Quotes about landscape (478 quotes, page 4)

“After doing the imaginary landscapes until say 1956, in ’57 I came out with the first Burst painting… There was a different type of space than I had ever used and it was a further clarification of what I was trying to do. The thing that was interesting that it was a return to a focal point, but it was a focal point with the kind of space that existed in traditional painting. Because this was like a solitary image or two images that were just floating in the canvas space. They had to hold the space and they also had to create all the movement – that took place within the rectangle.”

Adolph Gottlieb (1903–1974) American artist

Source: 1960s, Interview with Dorothy Seckler, 1967, p. 55-59.

Painting

“First, Mr. President, distinguished colleagues, the facts. About a year ago, the legislative mill nearly came to a halt when the Supreme Court decision on the unconstitutionality of the Priority Development Assistance Fund (PDAF) or the pork barrel system radically altered the budget landscape. Declared as unconstitutional by the High Court were the following, and I quote:”

Francis Escudero (1969) Filipino politician

2014, Speech: Sponsorship Speech for the FY 2015 National Budget

Quotes , Decision

“Even the run-down nature of the high-rise was a model of the world into which the future was carrying them, a landscape beyond technology where everything was either derelict or, more ambiguously, recombined in unexpected but more meaningful ways. Laing pondered this — sometimes he found it difficult not to believe that they were living in a future that had already taken place, and was now exhausted.”

J. G. Ballard book High-Rise

Source: High-Rise (1975), Ch. 16

World , Way , Nature , Future

“Self-satisfaction is scarcely unfamiliar in Europe. But the contemporary mood is something different: an apparently illimitable narcissism, in which the reflection in the water transfigures the future of the planet into the image of the beholder. What explains this degree of political vanity? Obviously, the landscape of the continent has altered in recent years, and its role in the world has grown. Real changes can give rise to surreal dreams, but they need to be calibrated properly, to see what the connections or lack of them might be.”

Perry Anderson (1938) British historian

"Depicting Europe", London Review of Books (20 September 2007)

World , Dreams , Mood , Water

“What relation has a 'doe' to our picture of the world? Does it make any logical, or even artistic, sense, to paint the doe as it appears to our perspective vision, or in a cubistic form because we feel the world cubistically? It feels it as a doe, and its landscape must also be 'doe'… I can paint a picture: the roe; Pisanello has painted such. I can, however, also wish to paint a picture: 'the roe feels'. How infinitely sharper an intellect must the painter have, in order to paint this! The Egyptians have done it. The rose; Manet has painted that. Who has painted the flowering rose? The Indians..”

Franz Marc (1880–1916) German painter

Source: 1915 - 1916, 100 Aphorisms', Franz Marc (1915), p. 445

World , Feeling , Flowers , Sense

“This country [landscape around Honfleur, where Bazille was painting with Monet, circa 1864] is paradise. Nowhere could you find more lush fields with more beautiful trees. Cows and horses roam freely everywhere.”

Frédéric Bazille (1841–1870) French painter

Quote from Bazille's letter to his mother, c. 1864; as quoted in Frédéric Bazille and early Impressionism, Marandel, Daulte et al. p. 166
1861 - 1865

Beauty , Tree , Horse , Painting

“I have bought at Auverse thirty perches of land, all covered with beans, on which I shall plant some legs of mutton when you come to see me. They are building me a studio there, some eight by six meters, with several rooms around it, which will serve me, I hope, next Spring [of 1861]. Father Corot has found Auvers very fine, and has engaged me to fix myself there for a part of the year, wishing to make rustic landscapes with figures. I shall be truly well of there, in the midst of a good farming country, where the ploughs do not yet go by steam.”

Charles-François Daubigny (1817–1878) French painter

Quote in his letter to his friend Frédéric Henriet, https://commons.wikimedia.org/w/index.php?search=Fr%C3%A9d%C3%A9ric+Henriet&title=Special:Search&go=Go&searchToken=dt4h140y68u3oxynlcr55rftr#/media/File:Eaux-fortes._(Frontispiece)_(NYPL_b12616975-1690388).jpg, 1860; as cited in 'Charles-francois Daubigny', by Robert J. Wichenden, in The Century Illustrated Montly Magazine, Vol. XLIV, July 1892, p. 335
Daubigny bought property in Auvers-sur-Oise in 1860; four years later Corot would decorate there his Villa des Vallées, with beautiful murals.
1840s - 1850s

Hope , Spring , Parting , Country

“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.”

Jean Metzinger (1883–1956) French painter

Du Cubisme (1912)

Art , Flowers , Nature

“In our variable climate where [all] the seasons are recognizable in one day, where all the vapoury turbulence involves the face of things, where nature seems to sport in all: her dignity and dispensing incidents for the artist’s study.... how happily is the landscape painter situated, how roused by every change in nature in every moment, that allows no languor even in her effects which she places before him, and demands most peremptorily every moment his admiration and investigation, to store his mind with every change of time and place.”

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

Quote from Turner's lectures, 1811; as cited in Life and Work of J.M.W. Turner, Andrew Wilton; London: Academy Editions, 1979; as quoted in 'A brief history of weather in European landscape art', John E. Thornes, in Weather Volume 55, Issue 10 Oct. 2000, p. 367-368
In 1811 already Turner gave his first lectures as Professor of Perspective; in one of his lectures he spoke of the advantages of the British climate for landscape artists
1795 - 1820

Nature , Sport , Study , Change

“They [Richter always works on a number of his abstract paintings at the same time] feed off one another… At the beginning, I feel totally free, and it's fun, like being a child. The paintings can look good for a day or an hour. Over time, they change. In the end, you become like a chess player. It takes me longer than some people to recognize their quality, their situation - to realize when they are finished. Finally, one day I enter the room and say, 'Checkmate.' Then sometimes I need a break, a quiet job, like a landscape. But I always need to paint abstracts again. I need that pleasure.”

Gerhard Richter (1932) German visual artist, born 1932

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

People , Pleasure , Feeling , Change

““Myth, Symbol, and Tradition” was the phrase I originally wrote at the top of the page, for editors like large, cloudy titles. Then I looked at what I had written and, wordlessly, the words reproached me. I hope I had the grace to blush at my own presumption and their portentousness. How could I, if I lived for a thousand years, attempt to cover more than a hectare of that enormous landscape?
So, I let out the air, in a manner of speaking, dwindled to my appropriate size, and gave myself over to that process which, for lack of a more erudite term, I have coined the phrase “Thinking is linking.” I thought of Kerenyi — “Mythology occupies a higher position in the bios, the Existence, of a people in which it is still alive than poetry, storytelling or any other art.” And of Malinowski — “Myth is not merely a story told, but a reality lived.” And, along with those, the word “Pollen,” the most pervasive substance in the world, kept knocking at my ear. Or rather, not knocking, but humming. What hums? What buzzes? What travels the world? Suddenly I found what I sought. “What the bee knows,” I told myself. “That is what I’m after.”
But even as I patted my back, I found myself cursing, and not for the first time, the artful trickiness of words, their capriciousness, their lack of conscience. Betray them and they will betray you. Be true to them and, without compunction, they will also betray you, foxily turning all the tables, thumbing syntactical noses. For — note bene! — if you speak or write about What The Bee Knows, what the listener, or the reader, will get — indeed, cannot help but get — is Myth, Symbol, and Tradition! You see the paradox? The words, by their very perfidy — which is also their honorable intention — have brought us to where we need to be. For, to stand in the presence of paradox, to be spiked on the horns of dilemma, between what is small and what is great, microcosm and macrocosm, or, if you like, the two ends of the stick, is the only posture we can assume in front of this ancient knowledge — one could even say everlasting knowledge.”

