Quotes about landscape (478 quotes, page 5)

“At that time [c. 1904 – 1905] I tried, by means of lines and by distribution of mottled points of colours [in his tempera painting on paper: 'Russian Beauty in a Landscape', 1905] to express the musical spirit of Russia. Other pictures of that period reflected the contradictions and later the eccentricities of Russia.”

Wassily Kandinsky (1866–1944) Russian painter

Source: 1916 -1920, Autobiography', 1918, p. 29

Beauty , Music , Time , Painting

“Among the many senses that modern painters have lost, we must number the sense of architecture. The edifice accompanying the human figure, whether alone or in a group, whether in a scene from life or in an historical drama, was a great concern of the ancients. They applied themselves to it with loving and severe spirit, studying and perfecting the laws of perspective. A landscape enclosed in the arch of a portico or in the square or rectangle of a window acquires a greater metaphysical value, because it is solidified and isolated from the surrounding space. Architecture completes nature.”

Giorgio de Chirico (1888–1978) Italian artist

1920
as quoted in Artists on Art – from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, pp. 440-441
1908 - 1920, On Mystery and Creation, Paris 1913

Love , Life , Law , Nature

“Here are 3 drawings that I have made for You. It will be satisfactory, if it will meet your expectation and what it is for [to make a painting]. The two landscapes are thoughts, but the one that suggests the moonlight is the castle at Doorenwaart in Gelderland. I also painted a painting of that subject which I enjoyed a lot in Amsterdam [because, purchased there by A. B. Roothaan there] (translation from original Dutch: Fons Heijnsbroek)”

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

(original Dutch, citaat van Schelfhout, uit zijn brief:) Hierbij 3 teekeningen die ik voor UE. Vervaardigd hebt, het zal mij genoegelijk zijn, indien dezelve aan uwe verwachting en aan het [doel], waar voor zie dienen moeten [voor het maken van een schilderij], zullen beantwoorden. De 2 landschapjes zijn gedachten, maar het gene dat het maanlicht voorsteld, is het kasteel te Doorenwaart in Gelderland. Ik heb ook van dat zelve onderwerp een schilderij geschilderd waar van ik veel genoege gehad heb te Amsterdam [aangekocht door A. B. Roothaan aldaar]
Quote of Schelfhout in his letter to , 2 Dec. 1823; as cited in Andreas Schelfhout - landschapschilder in Den Haag, Cyp Quarles van Ufford, Primavera Pers, (ISBN 978-90-5997-066-3), Leiden, p. 49

Drawing , Painting

“There is in the lovely Martian landscape not a footprint, not an artifact, not even an old beer can, not a blade of grass, not a kangaroo rat, not even, so far as we can tell, a microbe. Mars and the Moon and Venus… the only planets that we've landed on—are utterly lifeless. …in our solar system we may discover that there is life only on this world. This says that life is not guaranteed, that life requires something special, something improbable.”

Carl Sagan (1934–1996) American astrophysicist, cosmologist, author and science educator

The Varieties of Scientific Experience: A Personal View of the Search for God (2006)

Love , Life , World , Beer

“Beforehand I don't make any drawing of the object or objects which I want to paint on the canvas or panel.... but I start directly to situate the designed plan on the canvas - After having thoroughly sketched and thought over my composition, especially the arrangement of light and dark, I start to paint it broadly with oil-paint and try as much as possible to achieve the hue or the colouring, in which I want to see my landscape.... when it is definitely completed.”

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

(original Dutch, citaat van B.C. Koekkoek:) Ik maak vooraf geene tekeningen van het voorwerp of de voorwerpen, die ik op het doek of paneel wil schilderen.. ..maar begin dadelijk het ontworpen plan op het doek te plaatsen – Na mijne compositie eerst behoorlijk geschetst en beredeneerd te hebben, voornamelijk de schikking van licht en donker, begin ik dezelve met olieverw breed te schilderen, zoveel trachtende de tint of het coloriet er in te brengen, in welke ik mijn landschap.. ..wil gezien hebben.. ..als het geheel afgeschilderd is.
Source: Herinneringen aan en Mededeelingen van…' (1841), p. 98-99

Light , Drawing , Painting

“Father Latour judged that, just as it was the white man's way to assert himself in any landscape, to change it, make it over a little (at least to leave some mark of memorial of his sojourn), it was the Indian's way to pass through a country without disturbing anything; to pass and leave no trace, like fish through the water, or birds through the air.
It was the Indian manner to vanish into the landscape, not to stand out against it. The Hopi villages that were set upon rock mesas were made to look like the rock on which they sat, were imperceptible at a distance.”

Willa Cather book Death Comes for the Archbishop

Book VII, Ch. 4
Death Comes for the Archbishop (1927)

Way , Bird , Fish , Water

“Looking eastward from the summit of Pacheco Pass one shining morning, a landscape was displayed that after all my wanderings still appears as the most beautiful I have ever beheld. At my feet lay the Great Central Valley of California, level and flowery, like a lake of pure sunshine, forty or fifty miles wide, five hundred miles long, one rich furred garden of yellow Compositae. And from the eastern boundary of this vast golden flower-bed rose the mighty Sierra, miles in height, and so gloriously colored and so radiant, it seemed not clothed with light but wholly composed of it, like the wall of some celestial city…. Then it seemed to me that the Sierra should be called, not the Nevada or Snowy Range, but the Range of Light. And after ten years of wandering and wondering in the heart of it, rejoicing in its glorious floods of light, the white beams of the morning streaming through the passes, the noonday radiance on the crystal rocks, the flush of the alpenglow, and the irised spray of countless waterfalls, it still seems above all others the Range of Light.”

