Quotes about landscape
page 3

“I never touched Cubism myself, you know, although I was attracted by it one time. When I was painting at Céret and at Cagnes [1919, and from 1923]. I yielded to its influence in spite of myself, and the results were not entirely banal. But then... Céret itself is anything but banal. There is so much foreshortening in the landscape that, for that very reason, a picture may seem to have been painted in some specific style”

Chaim Soutine (1893–1943) painter

quote in 1927
Source: Life with the painters of La Ruche, Vorobëv Marevna, Macmillan, New York, 1972, p. 156

Quotes, Time, Painting

“Oh, early Kandinsky.. [stuck her early]. Well no, they had that at the Art Institute in Chicago, don't forget. See, everybody, to do 'modern art' then [New York, mid-forties], seemed to me, when you were going 'modern' [both chuckle], it was Picasso. I mean, everybody. But I avoided that like the plague. I thought... I loved Picasso, but it just wasn't for me... Well, I don't! I have some of those [early] paintings from LeLavandou - they're in storage - and from Mexico. They were Expressionist landscapes, or boats on the beach or something like that, which I still do. Sort of going abstract, going towards..”

Joan Mitchell (1925–1992) American painter

first side of the first tape
1975 - 1992, Oral history interview with Joan Mitchell, 1986

Love, Art, Painting, Forgetting

“Perhaps the most extraordinary thing about a modern battlefield is the desolation and emptiness of it all…one cannot emphasize too much. Nothing is to be seen of war or soldiers--only the split and shattered trees and the burst of an occasional shell reveal anything of the truth. One can look for miles and see no human being. But in those miles of country lurk (like moles or rats, it seems) thousands, even hundreds of thousands of men, planning against each other perpetually some new device of death. Never showing themselves, they launch at each other bullet, bomb, aerial torpedo and shell. And somewhere too (on the German side we know of their existence opposite us) are the little cylinders of gas, waiting only for the moment to spit forth their nauseous and destroying fumes. And yet the landscape shows nothing of all this--nothing but a few shattered trees and three or four lines of earth and sandbags, these and the ruins of towns and villages are the only signs of war anywhere visible. The glamour of red coats--the martial tunes of flag and drum--aide-de-camps scurrying hither and thither on splendid chargers--lances glittering and swords flashing--how different the old wars must have been!”

Harold Macmillan (1894–1986) British politician

letter to his mother, May 13, 1916
1910s

Death, Men, War, Truth

“To Leonardo a landscape, like a human being, was part of a vast machine, to be understood part by part and, if possible, in the whole. Rocks were not simply decorative silhouettes. They were part of the earth's bones, with an anatomy of their own, caused by some remote seismic upheaval. Clouds were not random curls of the brush, drawn by some celestial artist, but were the congregation of tiny drops formed from the evaporation of the sea, and soon would pour back their rain into the rivers.”

Kenneth Clark (1903–1983) Art historian, broadcaster and museum director

Source: Leonardo da Vinci (1939), Ch. Six: 1497-1503

Parting, Sea

“The climax of absurdity to which the art may be carried, when led away from nature by fashion, may be best seen in the works of Boucher… His landscape, of which he was evidently fond, is pastoral; and such pastorality! the pastoral of the Opera house.”

John Constable (1776–1837) English Romantic painter

Notes of Six Lectures on Landscape Painting (1836), C.R. Leslie, Memoirs of the Life of John Constable (1843), p. 343
1830s, his lectures History of Landscape Painting (1836)

Art, Fashion, Nature, Housing

“Hugo [Claus], Now you should see my recent works. A drawing in ink, three pencil drawings and two sketches in oil-paint: a still-life and a landscape in the strongest colors you can imagine. I still have to work on the landscape, but I really think it will be the best of my paintings till now.... but the happiest thing is, I have acquired much more freedom.”

Roger Raveel (1921–2013) painter

version in original Flemish (citaat van Roger Raveel, in het Vlaams): Hugo [Claus], nu zoudt U eens moeten mijn laatste werk zien, een pentekening, drie potloodtekeningen en twee studies met olieverf: een stilleven en een landschap in de hevigste kleuren die Ge U kunt indenken. Aan dat landschap moet ik nog werken maar ik denk dat het mijn beste werk zal zijn, van mijn schilderwerk, en drie tekeningen vind ik mijn beste maar het gelukkigste is dat ik een veel grotere vrijheid heb verworven.
Quote of Raveel, in a letter to his friend Hugo Claus, from Machelen aan de Leie, 20-24 March 1948; as cited in Hugo Claus, Roger Raveel; Brieven 1947 – 1962, ed. Katrien Jacobs, Ludion; Gent Belgium, 2007 - ISBN 978-90-5544-665-0, p. 50 (translation: Fons Heijnsbroek)
1945 - 1960

Life, Color, Imagination, Thinking

“As they captured each territory, William and his men secured their camps with simple earth and timber defenses characteristic of northern Europe (…). These wooden structures have disintegrated, but sometimes their earthen mounds survive as rolling hills or picturesque elements in the landscape. Timber castles were especially useful to a warrior king like William the Conqueror who moved rapidly to bring new territories under control. The earth and timber castles could be built quickly, since the newly moved earth did not have to support great weight. Such structures were also relatively cheap because they required no specialized masons and expensive stone. Since the timber building tradition was widespread both in the British Isles and on the continent, the carpenters knew the building techniques. These castles were essentially towers and stockades; they provided garrison headquarters as well as residences.”

Marilyn Stokstad (1929–2016) art historian

Source: Medieval castles (2005), Ch. 1 : The Great Tower : Norman and Early Plantagenet Castles

Men, Support

“In the four years since the inspectors left, intelligence reports show that Saddam Hussein has worked to rebuild his chemical and biological weapons stock, his missile delivery capability, and his nuclear program. He has also given aid, comfort, and sanctuary to terrorists, including Al Qaeda members, though there is apparently no evidence of his involvement in the terrible events of September 11, 2001. It is clear, however, that if left unchecked, Saddam Hussein will continue to increase his capacity to wage biological and chemical warfare, and will keep trying to develop nuclear weapons. Should he succeed in that endeavor, he could alter the political and security landscape of the Middle East, which as we know all too well affects American security. This much is undisputed… This is a difficult vote. This is probably the hardest decision I have ever had to make. Any vote that may lead to war should be hard, but I cast it with conviction.”

Hillary Clinton (1947) American politician, senator, Secretary of State, First Lady

Senate speech (10 October 2002) http://frwebgate.access.gpo.gov/cgi-bin/getdoc.cgi?dbname=2002_record&docid=cr10oc02-70 Senate years (2001 – January 19, 2007)

War, Intelligence, Decision

“We are now living in an age of literary exhaustion; we get used to the bleak landscape. Cyril Connolly said that the writer's business is to produce masterpieces; but what masterpieces have been produced in the past fifty years?”

Colin Wilson (1931–2013) author

Source: Tree By Tolkien (1974), p. 11

Age, Business, Past

“Nothing mankind had done in its short and bloody history had made the slightest bit of difference to this patient geographical realignment.
Meanwhile the Earth, left to its own devices, had deployed a variety of healing mechanisms, physical, chemical, biological, and geological, to recover from the devastating interventions of its human inhabitants. Air pollutants had been broken up by sunlight and dispersed. Bog ore had absorbed much metallic waste. Vegetation had recolonized abandoned landscapes, roots breaking up concrete and asphalt, overgrowing ditches and canals. Erosion by wind and water had caused the final collapse of the last structures, washing it all into sand.
Meanwhile the relentless processes of variation and selection had worked to fill an empty world.”

