Landscape Art Quotes

I intend to do a large painting of the cliff at Etretat, although it is terribly bold of me to do so after Courbet has painted it so admirably, but I will try to do it in a different way.

At Roden Crater, I was interested in taking the cultural artifice of art out into the natural surround. I wanted the work to be enfolded in nature in such a way that light from the sun, moon and stars empowered the spaces. I wanted to bring culture to the natural surround as if one was designing a garden.

I paint the American scene.

My landscapes are not only beautiful or nostalgic, with a Romantic or classical suggestion of lost Paradises, but above all 'untruthful'.

Try to forget what objects you have before you - a tree, a house, a field, or whatever. Merely think, 'Here is a little square of blue, here an oblong of pink, here a streak of yellow,' and paint it just as it looks to you, the exact color and shape, until it gives you your own impression of the scene before you.

All gardening is landscape painting,' said Alexander Pope.

'Shan shui' you can literally translate as 'mountain and water.' In traditional Chinese culture, there are a lot of paintings about shan shui, but now we're talking about a shan-shui city.

I'm just a landscape painter. I look out the window and I see what's going on, and I paint it. While I'm painting it, I also write thoughts about what I see going on out there.

I have never had a studio, and I do not understand shutting oneself up in a room. To draw, yes; to paint, no.

Sculpture is an art of the open air. Daylight, sunlight, is necessary to it, and for me, its best setting and complement is nature.

The majority of my work is from life. I spend most fine days from May to October painting outside.

Nothing makes me so happy as to observe nature and to paint what I see.

I want my paintings to look like what's going on outside my window rather than what's inside my studio.

When painting a landscape it is desirable to walk through the clumps and around the bushes, around the trees, the houses and the rocks. Familiarizing yourself in this way with the subject, you will get a better concept of the thing and not a visual and false snapshot.

I do mostly Southern landscapes. I do beautiful old barns that are falling down, and beautiful trees reflecting in the water. My lovely wife Dorothy and I travel quite a bit, so I take pictures of different things that inspire me to come home, when I come home here in North Carolina, into my art studio and paint these things.

I like a painting which makes me want to stroll in it.

A garden is a complex of aesthetic and plastic intentions; and the plant is, to a landscape artist, not only a plant - rare, unusual, ordinary or doomed to disappearance - but it is also a color, a shape, a volume or an arabesque in itself.

We live in an age when the traditional great subjects - the human form, the landscape, even newer traditions such as abstract expressionism - are daily devalued by commercial art.

I find the Romantic period extraordinarily interesting. My landscapes have connections with Romanticism: at times I feel a real desire for, an attraction to, this period, and some of my pictures are a homage to Caspar David Friedrich.

Landscape is my mistress - 'tis to her I look for fame.

What I am interested in now is the landscape. Pictures without people. I wouldn't be surprised if eventually there are no people in my pictures. It is so emotional.

I am a sur le motif painter, always in-the-field, with a French easel that folds up into a box, with backpack straps on it. Many of the sites I haunt are desolately beautiful. Few other people go there. I am gloriously alone, unmolested, and absorbed in attempting to see what I am looking at.

I paint from the top down. From the sky, then the mountains, then the hills, then the houses, then the cattle, and then the people.

Maybe black and white is the best medium for landscapes, I don't know.

We want our happy little clouds to float across the sky