P. L. Travers (1899–1996) Australian-British novelist, actress and journalist

"What the Bee Knows" in Parabola : The Magazine of Myth and Tradition, Vol. VI, No. 1 (February 1981); later published in What the Bee Knows : Reflections on Myth, Symbol, and Story (1989)

People , World , Hope , Art

“Visual delight, sentiment, and exploration become one in the new appreciation of landscape and Nature.”

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

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

Nature

“Our careers aren't paths so much as landscapes that are navigated. We're free agents, entrepreneurs, intrapreneurs -- each with our own unique brand.”

Keith Ferrazzi (1966) American businessman and writer

pg. 17
Never Eat Alone

“Do you consider, my dear maggotty sir [cosy-name for his friend], what a deal of work history pictures require to what little dirty subjects of coal horses and jackasses and such figures as I fill up with; no, you don't consider anything about that part of the story... But to be serious (as I know you love to be), do you really think that a regular composition in the Landskip [landscape] way should ever be filled with History, or any figures but such as fill a place (I won't say stop a gap) or create a little business for the eye to be drawn from the trees in order to return to them with more glee.”

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

Quote from Gainsborough's letter to his friend William Jackson of Exeter, from Bath 23 Aug. 1767; 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. 379 (Appendix A - Letter I)
1755 - 1769

Love , Way , History , Business

“Jumbled black rocks adorned an otherwise pale, flat landscape of salmons and khakis. Mountains rose in distant ridges. Out there in the Namaqua sea, I found myself thinking of South Africa as an island. Like Robinson Crusoe, I was walking its perimeter, noting the extent of my domain, checking for cannibals, finding fresh water. Sure, there were 47 million others who might make such a claim, but theirs were no more valid than mine, only similar. Beating my drum, singing the land, proclaiming it mine from coast to coast.”

Justin D. Fox (1967) South African author, photojournalist, lecturer and editor

The Marginal Safari: Scouting the Edge of South Africa (2010)

Mountain , Thinking , Water , Distant

“I have a garden and across the road, a park. I never go for walks, but I look out the window and 'ask for permission' [to paint the view] as I call it. If I need some green, I find it there. In that sense, I’m a very old-fashioned painter, tied to nature. But I remain modern in that I execute some rather impious structures. I will react if I feel that my paintings, though abstract, become too naturalistic. I have another studio in Italy and I worked a lot there this summer. I still depend on my surroundings, so some of my work was very influenced by the Italian landscape, its olive trees and the very cold green color of the leaves. You could identify the specific landscape in those paintings and it drove me crazy. So I had to destroy them. But even destruction can still help underline what is good about a picture.”

Per Kirkeby (1938–2018) Danish artist

1995 and later, interview in Kirkeby’s home studio, Copenhagen (2012)

Color , Feeling , Fashion , Nature

“Self-destructive addiction is merely the medium for desperate people to internalize their frustration, resistance, and powerlessness. In other words, we can safely ignore the drug hysteria that periodically sweeps through the United States. Instead we should focus our ethical concerns and political energies on the contradictions posed by the persistence of inner-city poverty in the midst of extraordinary opulence. In the same vein, we need to recognize and dismantle the class- and ethnic-based apartheids that riddle the U. S. landscape.”

Philippe Bourgois (1956) American anthropologist

Source: In Search of Respect: Selling Crack in El Barrio (1995), Ch. 9: Conclusion (p. 319)

People

“Ordinarily, when he thought back upon those days, let alone upon his student years and the Bamboo Grove, it had always been as if he were gazing from a cool, dull room out into broad, brightly sunlit landscapes, into the irrevocable past, the paradise of memory. Such recollections had always been, even when they were free of sadness, a vision of things remote and different, separated from the prosaic present by a mysterious festiveness.”

Hermann Hesse book The Glass Bead Game

The Glass Bead Game (1943)

Sadness , Memory , Past

“For every serious attempt to achieve integration of house to site you will find a thousand houses peppering the landscape and clearly demonstrating the builder's total disregard for even the most basic considerations of sun, wind, and view.”

Ken Kern American writer

The Owner Built Home: A How-to-do-it Book (1972)

Sun , Housing

“As I said, in the Fifties I had the 'angst' (= Dutch for 'fear') to survive materialistically. In the city Paris it was a battle. I painted with a knife and called the results 'human landscapes', abstract landscapes with human faces here and there. Today I can do without fight or struggle; every brushstroke now is ready, goes by itself: la peinture depouillé you could say. I discovered that in Picasso's late paintings. You look very closely but there is nothing anymore. He painted here and there a little bit; it is not finished, but once you step back you see a fantastic image, life by itself. I'm not fighting anymore; I'm floating, surfing on the wind.”

Karel Appel (1921–2006) Dutch painter, sculptor, and poet

Source: Karel Appel – the complete sculptures,' (1990), p. 95 'Quotes', K. Appel (1989)

Life , Fear , Fight , Painting

“.. I did a great deal of work [in 1903, Normandy]. And I understood how to transfer nature into colors appropriate to the odor of my soul. I painted a large number of landscapes there, bushes and Breton heads from my window. The pictures were glowing with color. And my inner self was contended.”

Alexej von Jawlensky (1864–1941) Russian painter

Quote of Jawlensky, c. 1903; as cited by de:Wolf-Dieter Dube, in Expressionism; Praeger Publishers, New York, 1973, p. 114
1900 - 1935

Color , Soul , Nature , Painting

“By a common effort, we will soon succeed in tranforming Mecklenburg-Vorpommern and Sachsen-Anhalt, Brandenburg, Sachsen and Thüringen into blossoming landscapes, where it is worth to live and work.”

Helmut Kohl (1930–2017) former chancellor of West Germany (1982-1990) and then the united Germany (1990-1998)

Durch eine gemeinsame Anstrengung wird es uns gelingen, Mecklenburg-Vorpommern und Sachsen-Anhalt, Brandenburg, Sachsen und Thüringen schon bald wieder in blühende Landschaften zu verwandeln, in denen es sich zu leben und zu arbeiten lohnt.
In a television speech about East Germany after the Reunification. (June 1990)

Effort

“Or say it is Pentecost: the hawthorn-tree,
set with coagulate magnified flowers of may,
blooms in a haze of light; old chalk-pits brim
with seminal verdue from the roots of time.

Landscape is like revelation; it is both
singular crystal and the remotest things.
Cloud-shadows of seasons revisit the earth,
odourless myrrh bourne by the wandering kings.”

Geoffrey Hill (1932–2016) English poet and professor

The Mystery of the Charity of Charles Péguy 5.21-29.
Poetry

Flowers , Tree , Light , Time

“To paint an autumn landscape I will not try to remember what colors suit this season, I will only be inspired by the sensation that the season gives me; the icy clearness of the sour blue sky will express the season just as well as the tonalities of the leaves. My sensation itself may vary, the autumn may be soft and warm like a protracted summer or quite cool with a cold sky and lemon yellow trees that give a chilly impression and announce winter.”