Stephen Baxter book Evolution

Source: Evolution (2002), Chapter 18 “The Kingdom of the Rats” section II (p. 579)

World, History, Water

“That is the lavender landscape Herr Mayer was talking about
when he lost his eye
Only the fire department can drive the nightmare from the drawing-
room but all the hoses are broken…”

Richard Huelsenbeck (1892–1974) German poet

End of the World, Ende der Welt', 1919

Drawing

“I cannot write anything about landscape without writing about the human figure and the human spirit inhabiting the landscape, for me, the whole art sculpture is a fusion of these two element – the balance of sensation and the evocation of man in his universe. Every work in sculpture is either a figure I see, or a sensation I have, whether in Yorkshire, Cornwall or Greece, or the Mediterranean.”

Barbara Hepworth (1903–1975) English sculptor

'Studio International 171' – June 1966; as quoted in Voicing our visions, - Writings by women artists, ed. by Mara R. Witzling, Universe New York 1991, p. 280
1961 - 1975

Art, Universe

“For me a work of art must be an elevated interpretation of nature. The search for the ideal has been the purpose of my life. In landscape or seascape, I love above all the poetic motif.”

William-Adolphe Bouguereau (1825–1905) French painter

Attributed to Bouguereau in: Sotheby's (Firm). (1994) 19th Century European Paintings, Drawings and Sculpture. p. 123; Cited in: Adolphe William Bouguereau Quotes http://www.artandinfluence.com/2010/10/adolphe-william-bouguereau-quotes.html by Armand Cabrera, Oct. 4, 2010.

Love, Life, Art, Search

“.. it [painting art] has never been so truly realistic, so firmly attached to its own period as it is today. A kind of painting that is realistic in the highest sense is beginning to appear, and it is here today... The advertising billboard, dictated by modern commercial needs, that brutally cuts across a landscape.... this yellow or red poster shouting in a timid landscape, is the best of possible reasons for the new painting; it topples the whole sentimental literary concept and announces the advent of plastic contrast.”

Fernand Léger (1881–1955) French painter

Quote, 1914, in 'Functions of Painting by Fernand Leger'; p. 12
Quotes of Fernand Leger, 1910's, Contemporary Achievements in Painting, 1914

Art, Sense, Appearance, Painting

John C. Baez (1961) American mathematician and mathematical physicist

[2008, http://www.edge.org/q2008/q08_5.html#baez, Should I be thinking about quantum gravity? (essay at the World Question Center), edge.org]

People, Hope, Success

“I certainly believe that the simple landscape which seems less impressive is the nature that is most proper to paint. (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:) Ik geloof beslist dat de natuur die het meest geschikt is om na te schilderen, het eenvoudige landschap is dat weinig indrukwekkend lijkt. 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 – note 2 undated quotes

Nature, Painting

“If you would have some idea of what the probable universe is like, then examine your own dreams, looking for those events which do not have any strong resemblances to the physical events of waking existence. Look for dream individuals with whom you are not acquainted in normally conscious life. Look for landscapes that appear bizarre or alien, for all of these exist somewhere. You have perceived them. They do not exist in the space you know but neither are they non-existant (sic), mere imaginative toys of the dreaming mind, without substance.”

Jane Roberts (1929–1984) American Writer

Source: Seth, Dreams & Projections of Consciousness, (1986), p. 305-306, quoting from Session 235

Life, Dreams, Imagination, Idea

“For Pollock, the fact that […] have written about Ayodhya, Mount Meru, Ganga, etc., in multiple locations is dumbfounding and irrational….. I propose a different interpretation of the same data. As per our tradition, the conceptual space of Hindus can be replicated and localized easily. The Hindu metaphysics of immanence leads to the decentralization of sacred geography…. This is why people in south India substitute their local rivers for Ganga for ritualist purposes; there is a town called Ayodhya in Thailand; the cognitive landscape of people in Java started to include Mount Meru as a local place, and so on.”

Rajiv Malhotra book The Battle for Sanskrit

The Battle for Sanskrit (2016)

People

“My work has the abstraction underneath it all now & what I deliberately set out to do down here, for this is the perfect realistic abstraction in landscape.”

Marsden Hartley (1877–1943) American artist

letter to w:Alfred Stieglitz, October 9, 1919, Hartley Archive, Yale University; as quoted in Marsden Hartley, by Gail R. Scott, Abbeville Publishers, Cross River Press, 1988, New York p. 68
1908 - 1920

Perfection

“The way you can go to Paris or Beijing, Oyster says, and everywhere there's a McDonald's hamburger, this is the ecological equivalent of franchised life-forms. Every place is the same place. Kudzu. Zebra mussels. Water hyacinths. Starlings. Burger Kings. The local natives, anything unique gets squeezed out.. He says, "We're landscaping the whole world one stupid mistake at a time."”

Chuck Palahniuk book Lullaby

Source: Lullaby (2002), Chapter 19

Life, Stupidity, World, Way

“Wounds on the external landscape exist in the internal landscape first. We re-create those inner wounds on the outside, on the planet. So being a vegan, practicing yoga, and taking time to exercise and do things that nourish my heart and spirit are all vital parts of my “activism.” Activists have done a great job of caring for the world around us, but we haven’t done a great job of caring for ourselves and each other. … If we’re going to ask people to open up to the pain of the earth, we ought to have systems in place that enable us to relieve each other’s pain.”

Julia Butterfly Hill (1974) American activist

" The Butterfly Effect http://thesunmagazine.org/issues/436/the_butterfly_effect". Interview by Leslee Goodman for The Sun, April 2012, issue 436

Pain, People, World, Exercises

“Paint studies of parts, for instance a piece of land, a group of trees or things like that, but always in a way that people can understand these things in relation with the whole landscape, by adding behind that group of trees the air in a right tone color and thereby in connection with the trees... Furthermore studies of a whole, preferably very simple subjects - A meadow with horizon and a piece of air to examine further the general tone color, the harmony of the whole.... and study nature even more by thinking about it than working after it.”

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

translation from original Dutch: Fons Heijnsbroek
(original Dutch: citaat van Willem Roelofs, in het Nederlands:) Schilder studies van gedeelten, bv. een stuk grond, een boomgroep of dergelijke maar toch altijd zóó dat men die in verband met het geheele landschap begrijpen kan, door achter die boomgroep de lucht juist van toon en daardoor in verband met de boomen er bij te schilderen.. .Verder studies van een geheel, liefst zeer eenvoudige sujetten - Eene weide met horizon en stuk lucht. Om nog meer de algemeene toon, de harmonie van het geheel na te gaan.. ..en bestudeer de natuur nog meer met er over te denken dan met er na [naar!?] te werken.
Quote from a letter of Roelofs to his pupil Hendrik W. Mesdag, 27 May 1866; as cited by De Bodt, in Halverwege Parijs, Willem Roelofs en de Nederlandse Schilderskolonie in Brussel, Gent, 1995a, p. 238
1860's

People, Color, Way, Understanding

“It seems incredible that we should willingly trade certainty for quantum confusion and doubt. But, make no mistake, despite its simplicity, its appealing visual images and its resonance with our common understanding, classical physics failed. The quantum description was built amidst the ruins of the structure that preceded it, and it is therefore appropriate that we begin our journey from within this classical landscape.”