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

The Yosemite http://www.sierraclub.org/john_muir_exhibit/writings/the_yosemite/ (1912), chapter 1: The Approach to the Valley
1910s

Beauty , Color , Flowers , Light

“Each mountain ridge in this landscape has a distinct contour, with various peaks whose heights reflect evolutionary time. That is, within humankind's evolutionary landscape there are several naturally selected systems that contribute to channeling human experience toward religious paths. In the processing of human experience, these systems, and their components, interact and develop interrelated functions - as do geological, hydrological, and organic systems in the drainage process.”

Scott Atran (1952) Anthropologist

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

Mountain , Nature , Time

“I have been living a hermit-life, though always with my pencil in my hand... How much real delight have I had with the study of landscape this summer! Either I am myself improved in the art of seeing nature, which Sir Joshua call painting, or nature has unveiled her beauties to me less fastidiously. Perhaps there is something of both, so we will divide the compliment.”

John Constable (1776–1837) English Romantic painter

Quote from Constable's letter to Rev. John Fisher (22 July 1812), as quoted in Richard Friedenthal, Letters of the great artists – from Blake to Pollock (Thames and Hudson, London, 1963), p. 40
1800s - 1810s

Life , Beauty , Art , Nature

“The vastest point, the center, the infinity — Faëry, where the gigantic heroes ride across endless landscapes and sail sea upon sea and there is no end to possibility — that circle is so tiny it has no doors at all.”

John Crowley (1942) American writer

Bk. 6, Ch. 4
Little, Big: or, The Fairies' Parliament (1981)

Sea

“The nation’s economy is not just the sum of its individuals. It is an interwoven context that we all share. To stabilize that communal landscape, sometimes you have to shower money upon those who have been foolish or self-indulgent. The greedy idiots may be greedy idiots, but they are our countrymen. And at some level, we’re all in this together. If their lives don’t stabilize, then our lives don’t stabilize.”

David Brooks (1961) American journalist, commentator and editor

David Brooks. "Money for Idiots," http://archive.li/EzXTi The New York Times, 19 February 2009.
2000s

Money , Communication

“In 1913 I had the happy idea to fasten a bicycle wheel to a kitchen stool and watch it turn. A few months later I bought a cheap reproduction of a winter evening landscape, which I called 'Pharmacy' after assign two small dots, one red and one yellow, in the horizon. In New York in 1915 I bought at a hardware store an snow shovel on which I wrote 'In advance of the broken arm'. It was around that time that the word 'Readymade' came to mind to designate this form of manifestation.”

Marcel Duchamp (1887–1968) French painter and sculptor

1951 - 1968, Apropos of Ready Mades', 1961

Idea , Winter , Time , Happiness

“I loved to talk about music to Nicky … His influence came from people like The Beatles and The Beach Boys, and he had these ideas about layering vocals, painting landscapes with music. Roma knew about Irish mythology, told stories, wrote poetry and had this special feeling for lyrics. My grounding came from the classics.”

Enya (1961) Irish singer, songwriter, and musician

Women's Weekly interview (2006)

Love , People , Music , Feeling

“For decades engineers have stood accused that their buildings do not have any cultural value. We have attempted to liberate engineering of this accusation. As National Socialists we are dedicated to working with boldness, but also with love of the Volk and our landscape in mind. These roads do not serve transportation alone, they also bind our Fatherland. In these highways our engineering will reflect the National Socialist movement.”

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

Quoted in "Deutsche Technik", June 1935, p. 270.

Love

“It is only in appearance that time is a river. It is rather a vast landscape and it is the eye of the beholder that moves.”

Thornton Wilder book The Eighth Day

The Eighth Day (1967)

Appearance , Time

“The road to death is a long march beset with all evils, and the heart fails little by little at each new terror, the bones rebel at each step, the mind sets up its own bitter resistance and to what end? The barriers sink one by one, and no covering of the eyes shuts out the landscape of disaster, nor the sight of crimes committed there.”

Katherine Anne Porter (1890–1980) American journalist, essayist, short story writer, novelist, and political activist

"Pale Horse, Pale Rider" (1939)

Death , Evil , Heart

“The house - a substantial but essentially modest suburban villa - was furnished with voluptuous grandeur in approximations of various styles, predominantly those of several Louis, with late nineteenth- and early twentieth-century additions. Heavy coloured glass ashtrays of monstrous size and weight rested in inlaid marquetry tables of vaguely Pompadour associations. At dinner we drank champagne from ruby Bohemian glasses: the meat was carved at a Boulle-type sideboard. ‘Regency’ wallpaper of dark green and lighter green stripes was partially covered by gilt-framed landscapes of no style whatsoever.”

Anita Brookner (1928–2016) British novelist and art historian.

A Friend From England (1987)

Housing

“Today, as change speeds up, it’s even more important to anticipate how your company’s strategic landscape is changing. It won’t help you to predict the future with 100% accuracy. But it will prepare you to exploit change.”

Adrian Slywotzky (1951) American economist

Source: Profit Patterns (1999), p. 2.

Change , Future , Help , Speed

“The suicidally disgruntled were legion, And their enemies included any and all Americans, Brits, Canadians, Danes, et cetera; or, conversely, all Moslems, dark-skinned people, non-English-speakers, immigrants; all Catholics, fundamentalists, atheists; all liberals, all conservatives…For such people the consummate act of moral clarity was a lynching or a suicide bombing, a fatwa or a pogrom. And they were ascendant now, rising like dark stars over a terminal landscape.”

Robert Charles Wilson book Spin

Source: Spin (2005), p. 191

People , Star , Suicide

“On eroding, ecologically degraded, increasingly toxic landscapes, worked by failing or subsidy-dependent farmers and by the cheap labor of migrants, we have erected the tottering tower of "agribusiness," which prospers and "feeds the world" (incompletely and temporarily) by undermining its own foundations.”