Henri Matisse (1869–1954) French artist

Source: 1900s, Notes d'un Peintre (Notes of a Painter) (1908), p. 412

Color , Autumn , Tree , Winter

“In an essay entitled ‘The Poet’, published in 1844, the American writer Ralph Waldo Emerson lamented the narrow definition of beauty subscribed to by his peers, who tended to reserve the term exclusively for the bucolic landscapes and unspoilt pastoral scenes celebrated in the works of well-known artists and poets of the past. Emerson himself, however, writing at the dawn of the industrial age, observing with interest the proliferation of railways, warehouses, canals and factories, wished to make room for the possibility of alternative forms of beauty. He contrasted the nostalgic devotees of old-fashioned poetry with those whom he judged to be true contemporary poetic spirits, deserving of the title less by virtue of anything they had actually written than for their willingness to approach the world without prejudice or partiality. The former camp, he averred, ‘see the factory-village and the railway, and fancy that the beauty of the landscape is broken up by these, for they are not yet consecrated in their reading. But the true poet sees them fall within the great order of nature not less than the beehive or the spider’s geometrical web.”

Alain de Botton (1969) Swiss writer

Source: The Pleasures and Sorrows of Work (2009), p. 216.

Age , World , Beauty , Fashion

“We do not build speedways, but roads which correspond to the character of the German landscape.”

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

Quoted in "Vortrag in der Leipzig-Hochschule am 6.2.1934" in Die Autobahn, 4/1934, p. 125.

“Lately I have been asking for landscape [paintings] with animals, so I have devoted a lot of time this year sketching cows. (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:) In den laatsten tijd vraagt men mij steeds landschap met beesten zoodat ik mij van dit jaar veel op studie van koeijen heb toegelegd.
In a letter of Roelofs to P. verLoren van Themaat, 3 Sept, 1882; Haagsch Gemeente-archief / Municipal Archive of The Hague
1880's

Time , Animals , Painting

“Even in the 1860s and 1870s most Australians did not feel fully at home in their land. So many of them were new migrants, mostly from the British cities, and so they found rural Australia strange and even hostile at first. Above all, in the long European see-saw of ideas and taste, the wilderness and untamed nature were falling somewhat from favour; to be revived late in the century. Attitudes to Australian landscape reflected this see-saw.”

Geoffrey Blainey (1930) Australian historian

A Shorter History of Australia (1994)

Hostility , Feeling , Home , Idea

“This Spring of 1911 Marianne von Werefkin [his former study-mate in Russia and in fact his life-comapnion for many years, but never married] Andrei, Helene and I went to Prerow on the Baltic [coast]. For me that summer meant a great step forward in my art. I painted my finest landscapes there as well as large figure paintings in powerful, glowing colours and not at all naturalistic or objective. I used a great deal of red, blue, orange, cadmium yellow and chromium-oxide green. My forms were very strongly contoured in Prussian blue, and came with tremendous power from an inner ecstasy. 'Der Buckel', 'Violetter Turban', 'Selbstporträt'.... were created in this way. It was a turning-point in my art. It was in these years, up to 1914, just before the war [World War 1. ], that I painted my most powerful works, referred to as the pré-war works.”

Alexej von Jawlensky (1864–1941) Russian painter

Quote c. 1911; in 'Lebenserinnerungen', 1938; as cited in Alexej von Jawlensky, Museum Boymans-van-Beuningen, Rotterdam; exhibition catalog 25/9 – 27/11-1994 (a. o. his life quotes from ['Life Memories'] he dictated late in his life, in 1938)
1900 - 1935

Life , War , World , Art

“A bird's-eye view of centralised and disempowered societies will reveal a strictly rectilinear network of streets, farms, and property boundaries. It is as though we have patterned the earth to suit our survey instruments rather than to serve human or environmental needs. We cannot perhaps blame Euclid for this, but we can blame his followers. The straight-line patterns that result prevent most sensible landscape planning strategies and result in neither an aesthetically nor functionally satisfactory landscape or stretscape. Once established, then entered into a body of law, such inane (or insane) patterning is stubbornly defended. But it is created by, and can be dismantled by, people.”

Bill Mollison (1928–2016) Australian permaculturist

Source: Permaculture: A Designers' Manual (1988), chapter 4.21

People , Law , Bird

“I find some of my new works disturbing, just as I find nature as a whole disturbing. The landscape is often perceived as pastoral, pretty, beautiful – something to be enjoyed as a backdrop to your weekend before going back to the nitty-gritty of urban life. But anybody who works the land knows it's not like that. Nature can be harsh – difficult and brutal, as well as beautiful. You couldn't walk five minutes from here without coming across something that is dead or decaying.”

Andy Goldsworthy (1956) British sculptor and photographer

He's got the whole world in his hands http://www.telegraph.co.uk/culture/art/3663966/Hes-got-the-whole-world-in-his-hands.html, The Telegraph (24 March 2007)

Life , Beauty , Nature , Dead

“I could never be French, I could never become German – I shall always remain American – the essence which is in me is American mysticism just as Davies declared it when he saw those first landscapes.”

Marsden Hartley (1877–1943) American artist

letter to Alfred Stieglitz, February 8, 1913; as quoted in Marsden Hartley, by Gail R. Scott, Abbeville Publishers, Cross River Press, 1988, New York p. 44
1908 - 1920

“The outdoor and indoor works are complementary, although I would have to say that nature, the landscape, the walking, is at the heart of my work and informs the indoor works. But the art world is usually received 'indoors' and I do have a desire to present real work in public time and space, as opposed to photos, maps and texts, which are by definition 'second hand' works. A sculpture feeds the senses at a place, whereas a photograph or text work (from another place) feeds the imagination. For me, these different forms of my work represent freedom and richness – it's not possible to say 'everything' in one way.”

Richard Long (1945) artist

Richard Long, ‎British Council (1994). Richard Long: São Paulo Bienal 1994.
1990s

World , Art , Way , Imagination

“Were there no mysteries in the Bible, we should doubt its being the transcript of the Eternal Mind. The "mystery of godliness" adapts it to our ruined race. Those mysteries of the Bible are like the mountains of the world; they give grandeur to the landscape and fertility to the soil.”

Joseph Dare (reverend) (1831–1880) Australian clergyman

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 422.

World , Mountain

“We underestimate the distance between ourselves and others. Not just inferential distance, but distances of temperament and ability, distances of situation and resource, distances of unspoken knowledge and unnoticed skills and luck, distances of interior landscape.”

Eliezer Yudkowsky (1979) American blogger, writer, and artificial intelligence researcher

Beware of Other-Optimizing (April 2009) http://lesswrong.com/lw/9v/beware_of_otheroptimizing/

Knowledge

“Constable, an admirable man, is one of England's glories. I have already told you about him and about the impression he had made on me when I was making 'The massacre at Chios'. He and Turner were real reformers. They broke out of the rut of traditional landscape painting. Our School [ French Romanticism ], which today abounds in men of talent in this field, profited greatly by their example. Géricault [first leader of French Romanticism, followed by Delacroix after his early death] came back in a daze from seeing one of the great landscapes Constable sent us.”

Eugène Delacroix (1798–1863) French painter

Quote from Delacroix' letter to Théophile Silvestre, Paris, 31 December 1858; as quoted in Eugene Delacroix – selected letters 1813 – 1863, ed. and translation Jean Stewart, art Works MFA publications, Museum of Fine Art Boston, 2001, p. 352
1831 - 1863

Death , Men , School , Painting

“There is only one kind of painting: landscape. It is the most difficult. It has also, I believe, the most simple kind of composition. Because no one can stop us from imagining the world in the way that pleases us most.”

