I've never seen the point of the sea, except where it meets the land. The shore has a point. The sea has none.
I have gained very great inspiration from the Cornish land- and seascape, the horizontal line of the sea and the quality of light and colour which reminds me of the Mediterranean light and colour which so excites one's sense of form; and first and last there is the human figure which in the country becomes a free and moving part of a greater whole. This relationship between figure and landscape is vitally important to me. I cannot feel it in a city.
Etretat is becoming more and more amazing. Now is the real moment: the beach with all its fine boats; it is superb, and I am enraged not to be more skillful in rendering all this. I would need two hands and hundreds of canvases.
Among the seascapes, I am doing the regattas of Le Havre with many figures on the beach and the outer harbor covered with small sails.
When you're on a boat, you're going to little islands and stuff. It's not a partying kind of thing.
I pass my time in the open air on the beach when it is really heavy weather or when the boats go out fishing.
I think all songs should have weather in them. Names of towns and streets, and they should have a couple of sailors. I think those are just song prerequisites.
My childhood landscape was not land but the end of the land - the cold, salt, running hills of the Atlantic. I sometimes think my vision of the sea is the clearest thing I own.
I don't feel I've arrived home until I get on the beach. All my life, the theater of the sea has been a very strong thing.
From the sprinkled isles, Lily on lily, that o'erlace the sea.
One step outside the gate, and we are among the sand-hills that stretch for miles and miles round Vera Cruz.
When you live by the sea, there are definite seasons when you can see the weather coming and going, which lends itself to photography.
I don't think about Norfolk as I write songs, sadly no! But things like 'High' is a song about watching the dawn come up over the sea, and I've had many of those situations.
Being by the ocean is the greatest thing.
I love the ocean. I've always liked the blue, so tranquil and peaceful and gliding. And the fear of it.
A ship's engine far away on the water expands the summer-night horizon. Both joy and sorrow swell in the dew's magnifying glass. Without really knowing, we divine; our life has a sister ship, following quietly another route. While the sun blazes behind the islands.
I know a number of coastal trails in downeast Maine, all of them interesting.
I live in Hawaii part time and love shooting the ocean, both long exposures that capture the movement of water and with a fast shutter speed to freeze the power and force of a wave.
California has a beautiful coastline. It can be a rough coastline. The waves are huge. The rocks are steep. Same thing in Vancouver. It has a beautiful coastline. It's dramatic.
In front of us lay a smooth sandy beach, beyond which rose gradually a high wooded country, and behind us was the sea, studded with numerous islands of every variety of form.
Where I am from in Sweden was on the beach, so I love the sound of the water hitting the dock.
I went into the Navy because I love the ocean, and I am still privileged to have a place that I can go to that's by the water.
I love cities that are on the water. I love the water element, specifically the sea. I grew up on the sea and I grew up sailing - I love sailing - and the presence of the sea gives the air and the light a very special quality that I absolutely adore.
I loved the sound of the ocean, the breaking surf, the vastness, but still didn't feel terribly comfortable in it.
My dream is to have a house on the beach, even just a little shack somewhere so I can wake up, have coffee, look at dolphins, be quiet and breathe the air.