Wendell Berry (1934) author

Citizenship Papers (2003), A Citizen's Response

World , Dependency

“Rolling Stone: It's been 10 years since the Macintosh was introduced. When you look around at the technological landscape today, what's most surprising to you?
Jobs: People say sometimes, "You work in the fastest-moving industry in the world." I don't feel that way. I think I work in one of the slowest. It seems to take forever to get anything done. All of the graphical-user interface stuff that we did with the Macintosh was pioneered at Xerox PARC [the company's legendary Palo Alto Research Center] and with Doug Engelbart at SRI [a future-oriented think tank at Stanford] in the mid-'70s. And here we are, just about the mid-'90s, and it's kind of commonplace now. But it's about a 10-to-20-year lag. That's a long time.”

Steve Jobs (1955–2011) American entrepreneur and co-founder of Apple Inc.

1990s

People , World , Way , Feeling

“A tear that trembles for a little while
Upon the trembling eyelid, till the world
Wavers within its circle like a dream,
Holds more of meaning in its narrow orb
Than all the distant landscape that it blurs.”

Henry Van Dyke (1852–1933) American diplomat

Dulciora, st. 1 (1872).

World , Dreams , Tear , Distant

“Given the external benefits higher education creates, it is efficient that taxpayers subsidies should be a permanent part of the landscape.”

Nicholas Barr (1943) British economist

Source: Economics Of The Welfare State (Fourth Edition), Chapter 14, Higher Education, p. 329

Education , Parting

“In Antwerp I did not even know what the Impressionists were, now I have seen them and though not being one of the club, yet I have much admired certain Impressionist pictures – Degas, nude figure – Claude Monet, landscape. And now for what regards what I myself have been doing, I have lacked money for paying models, else I had entirely given myself to figure painting but I have made a series of colour studies in painting simply flowers, red poppies, blue corn flowers and myosotys. White and rose roses, yellow chrysantemums – seeking oppositions of blue with orange, red and green, yellow and violet, seeking THE BROKEN AND NEUTRAL TONES to harmonise brutal extremes. Trying to render intense COLOUR and not a grey harmony.”

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

Quote of Vincent van Gogh in his letter to Horace Mann Livens, from Paris, September or October 1886; from letter 569 - vangoghletters online http://vangoghletters.org/vg/letters/let569/letter.html
1880s, 1886

Money , Flowers , Study , Painting

“(The processes are) doubly ruinous: they impoverish the earth by hastily removing, for the benefit of a few generations, the common resources which, once expended and dissipated, can never be restored; and second, in its technique, its habits, its processes, the paleotechnic period is equally inimical to the earth considered as a human habitat, by its destruction of the beauty of the landscape, its ruining of streams, its pollution of drinking water, its filling the air with a finely divided carboniferous deposit, which chokes both life and vegetation.”

Lewis Mumford (1895–1990) American historian, sociologist, philosopher of technology, and literary critic

"The Theory and Practice of Regionalism" in The Sociological Review, vol. 20, nos. 1 and 2, 1928.

Life , Beauty , Drink , Water

“I have a whole series of pictures that are, I mean in a sense, landscapes. Well, I wouldn't hold the landscape in front of me and translate it more abstractly into the painting, no. But I would - again in that American expedient thing you [Barbara Rose, earlier in the interview] were talking about - thinking ideas in my language. Sort of like today. 'Hm, bunch of roses', hm. 'Flags out the window', hm.... But once it got down on the surface I would say in 99 times out of a 100, out of 101, nobody would come along and say how come you put 'shoes' in a picture. I mean it would be too brown or too green.”

Helen Frankenthaler (1928–2011) American artist

quote about her way of 'abstraction'
1960s, Interview with Barbara Rose', Archives - American Art, 1968

Shoe , Idea , Thinking , Sense

“I like the fact that every stone is different, one from another, in the same way all fingerprints, or snowflakes (or places) are unique, so no two circles can be alike. In the landscape works, the stones are of the place and remain there. With an indoor sculpture there is a different working rationale. The work is usually first made to fit its first venue in terms of scale, but it is not site-specific; the work is autonomous in that it can be re-made in another space and place. When this happens, there is a specific written procedure to follow. The selection of the stones is usually random; also individual stones will be in different places within the work each time. Nevertheless, it is the 'same' work whenever it is re-made.”

Richard Long (1945) artist

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

Way , Time

“It came upon me sometime in my fifteenth year that I no longer woke up with sudden excitements—“Today I will get the Clerici solution! Today I will read about Humphry Davy and electric fish! Today I will finally understand diamagnetism, perhaps!” I no longer seemed to get these sudden illuminations, these epiphanies, these excitements which Flaubert (whom I was now reading) called “erections of the mind.” Erections of the body, yes, this was a new, exotic part of life—but those sudden raptures of the mind, those sudden landscapes of glory and illumination, seemed to have deserted or abandoned me. Or had I, in fact, abandoned them?”

Oliver Sacks book Uncle Tungsten

Source: Uncle Tungsten (2001), p. 310

Life , Understanding , Fish , Reading

“A cloud of dust is not a beautiful thing to look at. Very few painters have done portraits of huge clouds of dust or included them in their landscapes or still life. Film directors rarely choose huge clouds of dust to play the lead roles in romantic comedies, and as far as my research has shown, a huge cloud of dust has never placed higher than twenty-fifth in a beauty pageant.”

Daniel Handler book The Vile Village

Lemony Snicket
The Vile Village (2001)

Life , Beauty

“Now fades the glimmering landscape on the sight,
And all the air a solemn stillness holds,
Save where the beetle wheels his droning flight,
And drowsy tinklings lull the distant folds.”

Thomas Gray (1716–1771) English poet, historian

St. 2
Elegy Written in a Country Churchyard http://www.thomasgray.org/cgi-bin/display.cgi?text=elcc (written 1750, publ. 1751)

Distant

“Art has a harmony which parallels that of nature. The people who tell you that the artist is always inferior to nature are idiots! He is parallel to it. Unless, of course, he deliberately intervenes. His whole aim must be silence. He must silence all the voices of prejudice within him, he must forget... And then the entire landscape will engrave itself on the sensitive plate of his being.”