André Derain (1880–1954) French painter and engraver

Quote from Derain's letter to Maurice de Vlaminck, c. 1906; as cited in 'Report: André Derain's 'Trees by a Lake', by Cleo Nisse and Francesca Whitlum-Cooper http://courtauld.ac.uk/wp-content/uploads/2015/06/Report-Derain-by-F-Whitlum-Cooper-and-Cleo-Nisse.compressed.pdf, p. 5

World , Way , Imagination , Painting

“It is so important for me to keep authentic Cuban sounds alive. All of these great artists have changed the landscape of Latin music and it's an honor to have them on this album ["90 Millas," released in September of 2007]. I believe this album will expose a new generation to the richness of Cuban music.”

Gloria Estefan (1957) Cuban-American singer-songwriter, actress and divorciada

news release (July 20, 2007)
2007, 2008

Music , Change

“I painted these 'Variations' [of landscapes] for some years and then I found it necessary to find form for the face, because I had come to understand that great art can only be painted with religious feeling. And that, I could only bring to the human face. I understood that the artist must express through his art, in forms and colours, the divine in him. Therefore a work of art is God made visible and art is 'a longing for God'.
I painted 'faces' for many years. I sat in my studio and painted, and I did not need nature to prompt me. It was enough for me to immerse myself in myself, to pray and prepare my soul to attain a religious state..”

Alexej von Jawlensky (1864–1941) Russian painter

In a letter to the Dutch Fauvist painter Father Verkade, 12 June 1938; as quoted in Alexej Jawlensky, Jürgen Schultze; M. DuMont Schauberg, Cologne 1970, p. 39
1936 - 1941

God , Art , Feeling , Soul

“I see evidence of my own racist brainwashing when exploring the landscape of current foreign policy.”

Margaret Cho (1968) American stand-up comedian

about North Korea
From Her Books, I Have Chosen To Stay And Fight, MENTAL COLONIZATION

“For me Ruisdael is the true man of poetry, the real poet. There is a world of sad, serious and beautiful thoughts in his paintings. They possess a soul and a voice that sounds deep, sad and dignified. They tell melancholic stories, speak of gloomy things and are witnesses of a sad spirit. I see him wander, turned in on himself, his heart opened to the beauties of nature, in accordance with his mood, on the banks of that dark gray stream that rustles and splashes along the reeds. And those skies!... In the skies one is completely free, untied, all of himself.... what a genius he is! He is my ideal and almost something perfect. When it storms and rains, and heavy, black clouds fly back and forth, the trees whiz and now and then a strange light breaks through the air, and falls down here and there on the landscape, and there is a heavy voice, a grand mood in nature; that is what he paints; that is what he [Ruysdael] is imaging.”

Gerard Bilders (1838–1865) painter from the Netherlands

(version in original Dutch / citaat van Bilders' brief, in het Nederlands:) Ruisdael is voor mij de ware man der poezië, de echte dichter. Daar is een wereld van droevige, ernstige schone gedachten in zijn schilderijen. Ze hebben een ziel en een stem, die diep, treurig, deftig klinkt. Zij doen weemoedige verhalen, spreken van sombere dingen, getuigen van een treurige geest. Ik zie hem dwalen, in zichzelf gekeerd, het hart geopend voor de schoonheden der natuur, in overeenstemming met zijn gemoed, aan de oevers van die donkere grauwe stroom die ritselt en plast langs het riet. En die luchten!.. .In de luchten is men geheel vrij, ongebonden, geheel zichzelf.. ..welke een genie is hij [Ruisdael]! Hij is mijn ideaal en bijna iets volmaakts.Als het stormt en regent, en zware, zwarte wolken heen en weer vliegen, de bomen suizen en nu en dan een wonderlijk licht door de lucht breekt en hier en daar op het landschap neervalt, en er een zware stem, een grootse stemming in de natuur is, dat schildert hij, dat geeft hij weer.
Source: 1860's, Vrolijk Versterven' (from Bilders' diary & letters), pp. 51+52, - quote from Bilders' diary, 24 March 1860, written in Amsterdam

World , Sadness , Beauty , Soul

“He looked around the landscape. Drenched in the golden haze of late afternoon it seemed wonderfully tranquil and beautiful, though permeated with a sense of remoteness and even melancholy, like a scene remembered from one’s youth.”

Jack Vance book Space Opera

Source: Space Opera (1965), Chapter 13 (p. 130)

Youth , Beauty , Sense

“Around 1950-51… I was finally getting away from the pictographs and looking for something… So it was necessary to find other forms, a different changed concept. So finally after a certain period of transition I hit on dividing the canvas into two parts, which then became like an imaginary landscape… What I was really trying to do when I got away from the pictographs was to make this notion of the kind of polarity clearer and more extreme. So the most extreme thing that I could think of doing at the time was dividing the canvas in half, make two big divisions and put something in the upper division and something in the lower section. So I painted that way… I would say roughly from 1952 to 56/57. About five years.”

Adolph Gottlieb (1903–1974) American artist

Source: 1960s, Interview with Dorothy Seckler, 1967, p. 55-59.

Way , Thinking , Change , Time

“You see, on the landscape…there's the yelling. Into the chessboard. Upon which is a tent! For the enemy camp! Master plan!”

Rachel Maddow (1973) American journalist

The Rachel Maddow Show MSNBC (26 March 2009)
In response to Michael Steele's defense of his various gaffes as "strategic", during which he mixed several metaphors.

“In her book, Philosophy in a New Key, Susanne Langer remarks that certain ideas burst upon the intellectual landscape with a tremendous force. They resolve so many fundamental problems at once that they seem also to promise that they will resolve all fundamental problems, clarify all obscure issues. Everyone snaps them up as the open sesame of some new positive science, the conceptual center-point around which a comprehensive system of analysis can be built. The sudden vogue of such a grande ideé, crowding out almost everything else for a while, is due, she says, “to the fact that all sensitive and active minds turn at once to exploiting it. We try it in every connection, for every purpose, experiment with possible stretches of its strict meaning, with generalizations and derivatives.””

Clifford Geertz book The Interpretation of Cultures

Source: The Interpretation of Cultures (1973), p. 3

Books , Idea , Problem , Science

“These influences of my young childhood were greatest: 1, the mountain landscape, 2, my father the impossible idealist, and 3, the upringing of a closely-knit Christian home.”

Lin Yutang (1895–1976) Chinese writer

Memoirs of an Octogenarian (1975), pp. 8–9

Home , Mountain , Childhood

“I love what I've learned from my parents, and what I continue here – wandering, Sunday trips out of town, mindfulness with which you can look at plants and animals. I am not interested in that professionally and I have no ambition to classify flora and fauna, but I am enthusiastic about amateur love for nature. Light, air, clouds, landscapes only seem harsh. A lot of beauty can be found in this rawness.”

Tomasz Vetulani (1965) Polish artist

Tomasz Vetulani o Holandii, niskim kraju http://www.nto.pl/apps/pbcs.dll/article?AID=/20110605/REPORTAZ01/762330357, nto.pl, 5 June 2011 (in Polish)

Love , Beauty , Nature , Parent

“But You know, Landscape is my mistress — 't is to her that I look for fame — and all that the warmth of the imagination renders dear to Man.”

