A Quote by William Hazlitt
Landscape painting is the obvious resource of misanthropy.
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When you are painting a landscape, assume the painting is real and the landscape is an illusion.
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.
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 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.
(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.
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.
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.
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?
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.
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.
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.
The web has introduced a competitive, and some might argue hostile, landscape for long, in-depth, resource-intensive journalism.
All gardening is landscape painting.
All gardening is landscape painting,' said Alexander Pope.
There is an infinity of landscape here, caused by the purity of the atmosphere. It has been said that there is a lack of colour. It is not so obvious as the greenness of England, but it is infinitely more varied and more delicate in tone. The landscape is a pinky mauve, a lilac, and the reflection of the sun of the particles of the atmosphere is a warm amber. So I should say our colour scheme is amber and lilac.
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