Top 1200 Landscape Painting Quotes & Sayings - Page 4

A painted landscape is always more beautiful than a real one, because there's more there. Everything is more sensual, and one takes refuge in its beauty. And man needs spiritual expression and nourishing. It's why even in the prehistoric era, people would scrawl pictures of bison on the walls of caves. Man needs music, literature, and painting-all those oases of perfection that make up art-to compensate for the rudeness and materialism of life.

I love art so much because of curiosity. At the start of a painting, I know 10 percent of what the painting will be, and then I have to improvise the whole thing.

I fell in love with books. Some people find beauty in music, some in painting, some in landscape, but I find it in words. By beauty, I mean the feeling you have suddenly glimpsed another world, or looked into a portal that reveals a kind of magic or romance out of which the world has been constructed, a feeling there is something more than the mundane, and a reason for our plodding.

I'm not so facile that I can accomplish or find out what I want to know or explore enough of the possibilities and a way of making a painting, say, in just one painting or two paintings.

Painting done under pressure by artists without the necessary talent can only give rise to formlessness, as painting is a profession that requires peace of mind.

Something in me knows where I’m going, and - well, painting is a state of being. ... Painting is self-discovery. Every good artist paints what he is.

I do not think my painting has ever been revolutionary. It was not directed against any kind of painting. I have never wanted to prove that I was right and someone else wrong.

We struggle against easel painting not because it is an aesthetic form of painting, but because it is not modern, for it does not succeed in bringing out the technical side, it is a redundant, exclusive art, and cannot be of any use to the masses. Hence we are struggling not against painting but against photography carried out as if it were an etching, a drawing, a picture in sepia or watercolor.

Start small; get to know the landscape. We take risks but not major risks. We always started with small capital - €4m in Holland, $10m in Russia - and as we get to know the landscape of a country, we think about other businesses.

For example, in one of my last exhibitions I had a 50-foot massive painting with I think perhaps a hundred thousand hand-painted small flowers. This was the Christ painting [The Dead Christ in the Tomb, 2008] in my Down exhibition [2008]. Now, I simply can't spend eight hours a day painting small, identical flowers. And so I've got a team that allows me to have these grand, sweeping statements.

I attended the High School of Industrial Arts and studied with many great artists as painting is something that you never stop learning about. Actually, in high school there was a time that I was thinking about just concentrating on painting and I asked my music teacher, Mr. Sondberg, for advice and he encouraged me to stick with the music as well. So all my life I have been singing and painting.

That sculpture is more admirable than painting for the reason that it contains relief and painting does not is completely false. ... Rather, how much more admirable the painting must be considered, if having no relief at all, it appears to have as much as sculpture!

No one purposefully paints a bad painting. It's someone who's trying to do a good painting, but it's terrible. I have one with a matador, and the bull is going through the blanket. You can tell the painter didn't know how to paint it.

In my experience a painting is not made with colors and paint at all. I don't know what a painting is; who knows what sets off even the desire to paint?

What's great about it is that painting doesn't move. And so in the 21st century, when we're used to clicking and browsing and having constant choice, painting simply sits there silently and begs you to notice the smallest of detail.

When I get my hands on painting materials I don't give a damn about other people's painting... every generation must start again afresh.

Make a small painting of what you want to do... and project it up on a white wall... The enlarged version is so changed that there is no way of just visualizing it in the brain... It's a whole new dimension in painting.

I don’t trust painting. At least not in New York. Most painting here relies on formula and repetition, whoring itself to the market. There seems to be no risk and once a painter gets a strategy, very little exploration. As a result, I stopped thinking about painting a long time ago. I prefer forms of art that are more market-resistant, more idea-based, more - for lack of a better word - risky.

I have to go with what the painting says to me. The painting is always informing me. I'm its servant; it's not mine. I'm doing what it wants.

Is there in painting an effect which arises from the being together of repose and energy in the artist's mind? - can both repose and energy be seen in a painting's line and color, plane and volume, surface and depth, detail and composition? - and is the true effect of a good painting on the spectator one that makes at once for repose and energy, calmness and intensity, serenity and stir?

In figure painting, the type of all painting, I have endeavoured to set forth that the principal if not sole source of life enchantments are Tactile Values, Movement and Space Composition.

Humans have changed the landscape so much, but images of the sea could be shared with primordial people. I just project my imagination on to the viewer, even the first human being. I think first and then imagine some scenes. Then I go out and look for them. Or I re-create these images with my camera. I love photography because photography is the most believable medium. Painting can lie, but photography never lies: that is what people used to believe.

In 1939 I wrote my first article ("Intime banaliteter" [Intimate banalities] in the journal Helhesten) in which I expressed my love for sofa painting, and for the last twenty years I have been preoccupied with the idea of rendering homage to it. Thus I act with full responsibility and after extensive reflection. Only my current situation has enabled me to accomplish the expensive task of demonstrating that the preferred sustenance of painting is painting.

The Academies of Art are nothing but great painting factories - those with talent are fed in at one end, and they come out as mechanical painting machines.

A painting has its own existence and reality, and I make changes freely to meet the painting's needs. This sometimes takes me in another direction.

There is a kinship between music and painting - with the same words used to describe both, as when a musical composition is said to have color and a painting to have rhythm.

I have long been interested in landscape history, and when younger and more robust I used to do much tramping of the English landscape in search of ancient field systems, drove roads, indications of prehistoric settlement. Towns and cities, too, which always retain the ghost of their earlier incarnations beneath today's concrete and glass.

An artist makes a painting, and nobody bugs him or her about it. It's just you and your painting. To me, that's the way it should be with film as well.

