A Quote by Henri de Toulouse-Lautrec
When a figure painter executes a landscape he treats it as if it were a face; Degas' landscapes are unparalleled because they are visionary landscapes.
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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.
The most beautiful landscapes in the world, if they evoke no memory, if they bear no trace of a remarkable event, are uninteresting compared to historic landscapes.
There is nothing that special to see when looking at me. I'm a painter who paints day in day out, from morning till evening - figure pictures and landscapes, more rarely portraits.
Perhaps I seek certain utopian things, space for human honour and respect, landscapes not yet offended, planets that do not exist yet, dreamed landscapes.
I've dreamed landscapes for years, and my dreams play an enormous role in my work. In fact, when I first started doing landscapes I felt insecure about painting in this style, and the dreams were like positive omens for me, and I've done a few paintings that were exact replicas of images that came to me in dreams.
By walking a long time in an environment, landscapes begin to influence on your mood, as( landscapes) change, your feelings do.
I love a chance to shoot real locations, because in films in the earlier days before people traveled as much, it was exotic to see a film set in Switzerland, and that area has been taken over by CGI, mostly, and fantasy landscapes. It's unusual to see this much landscape, people say it's old fashioned. So what you're referring to is there was that period in the '50s and '60s when there were epics and you saw landscape.
It reflects no great honor on a painter to be able to execute only one thing well -- such as a head, an academy figure, or draperies, animals, landscapes, or the like -- in other words, confining himself to some particular object of study. This is so because there is scarcely a person so devoid of genius as to fail of success if he applies himself earnestly to one branch of study and practices it continually.
Many painters had a clear idea of what fractals are. Take a French classic painter named Poussin. Now, he painted beautiful landscapes, completely artificial ones, imaginary landscapes. And how did he choose them? Well, he had the balance of trees, of lawns, of houses in the distance. He had a balance of small objects, big objects, big trees in front and his balance of objects at every scale is what gives to Poussin a special feeling.
These landscapes aren't breaking news or necessarily even illegal. These are intentional, purposeful landscapes, whether to extend our cities or build a mine or put a road in or clear a forest. I've been photographing that which has been intended by us; it's not an accident.
There are landscapes and species that are not going to be here a hundred years from now, fifty years from now. One gift we as writers give to the world is to bear witness to these landscapes and species as we have experienced them.
I think my concern is I know my voice, and I know the kinds of landscapes that interest me, so my primary concern is doing the most I can with those voices and those landscapes.
New Jersey is to New York what Santo Domingo is to the United States. I always felt that those two landscapes, not only just the landscapes themselves but their relationships to what we would call 'a center' or 'the center of the universe,' has in some ways defined my artistic and critical vision.
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.
(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.
But it is also untrue that I have nothing specific in mind. As with my landscapes: I see countless landscapes, photograph barely 1 in 100,000, and paint barely 1 in 100 of those that I photograph. I am therefore seeking something quite specific; from this I conclude that I know what I want.
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