John Constable (1776–1837) English Romantic painter

Letter to his future wife, Maria Bicknell (22 September 1812), as quoted in Leslie Parris and Ian Fleming-Williams, Constable (Tate Gallery Publications, London, 1993), p. 23
1800s - 1810s

Imagination

“Most high and important Signor, Having recently obtained a 'Queen of Persia' of some quality, which I thought worthy of appearing before your Highness' [= Prince Philip II] exalted presence, I had her sent, pending the time when other works of mine were drying, to take embassies from me to your Highness, and be company to the landscape and [a] St. Margaret, previously sent by Ambassador [Fransesco] Vargas.... Most high and potent Signor's servant, who kisses your feet, Titiano Vecellio.”

Titian (1488–1576) Italian painter

In a letter to Philip II, then still Prince of Spain, sent from Venice 11th Oct. 1552; as quoted in Titian: his life and times - With some account of his family... Vol. 2. J. A. Crowe & G.B. Cavalcaselle, Publisher London, John Murray, 1877, p. 218
For the first time in the annals of Italian painting history we are informed by this letter about a painting which is nothing more than a landscape! According to reports of visitors [for instance Aurelio Luini ] of Titian's studio, he very probably painted more landscapes, but all of them are perished.
1541-1576

Kiss , Appearance , Time

“.. the paint marks [in Impressionist paintings] placed apparently without order and which suddenly became magnificently ordered if one knew how to make the right distance.... to communicate a deep, sun-drenched image of a stream, landscape or face.... My eyes were popping out of my head.”

Salvador Dalí (1904–1989) Spanish artist

as cited in The Unspeakable confessions of Salvador Dali, Parinaud, ed. W. H. Allen, London 1976, p. 42
Quotes of Salvador Dali, 1971 - 1980, Comment on deviant Dali, les aveux inavouables de Salvador Dali

Communication , Sun , Painting

“I would love to paint a large landscape of Moscow — taking elements from everywhere and combining them into a single picture—weak and strong parts, mixing everything together in the same way as the world is mixed of different elements. It must be like an orchestra... Suddenly I felt that my old dream was closer to coming true. You know that I dreamed of painting a big picture expressing joy, the happiness of life and the universe. Suddenly I feel the harmony of colors and forms that come from this world of joy.”

Wassily Kandinsky (1866–1944) Russian painter

Quote from Kandinsky's letter to Gabriele Münter, June 1916; as cited in lrike Becks-Malorny, Wassily Kandinsky, 1866–1944: The Journey to Abstraction [Cologne: Taschen, 1999], pp. 115, 118
Kandinsky left Münter and Murnau in 1914, because the first World War started and Kandinsky had a Russian nationality
1916 -1920

Love , Life , World , Dreams

“With this recitation of paraphernalia and detritus, O'Brien manages to encapsulate the experience of an army and of a particular war, of a mined and booby-trapped landscape, of cold nights and hot days, of soaking monsoons and rice paddies, and of the possibility of being shot, like Ted Lavender, suddenly and out of nowhere: not only in the middle of a sentence but in the midst of a subordinate clause.”

Francine Prose book Reading Like a Writer

Reading Like a Writer, ch. 3, p. 57 (2006) (referring to a passage in The Things They Carried by Tim O'Brien)

War , Night

“The island lies like a strange, misshapen dagger in the blue Ionian Sea, midway along the Greek and Albanian coastlines.
In the past, it has fallen into the hands of a dozen different nations, from all of which it has absorbed what it found good and rejected the rest, thus keeping its individuality. Unlike so many parts of Greece, it is green and lush, for when it was part of the Venetian empire they used it as their oil store, planting thousands of olive trees, so that now the bulk of the island is shaded by these carunculated giants with their wigs of silvery-green leaves. Between them run the admonishing fingers of black-green cypress, many planted in groves as dowries. All this creates a mystical landscape, bathed in sharp brittle sunlight, orchestrated by the knife-grinder song of the cicadas, framed in the blue, still sea. Of all the wonderful and fascinating parts of the planet I have been privileged to visit, Corfu is the nearest approach to home for me, since it was here, nurtured in sunlight, that my fascination for the living world around me came to fruition.”

Gerald Durrell (1925–1995) naturalist, zookeeper, conservationist, author and television presenter

How to Shoot an Amateur Naturalist (1984)

World , Home , Tree , Past

“Anita, I have just come the comforting conclusion that I'll have to paint acres and acres of water color landscapes before I will look for even a passably fair one. After about ten attempts — I certainly have to laugh at myself — It's like feeling around in the dark — thought I knew what I was going to try to do but I find I don't — and guess I'll only find out by slaving away at it. I feel — like a wreck — Have been working like mad all day — and you know how deliciously disgusted with every thing one can be — when the sun begins to go down — and one has been working ones head off all day. It gives me the sensation I used to have when I was a youngster and was going away from home on the train — It is a very special sort of sick feeling.”

Georgia O'Keeffe (1887–1986) American artist

New York City (February 1916), p. 145
1910s, Letters to Anita Pollitzer' (1916)

Color , Feeling , Home , Water

“How to save the old that's worth saving, whether in landscape, houses, manners, institutions, or human types, is one of our greatest problems, and the one that we bother least about.”

John Galsworthy (1867–1933) English novelist and playwright

Source: Over the River (1933), Ch. 39

Problem , Housing

“Sports' landscape has changed through the years. We have seen the rise of countries we used to beat in the Southeast Asian Games and we are fighting hard just to be able to make it in the middle of the pack.”

Francis Escudero (1969) Filipino politician

"More PSC support for athletes sought", The Standard, 11 September 2015, p. A13.
2015

Game , Sport , Change , Fight

“But this, this which we say before we’re sorry,
This which we live behind our unseen faces,
Is neither dream, nor childhood, neither
Myth, nor landscape, final, nor finished,
For we are incomplete and know no future,
And we are howling or dancing out our souls
In beating syllables before the curtain:
We are Shakespearean, we are strangers.”

Delmore Schwartz (1913–1966) American poet

"Dogs Are Shakespearean, Children Are Strangers" http://poetryfoundation.org/archive/print.html?id=171346
Selected Poems: Summer Knowledge (1959)

Dreams , Soul , Future , Dance

“The landscape of any farm is the owner's portrait of himself.”

Aldo Leopold (1887–1948) American writer and scientist

"The Farmer as a Conservationist" [1939]; Published in The River of the Mother of God and Other Essays by Aldo Leopold, Susan L. Flader and J. Baird Callicott (eds.) 1991, p. 263.
1930s

“Sculpture is, in the twentieth century, a wide field of experience, with many facets of symbol and material and individual calligraphy. But in all these varied and exciting extensions of our experience we always come back tot the fact that we are human beings of such and such a size, biologically the same as primitive man, and that it is through drawing and observing, or observing and drawing, that we equate our bodies with our landscape.”

Barbara Hepworth (1903–1975) English sculptor

Studio International 171 – June 1966, p. 280
1961 - 1975

Drawing

“The merest presence of life, even the smallest possible quantity of volition, desire and intent was enough to reverse the process by which the eternal landscape of hell made itself known.”

Philip K. Dick (1928–1982) American author

Source: Lies, Inc. (1984), Chapter 8 (p. 79)

Life , Hell

“Landscapes are about beauty and death. The only way you can define beauty.... is to know that death is hiding behind it. This is what haunts you when you’re doing a so-called landscape painting.”

