A Quote by John Marin

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. — © John Marin
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.
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.
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.
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.
I paint in oils, I paint in acrylics. I paint figurative and landscape portraits. It's all in my own kind of style. I'm self-taught.
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 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 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.
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.
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.
Man is a singular creature. He has a set of gifts which make him unique among the animals, so that unlike them, he is not a figure in the landscape, he is the shaper of the landscape.
...And for every day you paint the war, take a week and paint the beauty, the color, the shape of the landscape you’re marching towards. Everyone knows what you’re against; show them what you’re for.
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.
If, on the other hand, conservationists are willing to insist on having the best food, produced in the best way, as close to their homes as possible, and if they are willing to learn to judge the quality of food and food production, then they are going to give economic support to an entirely different kind of land use in an entirely different landscape. This landscape will have a higher ratio of caretakers to acres, of care to use. It will be at once more domestic and more wild than the industrial landscape.
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.
Clouds are fascinating to paint because they are the only element in a landscape that possesses free movement.
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