Top 1200 Landscape Painting Quotes & Sayings

I become more and more inclined to sink the minister in the man, and abandon my present calling in toto as a profession... to create a living religion in landscape painting.

A good landscape painting is not just a demonstration of competent application of paint. It must offer a feeling of homage to the subject.

Painting allows me to use other portions of my brain pleasurably. Irony plays no part in what or how I paint. I paint the particular subject matter not to make polemical points but because I am interested in the human imprint on the landscape. I paint the landscape of my time and place with the stuff in it.

In the landscape, colors are more neutral than you may think. Pay close attention to this. Small areas of rich color can make the whole painting look colorful.

I don't believe in making pencil sketches and then painting landscape in your studio. You must be right under the sky.

One ends up with a landscape one has never seen before but it is presumably the landscape you were feeling as you started the painting.

The painting is always done very much with [the model's] co-operation. The problem with painting a nude, of course, is that it deepens the transaction. You can scrap a painting of someone's face and it imperils the sitter's self-esteem less than scrapping a painting of the whole naked body.

For me, going back to itinerant landscape painting, it's not about returning to an older method, but about building on what happened in the 20th century in photography. And also highlighting what the differences are between a painting and a photograph in picturing space.

When painting a landscape it is desirable to walk through the clumps and around the bushes, around the trees, the houses and the rocks. Familiarizing yourself in this way with the subject, you will get a better concept of the thing and not a visual and false snapshot.

One learns about painting by looking at and imitating other painters. I can't stress enough how important it is, if you are interested at all in painting, to look and to look a great deal at painting. There is no other way to find out about painting.

Whenever I go on holiday, I like to time travel and imagine what it must have been like 500 years ago. I love the Tuscan landscape, which is reminiscent of a Claude Lorrain painting.

I want people to know what it is they're looking at. But at the same time, the closer they get to the painting, it's like going back into childhood. And it's like an abstract piece.. it becomes the landscape of the brush marks rather than just sort of an intellectual landscape.

The world is moving into a phase when landscape design may well be recognized as the most comprehensive of the arts. Man creates around him an environment that is a projection into nature of his abstract ideas. It is only in the present century that the collective landscape has emerged as a social necessity. We are promoting a landscape art on a scale never conceived of in history.

In fine arts, when you make a painting, it's just a painting. But if you make a painting in the entertainment industry, it can be an album cover or a t-shirt or a logo.

You have to love writing a song and architecture. You have to give it a form. It is my job to create a sonic landscape. I like to create ambiance and atmosphere. The writing is the intimate part of it. It is a sketch. The production is the whole painting.

I have not written in vain if I have heretofore done anything towards diminishing the reputation of the Renaissance landscape painting.

The pleasure a man gets from a landscape would [not] last long if he were convinced a priori that the forms and colors he sees are just forms and colors, that all structures in which they play a role are purely subjective and have no relation whatsoever to any meaningful order or totality, that they simply and necessarily express nothing....No walk through the landscape is necessary any longer; and thus the very concept of landscape as experienced by a pedestrian becomes meaningless and arbitrary. Landscape deteriorates altogether into landscaping.

I think I've always been afraid of painting, really. Right from the beginning. All my paintings are about painting without a painter. Like a kind of mechanical form of painting.

Personally I would like to have pupils, a studio, pass on my love to them, work with them, without teaching them anything.. ..A convent, a monastery, a phalanstery of painting where one could train together.. ..but no programme, no instruction in painting.. ..drawing is still alright, it doesn't count, but painting - the way to learn is to look at the masters, above all at nature, and to watch other people painting.

Landscape painting is the obvious resource of misanthropy.

A landscape painting in which composition is ignored is like a line taken from a poem at random: it lacks context, and may or may not make sense.

I was at an art museum with my parents, and was quite taken with a [Vincent] Van Gogh painting. I stood admiring the painting for some time, and then realized that in addition to feeling moved by the beauty of the painting, I felt a little jealous of the painter.

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

(Landscapes) are too close to painting. And TV has nothing to do with painting. It's just transmission. And you can't transmit a landscape, happily enough.

Experience has proved that there is no difference between a so-called realist painting - of a landscape, for example - and an abstract painting. They both have more or less the same effect on the observer.

You have bits of canvas that are unpainted and you have these thick stretcher bars. So you see that a painting is an object; that it's not a window into something - you're not looking at a landscape, you're not looking at a portrait, but you're looking at a painting. It's basically: A painting is a painting is a painting. And it's what Frank Stella said famously: What you see is what you see.

I think every painting should be the same size and the same color so they're all interchangeable and nobody thinks they have a better painting or a worse painting.... Besides even when the subject is different, people want the same painting.

Art has become more than painting, sculpture or music: art is more than Van Gogh painting a landscape or Wagner composing an opera. The whole of reality itself has become the object of art.

I think I'm painting a picture of two women but it may turn out to be a landscape.

Your landscape in a western is one of the most important characters the film has. The best westerns are about man against his own landscape.