Paul Cézanne (1839–1906) French painter

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

People , Art , Nature , Silence

“The film's coda provides a vision of an afterlife, a desolate landscape on which quiet people solemnly recognize and greet one another, and all is understood in the fullness of time.”

Roger Ebert (1942–2013) American film critic, author, journalist, and TV presenter

Review of The Tree of Life (2 June 2011) http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20110602/REVIEWS/110609998
Reviews, Four star reviews
Context: Terrence Malick's The Tree of Life is a film of vast ambition and deep humility, attempting no less than to encompass all of existence and view it through the prism of a few infinitesimal lives. The only other film I've seen with this boldness of vision is Kubrick's 2001: A Space Odyssey, and it lacked Malick's fierce evocation of human feeling. … I don't know when a film has connected more immediately with my own personal experience. In uncanny ways, the central events of The Tree of Life reflect a time and place I lived in, and the boys in it are me. If I set out to make an autobiographical film, and if I had Malick's gift, it would look so much like this. … There is a father who maintains discipline and a mother who exudes forgiveness, and long summer days of play and idleness and urgent unsaid questions about the meaning of things. … The film's portrait of everyday life, inspired by Malick's memories of his hometown of Waco, Texas, is bounded by two immensities, one of space and time, and the other of spirituality. The Tree of Life has awe-inspiring visuals suggesting the birth and expansion of the universe, the appearance of life on a microscopic level and the evolution of species. This process leads to the present moment, and to all of us. We were created in the Big Bang and over untold millions of years, molecules formed themselves into, well, you and me.
And what comes after? In whispered words near the beginning, "nature" and "grace" are heard. … The film's coda provides a vision of an afterlife, a desolate landscape on which quiet people solemnly recognize and greet one another, and all is understood in the fullness of time.

People , Time

“The most brilliant scientific discoveries will in time change and perhaps grow obsolete as new scientific manifestations emerge. But art is eternal, for it reveals the inner landscape, which is the soul of man.”

Martha Graham (1894–1991) American dancer and choreographer

I Am A Dancer (1952)

Art , Soul , Change , Time

“It's everything. It's the walk you take in the morning, it's the night before, the meeting with people, landscapes, the chats, all of that evolves in some way into melody, but I'm not sure how it's going to happen. I'm dealing with the unknown all the time and that is exciting.”

Enya (1961) Irish singer, songwriter, and musician

The Telegraph interview (2005)
Context: There is no formula to it because writing every song, for me, is a little journey. The first note has to lift you and make you go, 'What's this?' You play C, but why is it that one day it leads to G and it didn't yesterday? I don't know. It's everything. It's the walk you take in the morning, it's the night before, the meeting with people, landscapes, the chats, all of that evolves in some way into melody, but I'm not sure how it's going to happen. I'm dealing with the unknown all the time and that is exciting.

People , Way , Time , Night

“Conservatism — from Burke and Hume to Hayek and Oakeshott — has always been, at its core, a critique of ideology in favor of reality. The world is as it is, the conservative argues. Any attempt to drastically overhaul it, to impose a utopian vision onto a messy, evolving human landscape will not just fail, it will likely make things worse. To pretend that the present exists for no good reason — and can be repealed or transformed in an instant — is a formula for ruin.”

Andrew Sullivan (1963) Journalist, writer, blogger

"The Triumph of Obama’s Long Game" in New York magazine (21 July 2017) http://nymag.com/daily/intelligencer/2017/07/the-triumph-of-obamas-long-game.html
Context: Conservatism — from Burke and Hume to Hayek and Oakeshott — has always been, at its core, a critique of ideology in favor of reality. The world is as it is, the conservative argues. Any attempt to drastically overhaul it, to impose a utopian vision onto a messy, evolving human landscape will not just fail, it will likely make things worse. To pretend that the present exists for no good reason — and can be repealed or transformed in an instant — is a formula for ruin. The leftist vision of perfect “social justice” is therefore as illusory and as pernicious as the reactionary’s dream of restoring a mythical past. And the great virtue of America’s deeply conservative Constitution is that it throws so many obstacles in the way of radical, ideological change — to the left or right — that it limits the harm that humans can do to themselves in moments of passion or certainty or in search of ideological perfection.

World , Reality

“Southeast Asia is the Bosnia of historical linguistics, with a lovely landscape strewn with land mines!”

Paul K. Benedict (1912–1997) American anthropologist, mental health professional, and linguist

Context: Welcome to the field of Southeast Asian linguistics! This welcome comes with a warning: Southeast Asia is the Bosnia of historical linguistics, with a lovely landscape strewn with land mines! … 'Look-alikes' (look less and less alike the more we know about them) abound, as in Malay bĕras and Wr. Tibetan 'bras for 'rice', as do also unlikely-appearing cognate sets such as Thai pu 'grandfather' and Japanese o:i 'nephew'.

Love

“I think the key image of the 20th century is the man in the motor car. It sums up everything: the elements of speed, drama, aggression, the junction of advertising and consumer goods with the technological landscape.”

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

Narration for Crash! (1971), a short film by Harley Cokeliss
Context: I think the key image of the 20th century is the man in the motor car. It sums up everything: the elements of speed, drama, aggression, the junction of advertising and consumer goods with the technological landscape. The sense of violence and desire, power and energy; the shared experience of moving together through an elaborately signalled landscape.
We spend a substantial part of our lives in the motor car, and the experience of driving condenses many of the experiences of being a human being in the 1970s, the marriage of the physical aspects of ourselves with the imaginative and technological aspects of our lives. I think the 20th century reaches its highest expression on the highway. Everything is there: the speed and violence of our age; the strange love affair with the machine, with its own death.