Jim Baggott (1957) British writer

Source: Beyond Measure (2004), Ch. 1 : An act of desperation

Understanding

“But the dwellers in the country have little understanding of, and therefore little sympathy with, the longing for green fields which haunts the dweller in towns. The secret dream of almost every inhabitant in those dusky streets where even a fresh thought would scarcely seem to enter, is to realise an independence, and go and live in the country. Where is every holiday spent but in the country! What do the smoky geraniums, so carefully tended in many a narrow street and blind alley attest, but the inherent love of the country! To whom do the blooming and sheltered villas, which are a national feature in English landscape, belong, but to men who pass the greater part of their lives in small dim counting-houses! This love of nature is divinely given to keep alive, even in the most toiling and world-worn existence, something of the imaginative and the apart. It is a positive good quality; and one good quality has some direct, or indirect tendency to produce another.”

Letitia Elizabeth Landon (1802–1838) English poet and novelist

The Monthly Magazine

Love, Men, Secret, World

“The landscape problem and the problem of background independence are closely linked. The latter is the only route the former has to experimental confirmation.”

Lee Smolin (1955) American cosmologist

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

Problem

“…he had the sense that they were both lonely, albeit in different ways. He was a solitary figure in a vast landscape while she was a face in a nameless crowd.”

Nicholas Sparks (1965) American writer and novelist

Dawson Cole, Chapter 5, p. 78
2009, The Best of Me (2011)

Way, Sense

“I feel that the surrealists have created a series of valid external landscapes which have their direct correspondences within our own minds.”

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

Conversation with George MacBeth on Third Programme (BBC) (1 February 1967), published in The New S.F. (1969), edited by Langdon Jones

Feeling

“My principle aim is to express my experience of landscape and human beings with the greatest possible simplicity.”

Otto Mueller (1874–1930) German painter and printmaker of the expressionist movement

as quoted by de:Wolf-Dieter Dube, in Expressionism, de:Wolf-Dieter Dube; Praeger Publishers, New York, 1973, p. 90

“Our sense of touch is a fundamental sensibility which comes into action at birth – our stereognostic sense – the ability to feel weight and form and assess its significance. The form which have had special meaning for me since childhood have been the standing form (which is the translation of my feelings towards the human being standing in the landscape) the two forms (which is the tender relation of one living thing besides another); and the closed form, such as the oval, spherical or pierced form (sometimes incorporating colour) which translates for me the association and meaning of gesture in landscape; in the repose of say a mother and child.... In all these shapes the translation of what one feels about man and nature must be conveyed by the sculptor in terms of mass, inner tension, and rhythm, scale in relation to our human size and the quality of surface which speaks through our hands and eyes.”

Barbara Hepworth (1903–1975) English sculptor

Source: 1961 - 1975, Barbara Hepworth, A Pictorial autobiography', 1970, p. 284

Feeling, Birth, Nature, Sense

“He was reminded of a Dutch book whose moral he often returned to: De Schoonheid van hoogspanningslijnen in het Hollandse landschap, written by a couple of academics in Rotterdam University, Anne Kieke Backer and Arij de Boode. The Beauty of Electricity Pylons in the Dutch Landscape was a defence of the contribution of transmission engineering to the visual appeal of Holland, referencing the often ignored grandeur of the towers on their march from power stations to cities. Its particular interest for Ian, however, lay in its thesis about the history of the Dutch relationship to windmills, for it emphasised that these early industrial objects had originally been felt to have all the pylons’ threateningly alien qualities, rather than the air of enchantment and playfulness now routinely associated with them. They had been denounced from pulpits and occasionally burnt to the ground by suspicious villagers. The re-evaluation of the windmills had in large part been the work of the great painters of the Dutch Golden Age, who, moved by their country’s dependence on the rotating utilitarian objects, gave them pride of place in their canvases, taking care to throw their finest aspect into relief, like their resilience during storms and the glint of their sails in the late afternoon sun. … It would perhaps be left to artists of our own day to teach us to discern the virtues of the furniture of contemporary technology.”

Alain de Botton (1969) Swiss writer

Source: The Pleasures and Sorrows of Work (2009), p. 212.

Books, Age, Beauty, History

“I think, for me, nature has always been my main point of reference. I think as a child I was fascinated by landscapes and nature wherever I went. I was able to travel all over Denmark, which is not that large, everywhere in this country where I've been I always loved the landscape.”

Margrethe II of Denmark (1940) Queen of Denmark

Interview with Reuters, quoted on ITN. http://www.itnsource.com/shotlist/RTV/2012/01/26/RTV249512/ (26 January 2012). As an Artist

Love, Travel, Nature, Thinking

“They walked together like that all night, and there was no night, just a slight unreality, a momentary trance, with mist here and there as if the landscape were about to dissolve, and then nothing dissolved and the mist had vanished again. There was a crimson glow on the highest mountain ridges, and shining birds swarming in their thousands over the flame-gilded, mirror-smooth sea. And they went on talking together. Ólafur Kárason had no perception of the passing of time; only that voice with its dark, silk-edged, golden tones reverberated through his consciousness. When a man has lost what he loves most, there is no need to write poetry; the timber of a man's voice expresses all the poetry of life.”

Halldór Laxness (1902–1998) Icelandic author

Heimsljós (World Light) (1940), Book Two: The Palace of the Summerland

Love, Life, Mountain, Bird

“If I were an academician.... or a believer in a higher reality outside me, as most people are (lucky creatures!), I would have no need for any justification for painting landscapes, or portraits, or social realism. I would rely on my so-called common sense, on which I see and feel, and I would enjoy it. Or I would fix one point in the distant haze of that unknown reality, would try to approach it as nearly as I could, and would find solace in the fanatical belief that I am the only one who is portraying that reality which is the only truth.”

Naum Gabo (1890–1977) Russian sculptor

Quote of Naum Gabo (1950), cited in: Eidos: a journal of painting, sculpture and design. Nr.1, p. 32 cited in: Herbert E. Read, Sir Herbert Edward Read (1971) The philosophy of modern art: collected essays. p. 94
1936 - 1977

People, Truth, Feeling, Reality

“An example of this way of thinking is an exchange that took place when someone told Goethe that he admired him for his genius, towering over German intellectual life like a gigantic mountain, to which Goethe replied that "great mountains are found only in mountainous landscapes." The traditional history of art is concerned exclusively which such mountain peaks, and often, as Goethe critically pointed out, they are not even seen in relation to each other.”

Asger Jorn (1914–1973) Danish artist

Jorn's quote, on the publication of the book Thidrek of Folk Art (1948)
1949 - 1958, Various sources

Life, Art, Way, History

“I might get an idea [for the start of a painting] sitting looking at the river, or something, or a specific.... Yeess. I'm sure, yes, I'm sure it [the environment] influences me in terms of green and gray and color and... I mean, New York light is so different, and it always hits me when I come here [in New York], and it excites me to see great extremes of dark and light and no nuance - which I love. But there the Isle de France [round about Paris] has that, you know, filtered light that is that.. where even on a gray day, the green is very green, and the red is very red.... I think walking out barefoot and moving the paintings, being able to move them out of my studio [in Vetheuil] for transportation, things like that have had [influence]... As well as the landscape. Lake Michigan was pretty important, you know.”

