I have long been interested in landscape history, and when younger and more robust I used to do much tramping of the English landscape in search of ancient field systems, drove roads, indications of prehistoric settlement.
I have long been interested in landscape history, and when younger and more robust I used to do much tramping of the English landscape in search of ancient field systems, drove roads, indications of prehistoric settlement. Towns and cities, too, which always retain the ghost of their earlier incarnations beneath today's concrete and glass.
Men have dominated the field of landscape photography just as they have dominated the land itself. Thus shooting a virgin landscape has been man's work - hunting, not gardening.
I've always been interested in the idea of the artificial landscape. Reforming the landscape. Architecture being a method of reforming the earth's surface.
The English landscape at its finest - such as I saw this morning - possesses a quality that the landscapes of other nations, however more superficially dramatic, inevitably fail to possess. It is, I believe, a quality that will mark out the English landscape to any objective observer as the most deeply satisfying in the world, and this quality is probably best summed up by the term 'greatness.'
I've always been interested, - if you look back at my work from the beginning, really - I've always been interested in the idea of the artificial landscape. Reforming the landscape. Architecture being a method of reforming the earth's surface. We reshape the earth's surface, from architecture to paving streets, to parking lots and buildings that are really reforming the surface of the earth. Reforming nature, taking over what we find. And we're mushing it around and remaking a new earth - or, what we used to call Terra Nova.
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.
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.
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.
Though actually the work of man's hands - or, more properly speaking, the work of his travelling feet, - roads have long since come to seem so much a part of Nature that we have grown to think of them as a feature of the landscape no less natural than rocks and trees.
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.
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.
I've become really interested in the landscape but not as landscape but more as it relates to mood and how we live and how the outside impacts on the inside. I didn't really look at the outside world during the years I was photographing the Ballad as I was locked inside my house and I lived totally inside.
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.
If you look at landscape in historical terms, you realize that most of the time we have been on Earth as a species, what has fallen on our retina is landscape, not images of buildings and cars and street lights.
We should read history as little critically as we consider the landscape, and be more interested by the atmospheric tints and various lights and shades which the intervening spaces create than by its groundwork and composition.
More varied than any landscape was the landscape in the sky, with islands of gold and silver, peninsulas of apricot and rose against a background of many shades of turquoise and azure.