Per Kirkeby (1938–2018) Danish artist

as quoted in Per Kirkeby: Paintings and Drawings, Helaine Posner, exhibition catalogue (Cambridge, Massachusetts: MIT List Visual Arts Center, 1992
1965 - 1995

Death , Beauty , Way , Painting

“Early man recognised these lines of force and marked them out on the landscape with, well, any old thing, really—standing stones, ditches, mounds, tumps, sacred wells, and that sort of thing. And, later on, with churches, market crosses, crossroads, and whatnot.”

Stephen R. Lawhead (1950) American writer

Source: The Skin Map (2010), p. 20

“The rhetorical process functioned in many areas other than speech: Curtius wrote about 'rhetorical landscape representations' while Serpieris speaks of 'la retorica al teatro' (the rhetorical use of theatrical space), and music historians have learned that the language and approach of musical theory in the Middle Ages were borrowed directly from medieval grammar and rhetoric.”

Thomas Binkley (1931–1995) lutenist

"The work is not the performance", Companion to Medieval & Renaissance Music. (1997). Oxford University Press. ISBN 0198165404.

Age , Music , Learning

“One day, while I was painting a landscape in the neighbourhood of Algiers [March 1881] I saw a man approaching who seemed to be dressed in purple and cloth-of-gold... When the traveler reached me, my illusion vanished; my emir was nothing but a flea-bitten beggar. The sun, the divine sun had enriched him with its light... It's always the same in Algeria. The magic of the sun transmutes the palm-trees into gold, the water seems full of diamonds and men become the Kings from the East.”

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

Source: 1880's, Renoir – his life and work, 1975, pp. 156-157 : quote, 1881 on the illusion by sunlight, from Renoir et ses amis, Georges Riviere.

Men , Travel , Tree , Light

“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 visitor who does not remain.”

Howard Zahniser (1906–1964) American environmentalist

The Wilderness Act http://www.wilderness.net/nwps/legisact (Public Law 88-577; 16 USC 1131-1136; approved 3 September 1964)

Life , Communication

“By the time I came to England at the age of sixteen I'd seen a great variety of landscapes. I think the English landscape was the only landscape I'd come across which didn't mean anything, particularly the urban landscape. England seemed to be very dull, because I'd been brought up at a much lower latitude — the same latitude as the places which are my real spiritual home as I sometimes think: Los Angeles and Casablanca. I'm sure this is something one perceives — I mean the angle of light, density of light. I'm always much happier in the south — Spain, Greece — than I am anywhere else. The English one, oddly enough, didn't mean anything. I didn't like it, it seemed odd. England was a place that was totally exhausted.”

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

Interviewed by James Goddard and David Pringle (1975)

Age , Angels , Home , Thinking

“A book, like a landscape, is a state of consciousness varying with readers. There exists some book, pamphlet, article in an encyclopaedia, or possibly an old clipping from a newspaper that once set you thinking; there may be many; indeed you may be one of those rare beings with whom a few lines of print are food enough or thought because, as Lamartine says, their thoughts think themselves. The sometimes evocative for you may be poetry, history, philosophy, the sciences, or moral sciences, i. e. the progress of mankind. Some people who go to sleep over a volume will be interested by a review which they think more condensed or better within their reach. Read reviews if they help you to think, that is. to say if they leave in your mind images that will go on living when you have forgotten where they came from. Read a Shakespeare calendar at the rate of four lines a day, if Shakespeare quotations have on you the magic influence they have on some people; read algebra, read the lives of great inventors or of great businessmen, read that kind of books which you and nobody else know to be thought-productive for you.”

Ernest Dimnet (1866–1954) French writer

Source: The Art of Thinking (1928), p. 122

People , Books , Food , History

“At first Laing found something alienating about the concrete landscape of the project — an architecture designed for war, on the unconscious level if no other.”

J. G. Ballard book High-Rise

Source: High-Rise (1975), Ch. 1

War

“I am glad I have that artistic life in me... [I'm] a nobody in my field of art... I don't overestimate myself at all, and that's why I can't get that comfort from my work [landscape painting], which the Great [artists] have in their field of art. What else to say! 50 years after my death!! I laughed about it. Do you think they will remember me after only one year? [after her death] Dear heaven! No, that is really my least concern.”

Marie Bilders-van Bosse (1837–1900) painter from the Netherlands

translation from the original Dutch: Fons Heijnsbroek
version in original Dutch (citaat uit een brief van Marie Bilders-van Bosse, in het Nederlands:) Ik ben blij dat ik dat artistieke leven in mij heb.. ..[ik ben] een prul op mijn gebied.. ..Ik overschat mijzelven niemendal, en daarom kan ik uit mijn werk [landschap-schilderen] niet dien troost putten die de Grooten op een gebied daaruit halen. En verder! 50 jaar na mijn dood!! Ik heb er om gelachen. Denk je dat ze één jaar daarna nog aan mij zullen denken? Lieve hemel! Nee, dat is mijn minste zorg.
Quote from Marie Bilders-van Bosse in her letter from The Hague, 29 March 1896, to her friend Cornelia M. Beaujon-van Foreest; as cited in Marie Bilders-van Bosse 1837-1900 – Een Leven voor Kunst en Vriendschap, Ingelies Vermeulen & Ton Pelkmans; Kontrast ( ISBN 978-90-78215-54-7), 2008, p. 29
Marie wrote her letter shortly after a quarrel with her friend Cornelia

Life , Death , Art , Thinking

“I call to mind a winter landscape in Amsterdam — a flat foreground of waste land, with here and there stacks of timber, like the huts of a camp of some very miserable tribe; the long stretch of the Handelskade; cold, stone-faced quays, with the snow-sprinkled ground and the hard, frozen water of the canal, in which were set ships one behind another with their frosty mooring-ropes hanging slack and their decks idle and deserted, because… their cargoes were frozen-in up-country on barges and schuyts. In the distance, beyond the waste ground, and running parallel with the line of ships, a line of brown, warm-toned houses seemed bowed under snow-laden roofs. From afar at the end of Tsar Peter Straat, issued in the frosty air the tinkle of bells of the horse tramcars, appearing and disappearing in the opening between the buildings, like little toy carriages harnessed with toy horses and played with by people that appeared no bigger than children.”

Joseph Conrad book The Mirror of the Sea

On Amsterdam, Ch. 14
The Mirror of the Sea (1906)

Children , People , Water , Appearance

“Why We See Things and Not the Holes Between Them. We can now attempt an answer to the question why we do so. Two of the factors of organization which we have so far discussed seem to me to be the most important causes of this effect. In the first place, the segregation and unification which occurs will separate areas of different degrees of internal articulation, and according to our law, the more highly articulated ones will become figures, the rest fusing together to form the ground. Look at any landscape photograph. You see the shape of the things, the mountains, and trees and buildings, but not of the sky.”

Kurt Koffka (1886–1941) German psychologist

Source: Principles of Gestalt Psychology, 1935, p. 208-9

Law , Mountain , Question , Tree

“The main lesson that emerges from this volume is that sea level rise, combined with human population growth, urban development in coastal areas, and landscape fragmentation, poses an enormous threat to human and natural well-being in Florida. How Floridians respond to sea level rise will offer lessons, for better or worse, for other low-lying regions worldwide.”