Cars , Thinking , Speed

“The young today cannot follow narrative but they are alert to drama. They cannot bear description but they love landscape and action.”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

Letter to Harold Adam Innis (14 March 1951), published in Essential McLuhan (1995), edited by Eric McLuhan and Frank Zingrone, p. 74
1950s

Love

“The artist has the possibility to create a much larger landscape with puppetry. The human becomes more human in that sense.”

Julie Taymor (1952) American film and theatre director

As quoted in "New York at Work; Puppeteer Creates Shows for Grown-Ups" by N. R. Kleinfield The New York Times (2 July 1991) http://www.nytimes.com/1991/07/02/nyregion/new-york-at-work-puppeteer-creates-shows-for-grown-ups.html
Context: We have a ways to go in understanding the power of puppetry … Our problem is for too long we have thought of puppets being for children. … The appeal of puppetry to me is it's much more freeing for an artist … Puppetry is a completely controllable means to attack your characters in every possible way. The artist has the possibility to create a much larger landscape with puppetry. The human becomes more human in that sense. Another of the great things about puppetry is the ability to transform.

Sense

“I think that the successful genres of a particular period are reflections of the needs and thoughts and social struggles of that time. When you see a bunch of similar projects meeting with success, you’ve found a place in the social landscape where a particular story (or moral or scenario) speaks to readers. You’ve found a place where the things that stories offer are most needed.”

Daniel Abraham (1969) speculative fiction writer from the United States

On his blog, talking about genre http://www.danielabraham.com/?p=160
Context: I think that the successful genres of a particular period are reflections of the needs and thoughts and social struggles of that time. When you see a bunch of similar projects meeting with success, you’ve found a place in the social landscape where a particular story (or moral or scenario) speaks to readers. You’ve found a place where the things that stories offer are most needed.
And since the thing that stories most often offer is comfort, you’ve found someplace rich with anxiety and uncertainty. (That’s what I meant when I said to Melinda Snodgrass that genre is where fears pool.)

Thinking , Time , Success

“I'm a rootless man, but I'm neither psychologically distraught nor in any wise particularly perturbed because of it. Personally, I do not hanker after, and seem not to need, as many emotional attachments, sustaining roots, or idealistic allegiances as most people. I declare unabashedly that I like and even cherish the state of abandonment, of aloneness; it does not bother me; indeed, to me it seems the natural, inevitable condition of man, and I welcome it. I can make myself at home almost anywhere on this earth and can, if I've a mind to and when I'm attracted to a landscape or a mood of life, easily sink myself into the most alien and widely differing environments.”

Richard Wright (1908–1960) African-American writer

White Man, Listen! (1957)

Life , People , Home , Mood

“He was always moving, advancing into new regions he had never seen before. A constantly unfolding panorama of sights and scenes, frozen landscapes spread out ahead. All objects were fixed.”

Philip K. Dick (1928–1982) American author

The Golden Man (1954)
Context: He was always moving, advancing into new regions he had never seen before. A constantly unfolding panorama of sights and scenes, frozen landscapes spread out ahead. All objects were fixed. Pieces on a vast chess board through which he moved, arms folded, face calm. A detached observer who saw objects that lay ahead of him as clearly as those under foot.
Right now, as he crouched in the small supply closet, he saw an unusually varied multitude of scenes for the next half hour. Much lay ahead. The half hour was divided into an incredibly complex pattern of separate configurations. He had reached a critical region; he was about to move through worlds of intricate complexity.

“At the heart of the story is Afghanistan itself, a complex swirl of ethnic and political rivalries, cultural intransigence, strains of religious fervor, and bitter memories overlaid on a beautiful, but harshly poor, landscape. Without internal struggles or outside influence, Afghanistan would be a difficult place to govern, and a challenge to develop. And there have always been struggles and interference.”

Stanley A. McChrystal (1954) American general

My Share Of The Task (2013)
Context: At the heart of the story is Afghanistan itself, a complex swirl of ethnic and political rivalries, cultural intransigence, strains of religious fervor, and bitter memories overlaid on a beautiful, but harshly poor, landscape. Without internal struggles or outside influence, Afghanistan would be a difficult place to govern, and a challenge to develop. And there have always been struggles and interference. But it's not just that. In her beauty and coarseness, in her complexity and tragedy Afghanistan possesses a mystical quality, a magnetism. Few places have such accumulated layers of culture, religion, history, and lore that instill both fear and awe. Yet those who seek to budge her trajectory are reminded that dreams often end up buried in the barren slopes of the Hindu Kush or in muddy fields alongside the Helmand River.

Beauty , Memory , Heart

“Elsewhere the sky is the roof of the world; but here the earth was the floor of the sky. The landscape one longed for when one was away, the thing all about one, the world one actually lived in, was the sky, the sky!”

Willa Cather book Death Comes for the Archbishop

Book VII, Ch. 4
Death Comes for the Archbishop (1927)
Context: The sky was as full of motion and change as the desert beneath it was monotonous and still, — and there was so much sky, more than at sea, more than anywhere else in the world. The plain was there, under one's feet, but what one saw when one looked about was that brilliant blue world of stinging air and moving cloud. Even the mountains were mere ant-hills under it. Elsewhere the sky is the roof of the world; but here the earth was the floor of the sky. The landscape one longed for when one was away, the thing all about one, the world one actually lived in, was the sky, the sky!

World

“Now wilt thou then forget,
That after many wanderings, many years
Of absence, these steep woods and lofty cliffs,
And this green pastoral landscape, were to me
More dear, both for themselves, and for thy sake.”

William Wordsworth book Lyrical Ballads

Stanza 4.
Lyrical Ballads (1798–1800), Lines written a few miles above Tintern Abbey (1798)
Context: If I should be, where I no more can hear
Thy voice, nor catch from thy wild eyes these gleams
Of past existence, wilt thou then forget
That on the banks of this delightful stream
We stood together; And that I, so long
A worshipper of Nature, hither came,
Unwearied in that service: rather say
With warmer love, oh! with far deeper zeal
Of holier love. Now wilt thou then forget,
That after many wanderings, many years
Of absence, these steep woods and lofty cliffs,
And this green pastoral landscape, were to me
More dear, both for themselves, and for thy sake.

