Quotes & Sayings About Landscape Paintings

The oversized chairs are white; the walls, covered with occasional landscape paintings, are white; and the plush carpet is the whitest of all. I'm insanely glad I didn't bring a cup of grape juice with me. — Wendy Mass

This is the birth of the modern human soul. The artists are like us, not like the Neanderthals, who had no culture - and who incidentally were still roaming the landscape at the time the paintings were made. It is striking that there is a distant cultural echo that seems to reach all the way down to us, over dozens of millennia. — Werner Herzog

My paintings are titled after they are finished. I paint from remembered landscapes that I carry with me - and remembered feelings of them, which of course become transformed. I could certainly never mirror nature. I would more like to paint what it leaves with me. — Joan Mitchell

What I so like about Poussin and Cezanne is their sense of organization. Ilike the way in which they develop space and shape in architecturalcontinuity - the rhythm across their paintings. When I paint a landscape, Iget the greatest pleasure out of composing it. As I paint, I try to work outa visual sonata form or a fugue, with realistic images. — Ian Hornak

Gardening is like landscape painting to me. The garden is the canvas. Plants, containers and other garden features are the colors. I paint on the garden of canvas hoping to create a master piece with my colors. — Ama H. Vanniarachchy

In fact, scientists have taken advantage of this effect by using the amount of red in contemporary paintings of sunsets to estimate the intensity of volcanic eruptions. Several Greek scientists, led by C. S. Zerefos, digitally measured the amount of red - relative to other primary colors - in more than 550 samples of landscape art by 181 artists from the sixteenth through the nineteenth centuries to produce estimates of the amount of volcanic ash in the air at various times. Paintings from the years following the Tambora eruption used the most red paint; those after Krakatoa came a close second. — William K. Klingaman

Chauvet Cave is rather like the awakening of the modern human soul or I would say the awakening of modern human culture. Because Neanderthal men who still rode the landscape parallel to the people who did these paintings didn't have culture. There's no evidence of culture, no symbolic depiction, no evidence of music, no evidence of sculptures, no evidence of religious beliefs. — Werner Herzog

I walked across Tuscany from Siena to Rome, which was a lovely way to see the landscape. It was sunny but not too hot, and we made detours to look at treasures - churches, paintings, little hill villages. The first couple of days, you feel your knees are turning to jelly. But, at the end, you feel very limber. I hope I can always do it. — Diana Quick

Old England is an imaginary place, a landscape built from words, woodcuts, films, paintings, picturesque engravings. It is a place imagined by people, and people do not live very long or look very hard. We are very bad at scale. The things that live in the soil are too small to care about; climate change too large to imagine. We are bad at time too. We cannot remember what lived here before we did; we cannot love what is not. Nor can we imagine what will be different when we are dead. We live out our three score and ten, and tie our knots and lines only to ourselves. We take solace in pictures, and we wipe the hills of history. — Helen Macdonald

One thing in particular that struck him was the total absence of landscapes, the mark of a mature aesthetic sensibility: hanging landscape paintings in a house situated in the Garden of Eden would be as pointless as pouring a bucket of water into the ocean. — Liu Cixin

My paintings are loosely based on meta narratives. The pictures float in and out of pictorial genres. Still life's become personified, portraits become events, and landscapes become constructions. I embrace the area between which the subject is composed and decomposing, formed and formless, inanimate and alive. — Dana Schutz

Chinese landscape paintings often include tiny figures - as if to emphasize the grandeur of nature of which humankind is one small part. Think of the world in these terms, as larger in scale than the human. This is a healthy corrective to the commonplace view that people own the land, which exists to serve their purposes. Think big and live small. — Barbara Ann Kipfer

the calming effect of viewing Chinese landscape paintings, — Anonymous

Music: breathing of statues. Perhaps:
silence of paintings. You language where all language
ends. You time
standing vertically on the motion of mortal hearts.
Feelings for whom? O you the transformation
of feelings into what?
: into audible landscape.
You stranger: music. You heart-space
grown out of us. The deepest space in us,
which, rising above us, forces its way out,
holy departure:
when the innermost point in us stands
outside, as the most practiced distance, as the other
side of the air:
pure,
boundless,
no longer habitable. — Rainer Maria Rilke

When I started to draw, most of my influences were from other painters and illustrators, so I was drawing landscape at second hand, really. The trees were Rackham trees, or trees that I had seen in paintings rather than from my own observation ... and I started to feel this was a real lack in my work. Everything was too generalised, and not based on real experience. Then in 1975, after having worked for some years in London as a book cover illustrator mainly, I came down to Devon and stayed with some friends up on the moor. In the course of this one weekend, wandering around the moor, finding rivers and ancient woods, I realised that everything that I would ever want to draw was actually here. There was so much richness in the texture and forms of these fantastic trees ... and I decided in the course of that weekend to come and live here. I looked at a couple of houses, found one, and made an offer on it, all in that one weekend! — Alan Lee