Joan Mitchell (1925–1992) American painter

Tape number two, side A
1975 - 1992, Oral history interview with Joan Mitchell, 1986

Love, Color, Idea, Thinking

“He who knows the surface of the earth and the topography of a country only through the examination of maps.. is like a man who learns the opera of Meyerbeer or Rossini by reading only reviews in the newspapers. The brush of landscape artists Lorrain, Ruysdael, or Calame can reproduce on canvas the sun's ray, the coolness of the heavens, the green of the fields, the majesty of the mountains…but what can never be stolen from Nature is that vivid impression that she alone can and knows how to impart--the music of the birds, the movement of the trees, the aroma peculiar to the place--the inexplicable something the traveller feels that cannot be defined and which seems to awaken in him distant memories of happy days, sorrows and joys gone by, never to return”

José Rizal (1861–1896) Filipino writer, ophthalmologist, polyglot and nationalist

"Los Viajes" in La Solidaridad (15 May 1889)- translated from the Spanish by Nick Joaquin

Happiness, Music, Travel, Feeling

“What wonderful weather it has been today, I had not been outside for so long and so I spent the entire day out of doors. Wonderful. Nature is always fresh and new and to stay fresh she is the only thing giving all that is necessary. Everything is rich. I mean, not only the outdoors, landscape or something like that, but simply everything, yes everything except your workplace, and not even excluding that. 'Le spectacle est dans le spectateur' (the spectacle is in the spectator).”

George Hendrik Breitner (1857–1923) Dutch painter and photographer

The Hague, 1881
version in original Dutch (citaat van Breitner's brief, in het Nederlands:) Wat heerlijk wêer is 't vandaag geweest, ik was in geen tijd buiten geweest, en ben vandaag de heelen dag buiten gebleven. Maar heerlijk. Frisch en nieuw is de natuur altijd, en om frisch te blijven is zij de eenige die 't noodige geeft, Alles even rijk. ik bedoel niet bepaald het buiten, landschap of zoo iets, maar eenvoudig, ja alles, behalve je werkplaats, en ook die niet uitgezonderd. 'Le spectacle est dans le spectateur.' (Den Haag, 1881)
Quote of Breitner, in his letter to his Maecenas A.P. van Stolk, 12 August 1881, (location: The RKD in The Hague); as quoted by Helewise Berger in Van Gogh and Breitner in The Hague, her Master essay in Dutch - Modern Art Faculty of Philosophy University, Utrecht; Febr. 2008]], (translation from the original Dutch, Anne Porcelijn) p. 4.
this quote of Breitner dates from the years he spent in The Hague; a year later he would regularly sketch in the streets of this city with Vincent van Gogh.
before 1890

Nature, Weather

“The painters have every advantage over us today…Besides being able to tear up their failures—we never can seem to grow ivy fast enough—their materials cost them nothing. They have no committees of laymen telling them what to do. They have no deadlines, no budgets. We are all sickeningly familiar with the final cuts to our plans at the last moment. Why not take out the landscaping, the retaining walls, the colonnades? The building would be just as useful and much cheaper. True, an architect leads a hard life—for an artist.”

Philip Johnson (1906–2005) American architect

Heyer, Paul, ed. (1966). Architects on Architecture: New Directions in America, p. 279. New York: Walker and Company.

Life, Failure, Tear

“The landscape is magic, the trip is far from being over.”

Carlo Rovelli Quantum gravity

Source: Quantum gravity (2004), p. xv

“As new generations of activists come forward with new ideas and sensibilities; as the political landscape evolves and changes; as new technologies are born and developed; and as the mercurial focus of issues present new concerns and dangers… Our strength, creativity, harnessed rage and effective activism will remain constant and be the root source of our salvation in the future.”

Jeffrey Montgomery (1953–2016) American LGBT rights activist and public relations executive

America...You Kill Me

Idea, Rage, Change, Future

“Yesterday I received a letter from my father [ Dutch landscape-painter J. W. Bilders. ] He told me to come at once, to paint the goats in a rather large forest landscape-painting he just finished, which has to be sent away at once [to Saint Petersburg, Russia]. I earn back my travelling [from Leiden to Amsterdam, probably by travel coach] but will loose one day studying in open air. When my goats will succeed, and they are not too stubborn, I'll be back here [in Leiden] tomorrow at one o'clock in the afternoon.”

Gerard Bilders (1838–1865) painter from the Netherlands

Source: 1850's, Vrolijk Versterven' (from Bilders' diary & letters), p. 30 - quote of Bilder's letter to Johannes Kneppelhout, from Leiden, August 1859

Travel, Study, Painting

“Working in the abstract way seems to release one’s personality and sharpen the perceptions so that in the observation of humanity or landscape it is the wholeness of inner intention which moves one so profoundly. The components fall into place and one is no longer aware of the detail except as the necessary significance of wholeness and unity.... a rhythm of form which has its roots in earth but reaches outwards towards the unknown experiences of the future. The thought underlying this form is, for me, the delicate balance the spirit of man maintains between his knowledge and the laws of the universe.”

Barbara Hepworth (1903–1975) English sculptor

Source: 1961 - 1975, Barbara Hepworth, A Pictorial autobiography', 1970, p. 286

Law, Way, Knowledge, Universe

“Europe is a landscape; East Asia a seascape. Therein lies a crucial difference between the twentieth and twenty-first centuries.”

Robert D. Kaplan (1952) American writer

Robert D. Kaplan (2014), Asia's Cauldron: The South China Sea and the End of a Stable Pacific. p. 21

“If you are tired of the real landscape, look at it in a mirror. By putting bread, gold, horse, apple, or the very roads into a myth, we do not retreat from reality: we rediscover it. As long as the story lingers in our mind, the real things are more themselves. This book applies the treatment not only to bread or apple but to good and evil, to our endless perils, our anguish, and our joys. By dipping them in myth we see them more clearly.”

Clive Staples Lewis (1898–1963) Christian apologist, novelist, and Medievalist

Tolkien's The Lord of the Rings

Books, Reality, Evil, Horse

“The continent had to be discovered emotionally. It had to become a homeland and feel like home. The sense of overpowering space, the isolation, the warmth of summer, the garish light, the shiny-leafed trees, the birds and insects, the smell of air filled with dust, the strange silences, and the landscapes in all their oddness had to become familiar.”

Geoffrey Blainey (1930) Australian historian

A Land Half Won (1980)

Feeling, Home, Bird, Sense

“I've always said that the actor is only an element of the image, rarely the most important. The actor is important with his dialogue, with the landscape, with a gesture — but the actor in himself is nothing.”

Michelangelo Antonioni (1912–2007) Italian film director and screenwriter

Encountering Directors interview (1969)

“If the amount of money going into the war economy were invested in landscape restoration, we would be in a far more positive position. It may get a little dire before we pull together, but I think when the prosperous nations, and in particular the US, realise they're wrecking their own kids' lives, there will be a mass change in value. It will be a difficult century, and ugly, but I don't think that in the end people are so stupid as to kill themselves off.”

Kim Stanley Robinson (1952) American science fiction writer

As quoted in "Future tense" in The Guardian (14 September 2005) http://www.guardian.co.uk/books/2005/sep/14/sciencefictionfantasyandhorror.sarahcrown

Money, War, People, Stupidity

“It is above all through landscape that music joins Romantic art and literature.”

Charles Rosen (1927–2012) American pianist and writer on music

Source: The Romantic Generation (1995), Ch. 3 : Mountains and Song Cycles

Art, Music, Literature

“With the blood of Christ to wash away the darkest guilt, and the Spirit of God to sanctify the vilest, and strengthen the weakest nature, I despair of none. Too late! It is never too late. Even old age, tottering to the grave beneath the weight of seventy years and a great load of guilt, may retrace its steps and begin life anew. Hope falls like a sunbeam on the hoary head. I have seen the morning rise cold and gloomy, and the sky grow thicker, and the rain fall faster as the hours wore on; yet, ere he set in night, the sun, bursting through heavy clouds, has broken out to illumine the landscape and shed a flood of glory on the dying day.”

Thomas Guthrie (1803–1873) British divine

Source: The Way to Life: Sermons (1862), P. 273 (The Christian's Triumph).