Forgetting

“This book is a ripped, by no mean reliable map of some of the landscapes that make up a particular phase of my life. It’s about places where things happened or didn’t happen, places where I stayed and things that have stayed with me, places I’d wanted to see or places I passed through or just ended up.”

Geoff Dyer (1958) English writer

Yoga For People Who Can't Be Bothered To Do It (1993)
Context: This book is a ripped, by no mean reliable map of some of the landscapes that make up a particular phase of my life. It’s about places where things happened or didn’t happen, places where I stayed and things that have stayed with me, places I’d wanted to see or places I passed through or just ended up. In a way they’re all the same place—the same landscape—because the person these things happened to was the same person who in turn is the sum of all things that happened or didn’t happen in these and other places. Everything in this book really happened, but some of the things that happened only happened in my head; by that same token, all the things that didn’t happen didn’t happen there too. (p. 1).

Life , Books

“Something in him so loves the world that he gives himself to the laws of gravity and chance. Far from flying with the angels, he traces with the fidelity of a seismograph needle the state of the solid bloody landscape.”

Leonard Cohen book Beautiful Losers

Beautiful Losers (1966)
Context: What is a saint? A saint is someone who has achieved a remote human possibility. It is impossible to say what that possibility is. I think it has something to do with the energy of love. Contact with this energy results in the exercise of a kind of balance in the chaos of existence. A saint does not dissolve the chaos; if he did the world would have changed long ago. I do not think that a saint dissolves the chaos even for himself, for there is something arrogant and warlike in the notion of a man setting the universe in order. It is a kind of balance that is his glory. He rides the drifts like an escaped ski. His course is the caress of the hill. His track is a drawing of the snow in a moment of its particular arrangement with wind and rock. Something in him so loves the world that he gives himself to the laws of gravity and chance. Far from flying with the angels, he traces with the fidelity of a seismograph needle the state of the solid bloody landscape. His house is dangerous and finite, but he is at home in the world. He can love the shape of human beings, the fine and twisted shapes of the heart. It is good to have among us such men, such balancing monsters of love.

Love , World , Law , Angels

“Walk with humility in the landscape. To be some natural thing — an ancient tree — no thinking — not to think is central to the activity.”

Patrick Swift (1927–1983) British artist

Notebooks
Context: What trace of the creature subsists in the work. It is a way of staying alone, passing the time subjected to the object — silent, still. Walk with humility in the landscape. To be some natural thing — an ancient tree — no thinking — not to think is central to the activity.

Nature , Thinking , Tree

“From time to time the emotional lightning flashed and showed a landscape of private misery, and then — we went on dancing.”

Doris Lessing book The Golden Notebook

Anna Wulf, in "Free Women: 1"
The Golden Notebook (1962)
Context: What is so painful about that time is that nothing was disastrous. It was all wrong, ugly, unhappy and coloured with cynicism, but nothing was tragic, there were no moments that could change anything or anybody. From time to time the emotional lightning flashed and showed a landscape of private misery, and then — we went on dancing. <!-- 128

Time , Dance

“Through me course wide rivers and in me rise tall mountains. And beyond the thickets of my agitation and confusion there stretch the wide plains of my peace and surrender. All landscapes are within me. And there is room for everything. The earth is in me, and the sky. And I well know that something like hell can also be in one, though I no longer experience it in myself, but I can still feel it in others with great intensity. And that is as it should be, or else I might grow too complacent.”

Etty Hillesum (1914–1943) Jewish diarist

Mountain , Peace , Hell , Feeling

“I used to submit to anthologies and magazines when I was a student – but I knew I was never going to be picked up. All their writing was, you know, about the Canadian landscape or something. And my poem is about this woman with her legs spread open.”

Rupi Kaur (1992) Canadian poet

On how she felt that her poetic topics were unconventional when compared to other poetry submissions in “ The young ‘Instapoet’ Rupi Kaur: from social media star to bestselling writer” https://www.theguardian.com/books/2017/may/27/rupi-kaur-i-dont-fit-age-race-class-of-bestselling-poet-milk-and-honey in The Guardian (2017 May 27)

“When you move into a new place, it does involve a refashioning of the self. We derive our sense of identity at least partly in relation to the landscape around us, in which we’ve grown up..…”

Laila Lalami (1968) American writer

On fashioning a new sense of self in “Migrant State of Mind: A Q&A With Novelist Laila Lalami” https://www.thenation.com/article/laila-lalami-interview-the-other-americans/ in The Nation (2019 Apr 23)

Sense , Self-confidence , Relation ships

“We of the Hunt are part of the solution. We offer voluntary murder as a substitute for war. You know that mankind will never be satisfied unless it is killing something. People can’t even properly enjoy a landscape unless there’s something moving across it that can be shot at.”

Robert Sheckley book Hunter/Victim

Source: Hunter/Victim (1988), Chapter 65 (p. 258)

War , People , Parting

“Fine weather encourages individualism. When the whole glittering landscape is cut out as clear as a map—indented by the blue sky as by a blue sea, then each one of us wishes to take his own way, to walk by himself along the roads of the world and conquer for himself the cities of the morning. In the sunlight a man asks for liberty, which is only the divine name for loneliness. But it is in black and bleak conditions that we learn that it is not well for man to be alone; and festivity was discovered in the darkness. Winter encourages that thing called comradeship which modern humanitarians so often seem unable to understand, but which Walt Whitman so wisely perceived to be the permanent foundation of democracy.”

