A Quote by Isamu Noguchi
We are a landscape of all we have seen.
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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.
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.
Today the thing I find myself thinking about the most is our landscape...I think it's something a lot of us take for granted; for many of us Australia is just there but how many of us have really seen it, have seen Kakadu or Kings Canyon? I know I hope to at some stage, to see Uluru at sunset and the ancient art in the Abrakurrie caves. I think it's our landscape which defines our identity and it's what I'm most grateful for.
It's a landscape that has to be seen to be believed. And, as I say on occasion, it may have to be believed in order to be seen.
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 landscape of the American West has to be seen to believed and has to be believed to be seen.
We can look out on an alien landscape that no one has seen before and find it beautiful.
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.
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.
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.
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.
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.
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.
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.
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.
I have seen war. I have seen war on land and sea. I have seen blood running from the wounded. I have seen men coughing out their gassed lungs. I have seen the dead in the mud. I have seen cities destroyed. I have seen 200 limping, exhausted men come out of line—the survivors of a regiment of 1,000 that went forward 48 hours before. I have seen children starving. I have seen the agony of mothers and wives. I hate war.
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