Life, God, Age, Hope

“Ridgway and I climbed a ladder inside the tower to the belfry, spoke to the sergeant observer there, and looked over the landscape on the German side of the river. Then Ridgway turned to the sergeant and at length asked him to put a mortar concentration on a point of woods a few hundred yards away on the German side. The sergeant, unperturbed, cranked his field telephone and spoke to someone at the mortar position in the fields behind the church. "Joe," he said, "remember the dead horse we used as an aiming point yesterday? This target is about fifty over and 100 left. Ten rounds when you're ready." The rounds were in the air almost at once, and their accuracy was impeccable; but I was far from happy about the way my sergeant had shortcut the standard methods of adjusting fire as prescribed in the mortar manual. Although an artilleryman and not the expert on infantry weapons which Ridgway was, I was sure the "dead horse" method of adjustment was not in the book.”

Maxwell D. Taylor (1901–1987) United States general

Source: Swords and Plowshares (1972), p. 94

Happiness, Books, Way, Horse

“Their fear deepened with the night as they beheld the face of the heavens turning and the mountains and all places rapt from view and all around thick darkness. The very stillness of Nature, the silent constellations in the heavens, the firmament starred with streaming meteors filled them with fear. And as a traveller by night overtaken in some unknown spot upon the road keeps ear and eye alert, while the darkening landscape to left and right and trees looming up with shadows strangely huge do but make heavier the terrors of night, even so the heroes quailed.”
Auxerat hora metus, iam se vertentis Olympi ut faciem raptosque simul montesque locosque ex oculis circumque graves videre tenebras. ipsa quies rerum mundique silentia terrent astraque et effusis stellatus crinibus aether; ac velut ignota captus regione viarum noctivagum qui carpit iter non aure quiescit, non oculis, noctisque metus niger auget utrimque campus et occurrens umbris maioribus arbor, haud aliter trepidare viri.

Gaius Valerius Flaccus book Argonautica

Auxerat hora metus, iam se vertentis Olympi
ut faciem raptosque simul montesque locosque
ex oculis circumque graves videre tenebras.
ipsa quies rerum mundique silentia terrent
astraque et effusis stellatus crinibus aether;
ac velut ignota captus regione viarum
noctivagum qui carpit iter non aure quiescit,
non oculis, noctisque metus niger auget utrimque
campus et occurrens umbris maioribus arbor,
haud aliter trepidare viri.
Source: Argonautica, Book II, Lines 38–47

Fear, Travel, Mountain, Star

“The new discovery that I have made in painting is the following. There are chords of colors, let's say a certain red and green, which move, shimmer when you look at them. Now if you're looking at a tree in a landscape, you can either look at the tree, or at the landscape, but not both, because of the stereoscopic effect. Now, when you are painting something three-dimensional, the chromatic sound which shimmers is the three-dimensional effect of colour, and when you paint a landscape, and the green foliage shimmers a little with the blue sky showing through it, that happens because the green is on a different plane from the sky in nature too. Finding the space-shaping energies of colour, instead of contenting ourselves with a dead chiaroascuro, is our finest task.”

August Macke (1887–1914) German painter of the expressionist group Der Blaue Reiter

in a letter to artist de:Hans Thuar, 1913, from Lake Thun in Switzerland; as quoted by de:Wolf-Dieter Dube, in Expressionism; Praeger Publishers, New York, 1973, p. 145

Color, Nature, Tree, Painting

“Probably even more than the architecture I'd be drawn to landscape. That's my first love, landscape... All kinds of landscape, if it's not cluttered up and vandalised. Yesterday we went out to Blenheim, and I love the flatness and the trees. I like all kinds. And where I'm from, the central valley of Virginia, is not one of the most exciting landscapes in the world, but it's one of the most beautiful. It's very beautiful because it has everything. It has mountains, there are streams, there are fields, beautiful trees. And architecture sits very well in it... And I've always lived in the south of Italy, because it’s more excitable. It's volcanic. The land affects people naturally, that's part of the characteristics, for me, of a people, in a sense.”

Cy Twombly (1928–2011) American painter

Source: 2000 - 2011, Cy Twombly, 2000', by David Sylvester (June 2000), p. 173

Love, People, World, Beauty

“It was no accident that I found my way to Götz at the time [c. 1960-62]. This 'Informal' element runs through every picture I've painted, whether it's a landscape, or a family painted from a photograph, or the Colour Charts or a Grey picture. And so now it is a pursuit of the same objectives by other means... As I now see it, all my paintings are 'Informal'.... except for the landscapes, perhaps... The 'Informal' is the opposite of the constructional quality of classicism – the age of kings, of clearly formed hierarchies.”

Gerhard Richter (1932) German visual artist, born 1932

Source: after 2000, Doubt and belief in painting' (2003), p. 42, note 45 : quote on his period of Informal art

Age, Family, Way, Time

“Peintre Paysagiste des Polders Hollandais', ('Landscape Painter of the Dutch Polders')”

Paul Gabriël (1828–1903) painter (1828-1903)

in, 'Paul Joseph Constantin Gabriël 1828-1903. Colorist van de Haagse School', ed. M. Peters & B. Tempel; exposition catalog - Dordrecht, Dordrechts Museum / Kleef, Stichting B.C. Koekkoek-Huis, Zwolle 1998, p. 46
Paul Gabriël described himself frequently in this way, in French!
undated quotes

“All my early memories are of forms and shapes and textures. Moving through and over the West Riding landscape with my father in his car, the hills were sculptures; the roads defined the forms. Above all, there was the sensation of moving physically over the contours of foulnesses and concavities, through hollows and over peaks – feeling, touching, seeing, through mind and hand and eye. This sensation has never left me. I, the sculptor, am the landscape. I am the form and I am the hollow, the thrust and the contour.”

Barbara Hepworth (1903–1975) English sculptor

Source: 1961 - 1975, Barbara Hepworth, A Pictorial autobiography', 1970, p. 280

Cars, Feeling, Memory

“What we hear about eternal inflation or the string landscape, seems somehow unavoidably to lead to some kind of multiverse. However, it seems to me there is a fundamental problem there. Once of course you have the multiverse, then you can start playing around and try to find probability or getting to the anthropic principle, or whatever. But the point is that the picture is essentially a classical one, and it is difficult to see that if you have many universes, coming essentially with an inflationary state, that there would not be plenty of horizons in this. Now the quantum mechanics of horizons is, I think, perfectly not understood. The simplest example is the black hole, where after all nobody knows really if the problem lies in the singularity or if it lies really already in the horizon.”

François Englert (1932) Belgian theoretical physicist

as quoted in: [Gross, David; Henneaux, Marc; Sevrin, Alexander, eds., The Theory of the Quantum World: Proceedings of the 25th Solvay Conference on Physics, Brussels, Belgium 19-22 October 2011, World Scientific, 2013, 309, https://books.google.com/books/about/The_Theory_of_the_Quantum_World.html?id=0o-6CgAAQBAJ&pg=PA309]

Problem, Thinking, Universe

“It is instinctive to search for something. Abstract art is inherently about the search - and about not finding anything. My gray monochromes have the same illusionistic implications as my landscapes. I want them to be seen as narratives - even if they are narratives of nothingness. Nothing is something. You might say they are like photographs of nothing.”

Gerhard Richter (1932) German visual artist, born 1932

after 2000, Gerhard Richter: An Artist Beyond Isms' (2002)

Art, Search

“I dream of a sculpture in which landscape, architecture and city are one. It might be a city like Marseille, a city steaming with heat which suddenly transmogrifies. I becomes an immense piece of sculpture, a gigantic figure, made up of white blocks and segmented by flat, horizontal terraces, arranged in a bare and motionless landscape.”