G. K. Chesterton (1874–1936) English mystery novelist and Christian apologist

Collected Works of G.K. Chesterton : The Illustrated London News, 1905-1907 (1986), p. 190

Democracy , Understanding , Loneliness , Learning

“You came by the tens of millions to become part of a historic movement the likes of which the world has never seen before. At the center of this movement is a crucial conviction: that a nation exists to serve its citizens. Americans want great schools for their children, safe neighborhoods for their families, and good jobs for themselves. These are just and reasonable demands of righteous people and a righteous public. But for too many of our citizens, a different reality exists: Mothers and children trapped in poverty in our inner cities; rusted-out factories scattered like tombstones across the landscape of our Nation; an education system, flush with cash, but which leaves our young and beautiful students deprived of all knowledge; and the crime and the gangs and the drugs that have stolen too many lives and robbed our country of so much unrealized potential. This American carnage stops right here and stops right now. We are one Nation, and their pain is our pain, their dreams are our dreams, and their success will be our success. We share one heart, one home, and one glorious destiny. The oath of office I take today is an oath of allegiance to all Americans.”

Donald J. Trump (1946) 45th President of the United States of America

2010s, 2017, January, Inaugural address, (January 20, 2017)

School , Home , Family , Pain

“We haven’t gotten a chance to tell those stories for Latina women. If you look at what’s in the landscape right now, it’s very stuck in its lane, and I love that we have no lanes. There’s no road. There’s nothing. We start off somewhere and it just detours, regarding the characters…”

Tanya Saracho Mexican-American actress, playwright and showrunner

On her television series Vida which stars a Latino cast in “‘Vida’ Creator Tanya Saracho on Exploring Underrepresented Perspectives with Her Starz Drama” https://collider.com/vida-interview-tanya-saracho/#starz in Collider Magazine (2018 May 5)

Love , Chance , Making love , Women

“We are amphibious creatures, weaponed for two elements, having two sets of faculties, the particular and the catholic. We adjust our instrument for general observation, and sweep the heavens as easily as we pick out a single figure in the terrestrial landscape. We are practically skilful in detecting elements, for which we have no place in our theory, and no name. Thus we are very sensible of an atmospheric influence in men and in bodies of men, not accounted for in an arithmetical addition of all their measurable properties. There is a genius of a nation, which is not to be found in the numerical citizens, but which characterizes the society. England, strong, punctual, practical, well-spoken England, I should not find, if I should go to the island to seek it. In the parliament, in the playhouse, at dinner-tables, I might see a great number of rich, ignorant, book-read, conventional, proud men, — many old women, — and not anywhere the Englishman who made the good speeches, combined the accurate engines, and did the bold and nervous deeds. It is even worse in America, where, from the intellectual quickness of the race, the genius of the country is more splendid in its promise, and more slight in its performance.”

Ralph Waldo Emerson (1803–1882) American philosopher, essayist, and poet

1840s, Essays: Second Series (1844), Nominalist and Realist

Reading , Country , Strong , Books

“The creation of national parks almost 70 years ago changed the way we view our precious landscapes - helping us all access and enjoy our natural world. We want to make sure they are not only conserved, but enhanced for the next generation. Are we properly supporting all those who live in, work in, or want to visit these magnificent places? Should we indeed be extending our areas of designated land?”

Michael Gove (1967) British politician

England could have new national parks in Gove review https://www.bbc.co.uk/news/uk-politics-44268724, BBC News, 27 May 2018
2018

Support , Help , Nature , Way

“The vacua with positive cosmological constant trap the universe in eternal inflation. They decay only locally, by producing bubbles of new vacua. Thus, every vacuum in the landscape will be realized an infinite number of times in different, causally disconnected regions. Each bubble expands to become an infinite open universe embedded in the global spacetime.”

Raphael Bousso (1971) American physicist

"Holographic probabilities in eternal inflation." Physical review letters 97, no. 19 (2006): 191302. arXiv preprint https://arxiv.org/abs/hep-th/0605263

Universe , Time

“There were limits to what art—composed of such genres as portraiture, landscape, still life, and historical painting (the latter of which, in royal academies, enjoyed the highest esteem)—could do to show movement.”

Arthur Danto (1924–2013) American art critic and philosopher

What Art Is (2013), Chap. 1 : Wakeful Dreams

Life , Painting , Art

“I certainly believe that the simple landscape which seems less impressive is the nature that is most proper to paint.”

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:) 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

Painting , Nature

“One of the great sons of Assam and India. His contribution to the Indian freedom struggle was invaluable. A firm believer in the ideals of Mahatma Gandhi and Jawaharlal Nehru, he left an indelible imprint on the political landscape of our great nation. His long and distinguished career in public life, which culminated in his occupying the august position of President of India is a shining example of commitment to ethical values and selfless service to the people. Indeed, his contribution to the building of our society and country continues inspiring all of us.”

Fakhruddin Ali Ahmed (1905–1977) the fifth President of India and a politician

Manmohan Singh in: PM's Speech on Presentation of Fakhruddin Ali Ahmed Memorial Award 2008 & 2009 and Unveiling of Plaque of Jica Assisted Water Supply Project for Guwahati City http://www.pib.nic.in/newsite/erelease.aspx?relid=69905, Prime Minister's Office, 8-February, 2011

Country , Life , People , Freedom

“He came up with this very simple idea which was recognising that the location which we identified, which is an axial view straight up the main promenade of the museum at its highest point, would be the place where a simple hour glass form would offer the opportunity to invert the Jerusalem sky and built landscape. And that’s what he created – and it’s a superb thing.”

Anish Kapoor (1954) British contemporary artist of Indian birth

Israeli sky in Anish’s steel- India-born artist sculpts landmark symbol for museum

Idea

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

Colin Wilson book The Mind Parasites

The body is a mere wall between two infinities. Space extends to infinity outwards; the mind stretches to infinity inwards.
Source: The Mind Parasites (1967), p. 38

Thinking , Dead

“With the sedentarisation of people they began to form an idea of the area that they lived in, its extension and its boundaries, which were mostly determined by nature and the feature of the landscape. Clans and tribes that had settled in a certain area and lived there for a long period of time.”