Reed Noss (1952)

[Between the devil and the deep blue sea: Florida’s unenviable position with respect to sea level rise, Climatic Change, 107, 1–2, July 2011, 1–16, https://link.springer.com/article/10.1007/s10584-011-0109-6] (quote from p. 1)

Lying , Nature , Sea

“Five years have passed; five summers, with the length
Of five long winters! and again I hear
These waters, rolling from their mountain-springs
With a sweet inland murmur.—Once again
Do I behold these steep and lofty cliffs,
Which on a wild secluded scene impress
Thoughts of more deep seclusion; and connect
The landscape with the quiet of the sky.”

William Wordsworth book Lyrical Ballads

Stanza 1.
Lyrical Ballads (1798–1800), Lines written a few miles above Tintern Abbey (1798)

Mountain , Spring , Water , Winter

“Keith has one of those all terrain things that will come in so handy when the world ends and we need a nine-thousand -cylinder engine to drive over those hordes of blood-thirsty mutants crawling all over the video-game landscape.”

Daniel Handler book Adverbs

Adverbs (2006), Obviously

World , Game

“It needs but half an eye to see in these latter days that science, the Grand Revelator of modern Western culture, has reached, without having intended to, a frontier. Either it must bury its dead, close its ranks, and go forward into a landscape of increasing strangeness, replete with things shocking to a culture-trammeled understanding, or it must become, in Claude Houghton's expressive phrase, the plagiarist of its own past. The frontier was foreseen in principle very long ago, and given a name that has descended to our day clouded with myth. That name is Babel. For science's long and heroic effort to be strictly factual has at last brought it into entanglement with the unsuspected facts of the linguistic order. These facts the older classical science had never admitted, confronted, or understood as facts. Instead they had entered its house by the back door and had been taken for the substance of Reason itself.”

Benjamin Lee Whorf (1897–1941) American linguist

Source: Language, thought and reality (1956), p. 264.

Understanding , Effort , Science , Past

“Painting is a science and should be pursued as an inquiry into the laws of nature. Why, then, may not a landscape be considered as a branch of natural philosophy, of which pictures are but experiments?”

John Constable (1776–1837) English Romantic painter

Quote from 'The History of Landscape Painting,' fourth lecture, Royal Institution (16 June 1836), from John Constable's Discourses, ed. R.B. Beckett, (Ipswich, Suffolk Records Society, 1970), p. 69.
1830s, his lectures History of Landscape Painting (1836)

Law , Nature , Science , Painting

“One such evolutionary system, or ridge, encompasses panhuman emotional faculties, or affective "programs." These include the basic, or primary, emotions that Darwin first identified: surprise, fear, anger, joy, sadness, disgust, and perhaps contempt. Certain reactions characteristic of the neurophysiology of surprise and fear are already evident in reptiles, and the other primary emotions are at least apparent in monkeys and apes. Then there are the secondary, mostly "social" emotions, such as anxiety, grief, guilt, pride, vengeance, and love. These may be unique to humans-hence, at the lower level in our evolutionary mountain landscape and somewhat more liable to cultural manipulation and variation than the primary, "Darwinian" emotions. Thus, only humans seek revenge or redemption across lifetimes and generations, whatever the cost, although the nature of the deeds that trigger insult or remorse may vary considerably across societies, and the means to counter them may range even wider.”

Scott Atran (1952) Anthropologist

Introduction: an evolutionary riddle, p. 11
In Gods We Trust: The Evolutionary Landscape of Religion (2002)

Love , Sadness , Fear , Mountain

“To be sure Mr. President, distinguished colleagues, this landmark decision will significantly alter the budget landscape if Congress is to make the 2015 GAA compliant with the Supreme Court decision. After all, this controversial ruling upheld the legislative power of the purse by clipping the powers of the President to unilaterally realign savings in the national budget to any item, whether in the executive, legislative, or judiciary, sans any legislative imprimatur.”

Francis Escudero (1969) Filipino politician

2014, Speech: Sponsorship Speech for the FY 2015 National Budget

Decision

“I am quite incapable of doing them [making landscapes], even the shadow. My trees look like spinach and my sea like heaven knows what.... [the Mediterranean landscape was] the devil to paint, precisely because it is so beautiful.”

Henri de Toulouse-Lautrec (1864–1901) French painter

young Lautrec comments his own paintings of the landscape, when he was c. 15 years old.
Source: 1879-1884, T-Lautrec, by Henri Perruchot, p. 46 - remark to his friend Etienne Devismes - in Nice, 1879

Beauty , Tree , Painting , Sea

“This is continuity, you travel, perhaps in your mind, a paper world real, God reeling up and down landscapes and buildings, knocks down, opens new roads, doesn’t like it, changes again, but there isn’t a seam, His world is onefold, and you perceive neither seam nor contradiction, continuity only.”

Dimitris Lyacos (1966) Greek writer

Source: Poena Damni Z213: Exit, Shoestring Press, 2010.

God , World , Travel , Change

“The pictures [De Kooning had] done since the 'Women', they're emotions, most of them. Most of them are landscapes and highways and sensations of that, outside the city – with the feeling of going to the city or coming from it. I am not a pastoral character. I'm not a – how do you say that? – 'country dumpling'. I am here and I like New York City. But I love to go out in a car… I'm just crazy about going over the roads and highways.”

Willem de Kooning (1904–1997) Dutch painter

Interview conducted by David Sylvester for the BBC, 1962; as quoted in Abstract Expressionism: Creators and Critics, edited by Clifford Ross, Abrahams Publishers, New York 1990, p. 48.
1960's

Love , Women , Cars , Feeling

“Reading is merely a surrogate for thinking for yourself; it means letting someone else direct your thoughts. Many books, moreover, serve merely to show how many ways there are of being wrong, and how far astray you yourself would go if you followed their guidance. You should read only when your own thoughts dry up, which will of course happen frequently enough even to the best heads; but to banish your own thoughts so as to take up a book is a sin against the holy ghost; it is like deserting untrammeled nature to look at a herbarium or engravings of landscapes.”

Arthur Schopenhauer book Parerga and Paralipomena

Vol. 2, Ch. 22, § 261
Variant translations:
Reading is thinking with some one else's head instead of one's own.
As translated by T. Bailey Saunders
Reading is equivalent to thinking with someone else’s head instead of with one’s own.
Parerga and Paralipomena (1851), Counsels and Maxims

Books , Way , Nature , Thinking

“The kinds of landscape I try to find in my films…exist only in our dreams. For me a true landscape is not just a representation of a desert or a forest. It shows an inner state of mind, literally inner landscapes, and it is the human soul that is visible through the landscapes presented in my films.”

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

Herzog on Herzog (2002)

Dreams , Soul

“Our sensuous appreciation of the world and of the works created by man has, no doubt, a biological foundation, one shared by all human beings, but that is no use to us when we try to evaluate a Bach fugue or a Dostoevsky novel-or even the simple experience of a landscape, as our delight in the view of a mountain or a waterfall is also determined by the traditions of our culture. The coexistence of different criteria of judgment is, in any case, by now a fact of life. Beethoven cannot be judged or even understood by the standards of Mozart, however much he may have continued them, nor Berg by the standards of Wagner or Richard Strauss, nor Elliott Carter by the values of Ives and Stravinsky.”

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

Source: The Frontiers of Meaning: Three Informal Lectures on Music (1994), Ch. 1 : The Frontiers of Nonsense

Life , World , Mountain

“The vertical is in my spirit. It helps me to define precisely the direction of lines, and in quick sketches I never indicate a curve, that of a branch in landscape for example, without being aware of its relationship to the vertical.
My curves are not mad.”