Fritz Wotruba (1907–1975) Austrian sculptor (23 April 1907, Vienna – 28 August 1975, Vienna)

circa 1969
Quote of Wotruba in: 'Sculpture of Rotterdam', ed. Jan van Adrichem / Jelle Bouwhuis / Mariëtte Dulle, Center for the Art, 010 Publishers, Rotterdam, 2002, p. 198.

Dreams

“Perhaps the best way to see why anarcho-capitalism would be much more peaceful than our present system is by analogy. Consider our world as it would be if the cost of moving from one country to another were zero. Everyone lives in a housetrailer and speaks the same language. One day, the president of France announces that because of troubles with neighboring countries, new military taxes are being levied and conscription will begin shortly. The next morning the president of France finds himself ruling a peaceful but empty landscape, the population having been reduced to himself, three generals, and twenty-seven war correspondents.”

David D. Friedman book The Machinery of Freedom

Source: The Machinery of Freedom, 1973, p.123

War, World, Peace, Way

“My old landscapes of Pennsylvania are worth so much now that I have to hide them, so I don't get put in an even higher tax bracket. For years nobody would pay a dime for them. They're still the same paintings. They didn't get any better. I treasure them as much as my recent black and white abstracts... My dealer was furious when I showed him my latest works. I'm returning to color. He tells me to ride it out and change when the fashion change. I told him no! I told him I paint each painting from the heart. I have followed my heart all my life.”

Franz Kline (1910–1962) American painter

1959
Quote from a speech of Kline in the jazz club The Five Spot, as quoted in Introduction by David Anram, The Stamp of Impulse, Abstract expressionist prints, David Anram, David Acton, p. 21
1960's

Life, Color, Fashion, Change

“Russian forests crash down under the axe, billions of trees are dying, the habitations of animals and birds are laid waste, rivers grow shallow and dry up, marvelous landscapes are disappearing forever…. Man is endowed with creativity in order to multiply that which has been given him; he has not created, but destroyed. There are fewer and fewer forests, rivers are drying up, wildlife has become extinct, the climate is ruined, and the earth is becoming ever poorer and uglier.”

Anton Chekhov (1860–1904) Russian dramatist, author and physician

Act I
Uncle Vanya (1897)

Bird, Tree, Animals

“What particularly attracted me [in his painting 'Still-life with Musical instruments', 1908 – 1909].... was the materialization of this new space that I felt to be in the offing. So I began to concentrate on still-life's, because in the still-life you have a tactile, I might almost say a manual space... This answered to the hankering I have always had to touch things and not merely see them. It was this space that particularly attracted me, for this was the first concern of Cubism, the investigation of space.... In tactile space you measure the distance separating you from the object, whereas in visual space you measure the distance separating things from each other. This is what led me, long ago, from landscape to still-life.”

Georges Braque (1882–1963) French painter and sculptor

Source: posthumous quotes, Braque', (1968), p. 41

Life, Music, Painting

“Tis night, and the landscape is lovely no more;
I mourn, but you woodlands I mourn not for you!
For spring is returning your charms to restore,
Perfumed with fresh fragrance and glittering with dew.
Nor yet for the ravage of winter I mourn,
Kind nature the embryo blossom shall save;
But when shall spring visit the mouldering urn?”

James Beattie (1735–1803) Scottish poet, moralist and philosopher

The Hermit

Love, Spring, Nature, Winter

“The postwar [WWII] GI Bill of Rights - and the enthusiastic response to it on the part of America's veterans - signaled the shift to the knowledge society. Future historians may consider it the most important event of the twentieth century.
We are clearly in the midst of this transformation; indeed, if history is any guide, it will not be completed until 2010 or 2020. But already it has changed the political, economic and moral landscape of the world.”

Peter F. Drucker (1909–2005) American business consultant

Source: 1990s and later, Post-Capitalist Society (1993), p. 3

World, History, Knowledge, Change

“Merchants and Revolution, dedicated to Stone, comprehensively overturns that judgement. Its author, Robert Brenner, belongs to that rare group of historians who have given their name to a whole literature – the ‘Brenner Debate’ on the origins of agrarian capitalism in Europe recalling the ‘Pirenne Thesis’ of old. His new book, in which the name of Marx is never mentioned but his spirit is omnipresent, transforms the landscape of the English Revolution. Merchants and Revolution is distinguished by three achievements, any one of which would be impressive enough. Together, their combination is an extraordinary feat.”

Perry Anderson (1938) British historian

Spectrum: From Right to Left in the World of Ideas (2005), Ch. 12. "Civil War, Global Distemper, Robert Brenner" (1993; 2005)

Books, Literature

“The whole landscape flashes while the hero now wraps about his body the fleece with its starry tufts of hair, now shifts it to his neck, now folds it upon his left arm.”
Micat omnis ager villisque comantem sidereis totos pellem nunc fundit in artus, nunc in colla refert, nunc implicat ille sinistrae.

Gaius Valerius Flaccus book Argonautica

Source: Argonautica, Book VIII, Lines 122–124

“It must not be supposed that it is always necessary to present our landscapes with an attractive and well-defined arrangement of clouds; on the contrary, it will often happen that the effect of a scene is best emphasized by a mere grey tint representing a covered sky or even a blue, cloudless sky; but this is a very different thing to rendering it as a white blank.”

Alfred Horsley Hinton (1863–1908) British photographer

Source: Practical Pictorial Photography, 1898, Composition and clouds considered as an aid to expression, p. 105

“Ever charming, ever new,
When will the landscape tire the view?”

John Dyer Grongar Hill

Grongar Hill (1727), line 102.

“This observation might be repeated with regard to all objects of the outer world which enter into relation with us. Whether the knowledge of them be of the common-place or of a scientific order matters little. Sensation is its limit, and all objects are known to us by the sensations they produce in us, and are known to us solely in this manner. A landscape is nothing but a cluster of sensations. The outward form of a body is simply sensation; and the innermost and most delicate material structure, the last visible elements of a cell, for example, are all, in so far as we observe them with the microscope, nothing but sensation.”

Alfred Binet (1857–1911) French psychologist and inventor of the first usable intelligence test

Source: The Mind and the Brain, 1907, p. 13-14

World, Knowledge

“None of Nature's landscapes are ugly so long as they are wild.”

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

Source: 1900s, Our National Parks (1901), chapter 1: The Wild Parks and Forest Reservations of the West

Nature

“Like the postcard collages, the colors are shapes in a landscape. In this case [his collage 'Napoleon at Würtsburg'] it is a painting of a landscape, not a photo as in the postcards [collages], and therefore a contrast of the traditional painting and a presentation of literal space on top of depicted space.”

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

1981 - 2008
Source: 'Kelly in conversation, summers 1985 and 1986'; ed. Diane Upright, "Ellsworth Kelly: Works on Paper", Harry N. Inc., Publishers, New York, in association with the Fort Worth Art Museum, New York, 1987 p. 21

Color, Photo, Painting

“Let the picture imitate nothing; let it nakedly present its raison d'être. We should indeed be ungrateful were we to deplore the absence of all those things flowers, or landscape, or faces whose mere reflection it might have been. Nevertheless, let us admit that the reminiscence of natural forms cannot be absolutely banished; not yet, at all events. An art cannot be raised to the level of a pure effusion at the first step.”

Albert Gleizes (1881–1953) French painter

1910s, Du Cubisme (1912)

Art, Flowers, Nature

“I still, when I judge my own pictures (either while I'm working or after I think it's finished) determine if they work in a certain kind of space through shape or color. I think all totally abstract pictures – the best ones that really come off – Newman, Pollock, Noland – have tremendous space; perspective space despite the emphasis on flat surface. For example, in Noland a band of yellow in relation to a band of blue and one of orange can move in depth although they are married to the surface. This has become a familiar explanation, but few people really see and feel it that way.... in my work, because of color and shape a lot is read in the landscape sense..”