Abdullah Öcalan (1949) Founder of the PKK

The Political Thought of Abdullah Ocalan (2017), Democratic Confederalism

Idea , Time , People , Nature

“Aggregation means the organization of elements of a system into patterns that tend to put highly compatible elements together and less compatible elements apart. Landscape theory predicts how aggregation will lead to alignments among actors (such as nations), whose leaders are myopic in their assessments and incremental in their actions. The predicted configurations are based upon the attempts of actors to minimize their frustration based upon their pairwise propensities to align with some actors and oppose others. These attempts lead to a local minimum in the energy landscape of the entire system. The theory is supported by the results of the alignment of seventeen European nations in the Second World War. The theory has potential for application to coalitions of business firms, political parties in parliaments, social networks, social cleavages in democracies, and organizational structures.”

Robert Axelrod book The Complexity of Cooperation

Chap. 4 : Choosing Sides
Adapted from Robert Axelrod and D. Scott Bennett “A Landscape Theory of Aggregation,” British Journal of Political Science 23 (Apr. 1993): 211–33.
The Complexity of Cooperation (1997)

Democracy , Business , War , Support

“These beauteous forms,
Through a long absence, have not been to me
As is a landscape to a blind man's eye:
But oft, in lonely rooms, and 'mid the din
Of towns and cities, I have owed to them,
In hours of weariness, sensations sweet,
Felt in the blood, and felt along the heart;
And passing even into my purer mind,
With tranquil restoration:—feelings too
Of unremembered pleasure: such, perhaps,
As have no slight or trivial influence
On that best portion of a good man's life,
His little, nameless, unremembered acts
Of kindness and of love. Nor less, I trust,
To them I may have owed another gift,
Of aspect more sublime; that blessed mood,
In which the burthen of the mystery,
In which the heavy and the weary weight
Of all this unintelligible world
Is lighten'd:—that serene and blessed mood,
In which the affections gently lead us on,—
Until, the breath of this corporeal frame
And even the motion of our human blood
Almost suspended, we are laid asleep
In body, and become a living soul:
While with an eye made quiet by the power
Of harmony, and the deep power of joy,
We see into the life of things.”

William Wordsworth book Lyrical Ballads

Stanza 2
Lyrical Ballads (1798–1800), Lines written a few miles above Tintern Abbey (1798)

Soul , Heart , Pleasure , Joy

“If I should be, where I no more can hear
Thy voice, nor catch from thy wild eyes these gleams
Of past existence, wilt thou then forget
That on the banks of this delightful stream
We stood together; And that I, so long
A worshipper of Nature, hither came,
Unwearied in that service: rather say
With warmer love, oh! with far deeper zeal
Of holier love. Now wilt thou then forget,
That after many wanderings, many years
Of absence, these steep woods and lofty cliffs,
And this green pastoral landscape, were to me
More dear, both for themselves, and for thy sake.”

William Wordsworth book Lyrical Ballads

Stanza 4
Lyrical Ballads (1798–1800), Lines written a few miles above Tintern Abbey (1798)

Past , Forgetting , Nature , Love

“The thing you know in the abstract, but which you have to see, is the vastness of the place and how little relationship one side of it has to another. Mostly, the landscape is just unbelievably beautiful. You do a lot of looking and not that much thinking.”

Kamila Shamsie (1973) Pakistani writer

Source: On living and travelling throughout the United States in “THE SRB INTERVIEW: Kamila Shamsie” https://www.scottishreviewofbooks.org/2018/08/the-srb-interview-kamila-shamsie/ in The Scottish Review of Books (2018 Aug 11)

Beauty , Thinking

“When you're doing a character, you want to know the full landscape. You want to know them spiritually, mentally and physically.”

Chadwick Boseman (1976–2020) American actor

“We learn about worlds when they do not accommodate us. Not being accommodated can be pedagogy. We generate ideas through the struggles we have to be in the world; we come to question worlds when we are in question. When a question becomes a place you reside in, everything can be thrown into question: explanations you might have handy that allow you to make sense or navigate your way through unfamiliar as well as familiar landscapes no longer work.”

Sara Ahmed (1969) Australian and British academic

Source: "An Affinity of Hammers" (2016), p. 22

Question , Learning , World , Way

“[I]f self-deception has to be risked anyhow, it might be better to risk it to take a broad view than a narrow view. It may be foolish, perhaps even dangerous, to wander too far from the highway and then be the dupe of fantasies; but it may be even more foolish, even more dangerous in the end, to be so determined to keep to the well-tested road that you wear blinkers, see nothing of the surrounding landscape, and find the road itself, all that you can see, more and more wearisome and detestable.”

J.B. Priestley (1894–1984) English writer

Source: Man and Time (1964), Ch. 7, p. 176

Self-confidence

“The industrial landscape is already littered with remains of once successful companies that could not adapt their strategic vision to altered conditions of competition.”

Ralph Abernathy (1926–1990) American Civil Rights Movement leader

Success

“I have almost finished a large landscape”

Frédéric Bazille (1841–1870) French painter

painting ' Landscape by the Lez River
[around Montpellier https://commons.wikimedia.org/wiki/File:Frederic_Bazille_Paysage_au_bord_du_Lez.jpg.. ..I am completely alone on the country; my cousins and my brother are at the resort. My father and mother are living in town; this solitude pleases me enormously; it makes me work a lot and read a lot.
In a letter to fr:Edmond Maitre, 2 August 1870; as quoted in Impressionnism, Gary Tinterow, Henri Loyrette; Metropolitan Museum of Art, 1994, p. 338
this work is Bazille's last painting and largest known landscape; he started it c. June 1870 and finished it 2 August, just before he left 16 August 1870, to join the third regiment of Zouaves; he died soon
1866 - 1870