Henri Matisse (1869–1954) French artist

La verticale est dans mon esprit. Elle m'aide à préciser la direction des lignes, et dans mes dessins rapides je n'indique pas une courbe, par exemple, celle d'une branche dans un paysage, sans avoir conscience de son rapport avec la verticale.
Mes courbes ne sont pas folles.
1940s, Jazz (1947)

Help , Madness

“In all there are four arguments here for the multiverse: the failure of conventional methods for understanding why the cosmological constant is not large, the success of the environmental theories for doing so, the successful prediction of the nonzero cosmological constant, and the string landscape.”

Joseph Polchinski (1954–2018) physicist working on string theory

[Why trust a theory? Some further remarks (part 1)., arXiv.org, 2016, http://arxiv.org/abs/1601.06145] (p. 4)

Failure , Understanding , Success

“[a landscape painter cannot do with] being stupid-natural…. all that art would be [made] in vain if the feeling stayed away. (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:) Het doel, het streven van de kunst, is als dat van de muziek, te ontroeren; in onze geest gewaarwordingen te doen ontstaan..
[een landschapschilder kan niet volstaan met] stom-natuurlijk te zijn.. ..al die kunst zou ijdel zijn, als het gevoel weg bleef.
2 short quotes of W. Roelofs in a letter to his pupil , 8 June 1886; as cited in Willem Roelofs 1822-1897. De adem der natuur, ed. M. van Heteren and R. te Rijdt; exposition catalog of Museum Jan Cunen, Oss / Kunsthal Rotterdam, 2006, p. 50
1880's

Stupidity , Art , Feeling , Nature

“It is in a sculptor's interest that there should exist a close relationship between his art and that of the poet. Otherwise, his sculpture may lack human or emotional content and become too strictly architectural. We sculptors pay a heavy price for the limited freedom that we enjoy as a result of our being able to create in three dimensions; we must sacrifice color and whole realms of subject matter, such as landscape, that scarcely lend themselves to a representation in three dimensions.”

Ossip Zadkine (1890–1967) French sculptor

c. 1960, in France
Source: 1960 - 1968, Dialogues – conversations with.., quotes, c. 1960, p. 153

Art , Color , Freedom

“Nevertheless I like being in Norway [to escape the Nazi threat Schwitters fled to Norway, c. 1937], for it is a country of unparalleled beauty... I paint landscapes and portraits, model portrait, glue and paint abstract pictures and glue abstract plastic art; besides, I write poetry in German... What distresses me most of all is that I cannot live in my 'Merzraum' [a sculptured studio-space, Schwitters had built in Germany in the 1920's, but bomb-damaged in the war] and that it may be given up to destruction. For that reason I ask you once more, can you keep your ear to the ground again, to see if anyone in America is willing to give me an opportunity to shape a three-dimensional room?”

Kurt Schwitters (1887–1948) German artist

In a letter to w:Galka Scheyer, 24 July 1937; as quoted in I is Style, ed. Siegfried Gohr & Gunda Luyken, Stedelijk Museum Amsterdam, NAI Publishers, Rotterdam 2000, p. 41.
1930s
Source: http://www.sprengel-museum.de/bilderarchiv/sprengel_deutsch/fotos/merzbau1933_530.jpg

War , Beauty , Art , Painting

“I've spent most of the last few days looking at information to help me reimagine… a history… that digs into the stratum below the ones that carry wars or political affairs… many of the questions are new. …they have to do with our interaction with our ecological landscape, with what we might call the "natural West," as both idea in the mind and as tangible rock, grass, and flesh…”

Dan Flores (1948) American historian

The Natural West: Environmental History in the Great Plains and Rocky Mountains (2003)

War , History , Idea , Question

“Not only the Greeks in general — Aristotle no less than Plato — but the great medieval thinkers as well, all held that there was an element of purely receptive "looking," not only in self-perception but also in intellectual knowing or, as Heraclitus said, "Listening-in to the being of things."
The medievals distinguished between the intellect as ratio and the intellect as intellectus. Ratio is the power of discursive thought, of searching and re-searching, abstracting, refining, and concluding [cf. Latin dis-currere, "to run to and fro"], whereas intellectus refers to the ability of "simply looking" (simplex intuitus), to which the truth presents itself as a landscape presents itself to the eye.”

Josef Pieper (1904–1997) German philosopher

Source: Leisure, the Basis of Culture (1948), Leisure, the Basis of Culture, p. 11

Truth , Search

“In our private conversations, Judge Cedarbaum has pointed out to me that seminal decisions in race and sex discrimination cases have come from Supreme Courts composed exclusively of white males. I agree that this is significant but I also choose to emphasize that the people who argued those cases before the Supreme Court which changed the legal landscape ultimately were largely people of color and women.”

Sonia Sotomayor (1954) U.S. Supreme Court Justice

Address to the Raising the Bar symposium (2001)

Women , People , Sex , Color

“God never made an ugly landscape. All that the sun shines on is beautiful, so long as it is wild.”

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

pages 16-21 (at page 16)
1890s, The National Parks and Forest Reservations, 1895

God , Beauty , Sun

“You probably think that my future landscapes will be soaked in pessimism, so to speak? Don’t worry, I love nature too much.”

Isaac Levitan (1860–1900) Russian artist

Letter to Sergei Diaghilev, quoted on The Arts Desk http://www.theartsdesk.com/visual-arts/theartsdesk-moscow-isaac-levitan-tretyakov-gallery

Love , Nature , Thinking , Future

“I work like a gang of slaves; the day seems five months long. My wish to make a winter landscape has become a fixed idea. I want to do a sheep picture and have all sorts of projects in my head. If you could see how beautiful the forest is! I rush there at the end of the day, after my work, and I come back every time crushed. It is so calm, such a terrible grandeur, that I find myself really frightened. I don't know what those fellows, the trees, are saying to each other.... we don't know their language, that is all; but I am quite sure of this - they do not make puns!.... Send [me] 3 burnt sienna, 2 raw ditto, 3 Naples's yellow, 1 burnt Italian earth, 2 yellow ocher, 2 burnt umber, 1 bottle of raw oil.”

Jean-François Millet (1814–1875) French painter

Quote of Millet, in his letter from Barbizon, c. 1850 to fr:Alfred_Sensier in Paris; as cited by Arthur Hoeber in The Barbizon Painters – being the story of the Men of thirty https://ia902205.us.archive.org/30/items/barbizonpainters00hoeb/barbizonpainters00hoeb.pdf – associate of the National Academy of Design; publishers, Frederick A. Stokes Company, New York 1915, p. 38
In 1850 Millet entered into an arrangement with Alfred Sensier, who provided him with materials and money in return for drawings and paintings (source: Murphy, Alexandra R. Jean-François Millet. Museum of Fine Arts, Boston, 1984, p. xix), see: Wikipedia, Millet
1835 - 1850

Beauty , Idea , Tree , Winter

“Hullo! What's this? What are these funny brown-and-olive landscapes doing in an impressionist exhibition? Brown! I ask you? Isn't it absurd for a man to go on using brown and call himself an impressionist painter?”

Frank Rutter (1876–1937) British art critic

Rutter, Frank. Art in My Time, p. 111. Rich & Cowan, London, 1933.
Rutter satirising the reaction of fans of impressionist art on seeing Cézanne's work in London in 1905.