Helen Frankenthaler (1928–2011) American artist

Source: 1960s, Interview with Henry Geldzahler', in 'Artforum', 1965, p. 37

People, Color, Way, Feeling

“The landscapes of Ruysdael present the greatest possible contrast to those of Claude, showing how powerfully, from the most opposite directions, genius may command our homage. In Claude's pictures, with scarcely an exception, the sun ever shines. Ruysdael, on the contrary, delighted in, and has made delightful to our eyes, those solemn days, peculiar to his country and to ours, when without storm, large rolling clouds scarcely permit a ray of sunlight to break the shades of the forest.”

John Constable (1776–1837) English Romantic painter

Quote from 'The History of Landscape Painting,' third lecture, Royal Institution (9 June 1836), from notes taken by C.R. Leslie; as quoted in: 'A brief history of weather in European landscape art', John E. Thornes, in Weather Volume 55, Issue 10 Oct. 2000, p. 366-67
1830s, his lectures History of Landscape Painting (1836)

Sun, Country

“I have experienced this country of the great mountains [Switzerland] superb!…. [but] I positively believe that nature, most appropriate to be reproduced in painting, is the modest landscape which seems just ordinarily and very insignificant. (translation from original French: Fons Heijnsbroek)”

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

(original French text:) J'ai trouvé ce pays de grandes montaignes superbe!.. .[mais] Je crois positivement que la nature la plus faite pour être reproduite en peinture, est le paysage modeste et qui parait ordinarement le plus insignificant.
In a letter, 1894; as cited in Willem Roelofs 1822-1897 De Adem der natuur, ed. Marjan van Heteren & Robert-Jan te Rijdt; Thoth, Bussum, 2006, p. 19 - ISBN13 978 90 6868 432 2
late quote of Roelofs, in a letter of his travel with his (painter-)sons to Switzerland
1890's

Mountain, Nature, Painting, Country

“We had a very lovely place [in Ascona with his life-companion Marianne Werefkin ] with a garden directly on the lake. It was on the edge of Ascona. Next to it began the Campagna [landscape], and this Campagna was enchantingly beautiful, like a dream.”

Alexej von Jawlensky (1864–1941) Russian painter

quote from Jawlensky's memoirs, 1936/41: Lebenserinnerungen (Memories) p. 119; as cited in Exile, the Avant-Garde, and Dada: Women Artists Active in Switzerland during the First World War http://www.jstor.org/stable/10.1163/j.ctt1w8h0q1.10, by Isabel Wünsche, p. 66 Jawlensky was very pleased with this move from Zurich to Ascona; Werefkin arranged this family's move after Jawlensky fell gravely ill with the Spanish flu. A few years later Jawlensky would leave here. 1936 - 1941

Love, Life, Beauty, Dreams

“When I attempted, a few minutes ago, to describe our spiritual longings, I was omitting one of their most curious characteristics. We usually notice it just as the moment of vision dies away, as the music ends or as the landscape loses the celestial light. What we feel then has been well described by Keats as “the journey homeward to habitual self.” You know what I mean. For a few minutes we have had the illusion of belonging to that world. Now we wake to find that it is no such thing. We have been mere spectators. Beauty has smiled, but not to welcome us; her face was turned in our direction, but not to see us. We have not been accepted, welcomed, or taken into the dance. We may go when we please, we may stay if we can: “Nobody marks us.” A scientist may reply that since most of the things we call beautiful are inanimate, it is not very surprising that they take no notice of us. That, of course, is true. It is not the physical objects that I am speaking of, but that indescribable something of which they become for a moment the messengers. And part of the bitterness which mixes with the sweetness of that message is due to the fact that it so seldom seems to be a message intended for us but rather something we have overheard. By bitterness I mean pain, not resentment. We should hardly dare to ask that any notice be taken of ourselves. But we pine. The sense that in this universe we are treated as strangers, the longing to be acknowledged, to meet with some response, to bridge some chasm that yawns between us and reality, is part of our inconsolable secret. And surely, from this point of view, the promise of glory, in the sense described, becomes highly relevant to our deep desire. For glory meant good report with God, acceptance by God, response, acknowledgment, and welcome into the heart of things. The door on which we have been knocking all our lives will open at last.”

Clive Staples Lewis (1898–1963) Christian apologist, novelist, and Medievalist

The Weight of Glory (1949)

God, Pain, Secret, World

“Emotional landscapes
They puzzle me
The riddle gets solved and you push me up to this state of emergency
How beautiful to be!
State of emergency
Is where I want to be”

Björk (1965) Icelandic singer-songwriter

"Jóga", from Homogenic (1997)
Songs

Beauty

“We visited Meudon [c.1938] to see Hans Arp and though, to our disappointment, he was not there and his wife, Sofie Täuber showed us his studio. It was very quiet in the room so that one was aware of the movement in the forms... I thought of the poetic idea in [Hans] Arp's sculptures. I had never had any first-hand knowledge of the Dadaist movement, so that seeing his work for the first time freed me of many inhibitions and this helped me to see the figure in landscape with new eyes... Perhaps in freeing himself from material demands his idea transcended all possible limitations. I began to imagine the earth rising and becoming human.”

Barbara Hepworth (1903–1975) English sculptor

Source: 1961 - 1975, Barbara Hepworth, A Pictorial autobiography', 1970, p. 283

Disappointment, Imagination, Idea, Knowledge

“Further developing his first synthesis of a speeding automobile, Balla has arrived at the first plastic complex. This has revealed to us an abstract landscape of cones, pyramids, polyhedrons, spirals of mountains, rivers, lights, shadows. In short, there is a deep analogy between the essential force-lines of speed and the essential force-lines of a landscape.”

Giacomo Balla (1871–1958) Italian artist

The Futurist Reconstruction of the Universe (1915)

Mountain, Light, Speed

“After a volcano has erupted our landscape is filled with silence. A moment ago it was on fire, now the rapid ashes are warming our feet. a moment ago it was dazzlingly light, now it is blessed twilight, kind to our eyes. All is at rest. The volcano is asleep, even our poor nerves are asleep. We are not happy, but we have a momentary peace. A moment ago we have seen the desert of our life in all its appalling vastness, now we see that the desert is in flower. The oases are few are afar between, but they do exist; we know that the desert is vast, but we also know that in the biggest deserts are the most oases. To gain this knowledge we must pay dearly, and an eruption is the price; it is high; but there is no lower one. That is why we should bless the volcanoes, thank them because their glare is so strong and their first so hot. Thank them for having dazzled us, for only then do we acquired our full sight; thank them, too, for having burnt us, for only as burnt children can we warm each other.But moments of peace are short. All other moments are much longer, and to know this is also wisdom. But because they are so short we must life in those moments as thought it were only then we lived. They knew this too.”

Stig Dagerman book A Burnt Child

Source: A Burnt Child (1948), p. 263

Life, Wisdom, Happiness, Children

“In 1907 I was most strongly influenced by Giotto during my first Italian trip, as well as by Etruscan sculpture and the early Etruscan landscape painting in the Vatican library in Rome.”