I feel that this is a vocabulary that I grew up with. This biblical landscape is very familiar to me, and it's natural that I use those landmarks as references. Once they were universal references and everybody understood and knew them and located them. That's no longer the case today, but it is still my landscape.

Photography brought a lot to painting because it forced artists to think about what painting could do that photography couldn't.

Painting is a duality and abstract painting is an entirely aesthetic thing. It always remains on one level. It is only really interesting in the beauty of its patterns or its shapes.

Easel painting means small painting.

Painting, like music, has nothing to do with the reproduction of nature, nor interpretation of intellectual meanings. Whoever is able to feel the beauty of colors and forms has understood nonobjective painting.

A lone peak of high point is a natural focal point in the landscape, something by which both travelers and local orient themselves. In the continuum of landscape, mountains are discontinuity -- culminating in high points, natural barriers, unearthly earth.

Only when painting isn't painting can there be an affront to modesty.

Could you imagine people eating a painting - if they could introduce a painting into their bodies? It's probably the artist's dream, and we have the opportunity to do so.

Painting from life was incredibly important for me because it allowed me to train my eyes to see everything that is there. But I realized early on that painting from life wasn't something that I was all that invested in. I was always more interested in the painting than I was the people. For me, removing that as a compulsion offered me a lot more freedom to actually paint and think about color, form, movement, and light.

When the painting is hanging on your wall for a long time, you don't notice it. You get tired of it, even if it's a Picasso. When the next generation inherits the painting, they sell it. I don't want to be sold.

Picasso didn't stop painting when he was 41 years old because he felt he wasn't relevant, but he kept going and the painting he made before he died are now worth 40 million dollars.

Not all paintings are abstract; they're not all Jackson Pollock. There's value in a photograph of a man alone on a boat at sea, and there is value in painting of a man alone on a boat at sea. In the painting, the painting has more freedom to express an idea, more latitude in being able to elicit certain emotion.

A painting is life and a painting is death . . . the picture is our own legacy left by tomorrow's dead for tomorrow's living.

I've walked a lot in the mountains in Iceland. And as you come to a new valley, as you come to a new landscape, you have a certain view. If you stand still, the landscape doesn't necessarily tell you how big it is. It doesn't really tell you what you're looking at. The moment you start to move the mountain starts to move.

What any true painting touches is an absence - an absence of which without the painting, we might be unaware. And that would be our loss.

I think that time moves slower in painting. And maybe that accounts for a lot of the anxiety around painting in the last 40 or 50 years.

It is only when I lose contact with the painting that the result is a mess. Otherwise there is pure harmony, an easy give and take, and the painting comes out well.

Remember the enemy of all painting is gray: a painting will almost always appear grayer than it is, on account of its oblique position under the light.

I feel like what's most important for painting - which has been hierarchically on the top for a really long time in terms of what is considered fine art, by comparison with something like a comic book or what's considered low art - is that painting should open up laterally to include other cultures and things that don't immediately resonate as a painting but are obviously of equal contribution to the genre.

A lot of young painters love to incorporate celebrity. One idea of being a painter is to use what's happening at the time. Velázquez was painting of his time. And so was Rembrandt. And Francis Bacon was painting his time in London. He was a real mover, but he saw the insect in the rose. But yes, when I do a painting, I want to take the "I did this" out of it. That's why I started using chance, like the markings on the wood. I never wanted to compose.

People believe pictures. It's a photograph that's in your passport, not a painting. Now, George Bernard Shaw said, 'I would exchange every painting of Christ for one snapshot.' That's what the power of photography is.

I bought a painting in Madrid on my first trip there too and a lot of people say, 'Well it's not the greatest painting' and I say, 'It is to me.' OK, you can look at a beautiful painting and say, 'That's beautiful' but to me, it feels warmer to fill my home with pictures of friends and family and paintings of places I've gone. That's what I want to come home to.

Given the lack of public skills in reading photographs, given that photographic content is sometimes buried in beauty, contemporary landscape photographers are often condemned to making pretty pictures. Dramatic clouds and sifting light can overwhelm more mundane information. Yet who can resist beautiful landscape pictures of one kind or another? Not I.

It is so hard and long before a student comes to a realization that these [first] few large simple spots in right relations are the most important things in the study of painting. They are the fundamentals of all painting.

I do have great respect for painting, but I am definitely not a painter. I make drawings of paintings, and I'm jealous of painting for sure, but, for me, the paper gives my work a limit.

Well, painting today certainly seems very vibrant, very alive, very exiting. Five or six of my contemporaries around New York are doing very vital work, and the direction that painting seems to be taken here - is - away from the easel - into some sort, some kind of wall, wall painting.

I find that I have painted my life, things happening in my life - without knowing. After painting the shell and shingle many times, I did a misty landscape of the mountain across the lake, and the mountain became the shape of the shingle - the mountain I saw out my window, the shingle on the table in my room. I did not notice that they were alike for a long time after they were painted.

Sometimes you need to live with a painting for a while. Starting a painting can be easy, but finishing it... that's the skill of the painter, how you finally know when it's done.

I'll sue!" Ian sputtered. "I'll sue you AND the dog. And the country of South Korea. And...and..." "The landscape architect?" Natalie asked. "The landscape architect!" Ian shouted.

For me, preparing the canvas takes longer than painting. The actual painting takes about half an hour.

I realized that most people waste their lives earning a living, and I wanted to live. I love painting, so I keep painting. That's how I became an artist.

Creation rather than painting, or if painting, yet such, and with such co-presence of the whole picture flash'd at once upon the eye, as the sun paints in a camera obscura. (Describing his poetic ideal, 1817)