Anne Pitkin's poems have such lyrical sweep, such a sensitive eye for the natural world as it touches the human, that reading Winter Arguments is like seeing a landscape or, better, a richly realized painting of a landscape dotted with figures. But that would leave out their music, which would be a loss. This is a wise and graceful book by a well-traveled woman who knows how to confront deep feeling and frame it to make it all the more intense.

After 20 years of painting wildlife subjects in acrylic, I felt the need for a change and began to explore portraiture and landscape in oils.

Although cover notes for classical music albums tend to say that the trill of flutes suggests mountain streams and so on, I don't think anybody listens to music with the expectation that they're going to be presented with a sort of landscape painting.

Landscape is to American painting what sex and psychoanalysis are to the American novel.

All that stuff about flatness - it's this idea that painting is a specialized discipline and that modernist painting increasingly refers to painting and is refining the laws of painting. But who cares about painting? What we care about is that the planet is heating up, species are disappearing, there's war, and there are beautiful girls here in Brooklyn on the avenue and there's food and flowers.

To feel the grace of God in a painting of the dear, quiet commonness of a domestic interior, or in a landscape, seascape, cityscape, trains us to feel the grace of God in the thing itself in situ.

A landscape painting is essentially emotional in origin. It exists as a record of an effect in nature whose splendour has moved a human heart, and according as it is well or ill done it moves the hearts of others.

I don't make a lot of distinctions between things like landscape or figure painting, because to me the problems are inherently the same - lighting, color, structure, and so on - certainly traditional and ordinary problems.

I love movies, don't get me wrong. But I don't go to the cinema. I see movies at the end of the year as a glut from the Academy. I binge-watch all the nominated films. Painting fills that void now. It's oils. It's acrylics. It's figurative, portraits and landscape.

Landscape painting tends to fall under more academic controls. I must say I often like working within these controls. It gives me the feeling that I'm taking part in a noble tradition.

Only the human figure exists; landscape is, and should be, no more than an accessory; the painter exclusively of landscape is nothing but a bore.

I needed an outlet in high school and came across painting. I've actually been painting longer than I've been acting. A movie is a collaborative effort, and with painting you just have yourself.

If the landscape changes, then I don't know who I am either. The landscape is a refracted autobiography. As it disappears you lose your sense of self.

The vivacity and brightness of colors in a landscape will never bear any comparison with a landscape in nature when it is illumined by the sun, unless the painting is placed in such a position that it will receive the same light from the sun as does the landscape.

Maybe the given person, cup, or landscape is lost before one gets to painting. A figure exerts a continuing and unspecified influence on a painting as the canvas develops. The represented forms are loaded with psychological feeling. It can't ever just be painting.

Overall, the anarchy was the most creative of all periods of Japanese culture for in it there appeared the greatest landscape painting, the culmination of the skill of landscape gardening and the arts of flower arrangement, and the No drama.

You like it, that's all, whether it's a landscape or abstract. You like it. It hits you. You don't have to read it. The work of art-sculpture or painting-forces your eye.

You see, should I stand in front of a landscape and paint it, I'm completely ignoring the factor of time. While I am painting it, it's changing, clouds are changing, all sorts of things. So there's the myth there of someone creating in a timeless vacuum.

The interior landscape responds to the character and subtlety of the exterior landscape; the shape of the individual mind is affected by the land as it is by genes.

All gardening is landscape painting,' said Alexander Pope.

In most natural scenes there is a prevailing colour, which the landscape painter must learn to identify, and which must prevail also in a slightly exaggerated form, in his painting, for the sake of truth, harmony and unity.

The coming and going of birth and death is a painting. Unsurpassed enlightenment is a painting. The entire phenomenal universe and the empty sky are nothing but a painting.

A town, a landscape are when seen from afar a town and a landscape; but as one gets nearer, there are houses, trees, tiles leaves, grasses, ants, legs of ants and so on to infinity. All this is subsumed under the name of landscape.

The horizon is more than a convention of landscape painting, less than truth.

I'm just a landscape painter. I look out the window and I see what's going on, and I paint it. While I'm painting it, I also write thoughts about what I see going on out there.

When you are painting a landscape, assume the painting is real and the landscape is an illusion.

All gardening is landscape painting.

You're like a witness. You're the one who goes to the museum and looks at the paintings. I mean the paintings are there and you're in the museum too, near and far away at the same time. I'm a painting. Rocamadour is a painting. Etienne is a painting, this room is a painting. You think that you're in the room but you're not. You're looking at the room, you're not in the room.

How to paint the landscape: First you make your bow to the landscape. Then you wait, and if the landscape bows to you, then, and only then, can you paint the landscape.

When it does get below freezing and there is - it's cold enough for ice to form, then that changes the whole landscape, and it makes the landscape a different landscape to the one that I worked with previously. And I want to understand that. But the big tension of the ice works is that they're often made when it's cold enough to freeze one piece of ice to another.