A Quote by John Ruskin
I have not written in vain if I have heretofore done anything towards diminishing the reputation of the Renaissance landscape painting.
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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.
I do not propose to add anything to what has already been written concerning the loss of the "Lady Vain."
(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.
I feel like it's almost a Renaissance thing, a painting, a modern version of a painting. I think it's important for Kim [Kardashian] to have her figure. To not show it would be like Adele not singing.
I've actually done a cover of 'Train in Vain' by The Clash with Viv Albertine - which was originally written about her.
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.
Landscape architecture is basically geodesign; it's designing geography. And yet geodesign is not only done by landscape architects, it's done by some of the world's largest corporations.
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.
A landscape painting is essentially emotional in origin. It exists as a record of an effect in nature whose splendour has moved a human heart, and according as it is well or ill done it moves the hearts of others.
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?
The painting is always done very much with [the model's] co-operation. The problem with painting a nude, of course, is that it deepens the transaction. You can scrap a painting of someone's face and it imperils the sitter's self-esteem less than scrapping a painting of the whole naked body.
Soap operas are such a great way to break-in to the industry. The diminishing landscape of daytime TV means it's going to be harder for young talent to get discovered.
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