Jackson of Exeter, from Bath, 4 June 1768; as cited in Thomas Gainsborough, by William T, Whitley https://ia800204.us.archive.org/6/items/thomasgainsborou00whitrich/thomasgainsborou00whitrich.pdf; New York, Charles Scribner's Sons – London, Smith, Elder & Co, Sept. 1915, p. 385 (Appendix A - Letter VIII) 1755 - 1769

Life, Hate, Fear, Drink

“Yes, madam, Nature is creeping up. [in response to a lady who said that a landscape reminded her of his work]”

James McNeill Whistler (1834–1903) American-born, British-based artist

D.C. Seitz, Whistler Stories (1913)
posthumous published

Nature

“…teeth set out by a landscape gardener…”

Addison Mizner (1872–1933) American architect

From his sketchbook

“What concerns me when I work, is not whether the picture is a landscape, or whether it's pastoral, or whether somebody will see a sunset in it. What concerns me is - did I make a beautiful picture?”

Helen Frankenthaler (1928–2011) American artist

1970s - 1980s, interview with Deborah Salomon in 'New York Times', 1989

Beauty

“In the last few years there has been a harvest of books and lectures about the "Mysterious Universe." The inconceivable magnitudes with which astronomy deals produce a sense of awe which lends itself to a poetic and philosophical treatment. "When I consider thy heavens, the work of thy hands, the moon and the starts, whuch thou hast ordained: what is man that thou art mindful of him? The literary skill with which this branch of science has been exploited compels one's admiration, but alos, a little, one's sense of the ridiculous. For other facts than those of astronomy, oother disciplines than of mathematics, can produce the same lively feelings of awe and reverence: the extraordinary finenness of their adjustments to the world outside: the amazing faculties of the human mind, of which we know neither whence it comes not whither it goes. In some fortunate people this reverence is produced by the natural bauty of a landscape, by the majesty of an ancient building, by the heroism of a rescue party, by poetry, or by music. God is doubtless a Mathematician, but he is also a Physiologist, an Engineer, a Mother, an Architect, a Coal Miner, a Poet, and a Gardener. Each of us views things in his own peculiar war, each clothes the Creator in a manner which fits into his own scheme. My God, for instance, among his other professions, is an Inventor: I picture him inventing water, carbon dioxide, and haemoglobin, crabs, frogs, and cuttle fish, whales and filterpassing organisms ( in the ratio of 100,000,000,000,000,000,000,000 to 1 in size), and rejoicing greatly over these weird and ingenious things, just as I rejoice greatly over some simple bit of apparatus. But I would nor urge that God is only an Inventor: for inventors are apt, as those who know them realize, to be very dull dogs. Indeed, I should be inclined rather to imagine God to be like a University, with all its teachers and professors together: not omittin the students, for he obviously possesses, judging from his inventions, that noblest human characteristic, a sense of humour.”

Archibald Hill (1886–1977) English physiologist and biophysicist

The Ethical Dilemma of Science and Other Writings https://books.google.com.mx/books?id=zaE1AAAAIAAJ&printsec=frontcover#v=onepage&q&f=false (1960, Cap 1. Scepticism and Faith, p. 41)

God, War, People, Books

Quotes about landscape page 2

Quotes about landscape
page 2