Max Pechstein (1881–1955) German artist

In his letter in 1920, to de:Georg Biermann; as quoted in Georg Biermann - Max Pechstein, Leipzig 1920, p. 14
Pechstein answers Biermann's question: 'which 'primitives' had influenced him in his early painting style'

Painting

“I find that I have painted my life, things happening in my life — without knowing. After painting the Shell and shingle [c, 1926] many times, I did a misty landscape of the mountain across the lake, and the mountain became the shape of the shingle — the mountain I saw out my window, the shingle on the table in my room. I did not notice that they were alike for a long time after they were painted.”

Georgia O'Keeffe (1887–1986) American artist

1970s, Some Memories of Drawings (1976)

Life, Mountain, Time, Painting

“All I can tell is that they [some small landscapes Bilders painted in Savoy, which were exhibited there] are more blatant than in my studio, and secondly that I have been honored with a pretty good review... the jury found evidence of a thoroughly study and of happy sunlight in my works. They thought that I had to cherish a lot of love for nature, to be able to show it so sensitive.... [I] can not deny that I am very pleased to find that my small paintings have been noticed favorably. And besides that, one will never forget his first review..”

Gerard Bilders (1838–1865) painter from the Netherlands

Bilder's travel to Switzerland with some other artists was the longest travel he ever made in his short life
Source: 1850's, Vrolijk Versterven' (from Bilders' diary & letters), p. 23 - quote in Bilder's letter to his maecenas Johannes Kneppelhout, from Savoy, near Geneva, Switserland, September 1858;

Love, Happiness, Nature, Study

“Shall I now ask these palette-slaves what poetry means, and in how many forms it appears to us? They want to chain her [poetry], just as they are tied up themselves to their master's palette, [or] to some part of the sacred history.... to a folktale.... a miraculous landscape.... or other pompous imaginations.”

Barend Cornelis Koekkoek (1803–1862) painter from the Northern Netherlands

(original Dutch, citaat van B.C. Koekkoek:) Zal ik nu deze palet-slaven vragen, wat poezij is, en onder hoe vele vormen zij zich aan ons vertoont of voordoet? Zij willen haar gekluisterd hebben, evenals zij aan het palet van hun meester gebonden zijn, aan het een of andere gedeelte der gewijde geschiedenis.. ..aan ene volkslegende.. ..een wonder vreemd landschap.. ..en meer andere hoogdravende voorstellingen.
Koekkoek refers to the German painters who rejected the Dutch (often more realistic) landscape-painters, as 'non-poetic' artists]
Source: Herinneringen aan en Mededeelingen van…' (1841), p. 28

Imagination, History, Appearance, Parting

“The spectacular view always made Laing aware of his ambivalent feelings for this concrete landscape. Part of its appeal lay all too clearly in the fact that this was an environment built, not for man, but for man's absence.”

J. G. Ballard book High-Rise

Source: High-Rise (1975), Ch. 2

Feeling, Parting

“I started doing paintings of landscapes in private and wanted to show people what I could do, and to really do that, I needed to do portraits, so I started practising.”

Pricasso (1949) Australian painter

[Lee Rondganger, Artist with unusual technique a Sexpo hit, The Star, South Africa, 28 September 2007, 2, Independent Online]

People, Painting

“A novelist has to enter deeper exile still. In most outward ways the experience was depressive, as many young would-be writers and painters who have ever gone to Greece have discovered. We used to have a nickname for the sense of inadequacy and accidie it produced – the ‘Aegean blues’. One has to be a very complete artist to create good work among the purest and most balanced landscapes on the planet…The Greece of the Islands is Circe still; no place for the artist-voyager to linger long, if he cares for his soul.”

John Fowles book The Magus

Introduction (1977 edition)
The Magus (1965)

Way, Soul, Sense

“Only Bowgentle, the philosopher-poet, his old friend, had an inkling of what he meant and even then Bowgentle believed that it reflected not on the nature of the landscape but on the particular nature of Count Brass’s mind.
“You’re exhausted, disorientated,” Bowgentle would say. “The ordering mechanism of the brain is working too hard, so you see a pattern to existence that, in fact, only stems from your own weariness and disturbance…””

Michael Moorcock book The Sword of the Dawn

Book 1, Chapter 2 “The Flamingoes’ Dance” (p. 261)
The Sword of the Dawn (1968)

Nature

“You drive the landscape like a herd of clouds
Moving against your horizontal tower
Of steadfast speed.
All England lies beneath you like a woman
With limbs ravished
By one glance carrying all these eyes.”

Stephen Spender (1909–1995) English poet and man of letters

"The Midlands Express"
The Still Centre (1939)

Speed

“You must have something new in a landscape as well as something old, something that's dying and something that's being born.”

Andy Goldsworthy (1956) British sculptor and photographer

"Searching for the window into nature's soul" http://www.smithsonianmag.com/smithsonian/issues97/feb97/golds.html Smithsonian magazine (February 1997)

“The simultaneousness of states of mind in the work of art: that is the intoxicating aim of our art... In the pictorial description of the various states of mind of a leave-taking, perpendicular lines, undulating lines and as it were worn out, clinging here and there to silhouettes of empty bodies, may well express languidness and discouragement. Confused and trepidating lines, either straight or curved, mingled with the outlined hurried gestures of people calling to one another will express a sensation of chaotic excitement. On the other hand, horizontal lines, fleeting, rapid and jerky, brutally cutting in half lost profiles of faces or crumbling and rebounding fragments of landscape, will give the tumultuous feelings of the person going away.”

Umberto Boccioni (1882–1916) Italian painter and sculptor

Source: 1912, Les exposants au public', 1912, pp. 47, 49

People, Art, Feeling, Personality

“A wilderness, in contrast with those areas where man and his own works dominate the landscape, is hereby recognized as an area where the earth and its community of life are untrammeled by man, where man himself is a member of the natural community, a wanderer who visits but does not remain and whose travels leave only trails.”

Howard Zahniser (1906–1964) American environmentalist

From an early draft of the Wilderness Act (S. 1176, submitted to the Senate 11 February 1957, as reprinted in The Living Wilderness volume 21, number 59, Winter-Spring 1956-57, p. 26-36)

Life, Travel, Communication, Nature

“The landscape has been so totally changed, the ways of thinking have been so deeply affected, that it is very hard to get hold of what it was like before… It is very hard to realize how total a change in outlook Isaac Newton has produced.”

Hermann Bondi (1919–2005) British mathematician and cosmologist

Hermann Bondi, "Newton and the Twentieth Century—A Personal View" in Let Newton Bel A New Perspective on his Life and Works (1988) R. Flood, J. Fauvel, M. Shortland, R. Wilson p. 241

Way, Thinking, Change

“What makes the Nightmares on Elm Street universal and forever in their attraction, I think, is simply the dream. The landscape of the mind, the subconscious, the nightmare. Everybody has a nightmare, and everybody apparently has falling dreams, and everybody has the drowning dream, and everybody has certain kinds of sexual manifestation dreams, as well as our stress dreams; I didn’t study for the algebra test, I didn’t study for my driving test, you know, all those dreams. I still have those dreams, and it’s just such an interesting thing that our mind can turn against us, our own mind, you know we all have.”

Robert Englund (1947) American actor, voice-actor, singer, and director

Robert Englund On El Rey’s 45 Hour ‘A Nightmare on Elm Street’ Marathon, the Passing of Wes Craven, and the Current State of the Slasher Genre http://bloody-disgusting.com/interviews/3379567/3379567/ (February 12, 2016)

Dreams, Thinking, Study, Universe

“Hence SELECTION in photography, or at least in landscape and some other branches of work, often takes the place of what in painting becomes voluntary COMPOSITION.”

Alfred Horsley Hinton (1863–1908) British photographer

Source: Practical Pictorial Photography, 1898, Methods - The practical application of means to end, p. 28

Painting