A path is a prior interpretation of the best way to traverse a landscape.
All cities are geological; you cannot take three steps without encountering ghosts bearing all the prestige of their legends. We move within a closed landscape whose landmarks constantly draw us toward the past. Certain shifting angles, certain receding perspectives, allow us to glimpse original conceptions of space, but this vision remains fragmentary. It must be sought in the magical locales of fairy tales and surrealist writings: castles, endless walls, little forgotten bars, mammoth caverns, casino mirrors.
The present is always unsettled, no one has had time to contemplate it in tranquillity. I was a painter before I was a writer and a painter never wants the subject right under his nose; he wants to stand back and study a landscape with half-closed eyes.
Just as storms change the landscape of the earth, our hardships change the landscape of the heart.
Landscape shapes culture
The moral landscape is the framework I use for thinking about questions of morality and human values in universal terms.
For me a work of art must be an elevated interpretation of nature. The search for the ideal has been the purpose of my life. In landscape or seascape, I love above all the poetic motif.
Wyman's overpopulated universe is in many ways unlovely. It offends the aesthetic sense of us who have a taste for desert landscapes.
We rely, I think, on landscape photography to make intelligible to us what we already know.
It's a landscape that has to be seen to be believed. And, as I say on occasion, it may have to be believed in order to be seen.
I'm fascinated by how you'll change your position so many times over a lifetime, but really what you're doing is occupying a series of positions on a landscape.
You hear people say that there's too much CG in movies today, but CG is what allows me to take a green-painted wall in a studio and make it disappear, and then put 100 miles of landscape in. CG, in the right hands, can be a marvelous tool.
When you shoot on film, you don't know whether you've got it or not until you get the film processed, and so it changes the relationship we have with the subject whether it's a landscape or a person in a so-called controlled environment in a chair in a studio in front of you.
We offer you the landscape of your birth -- Exquisite and despoiled. We all share blame. We cannot ask forgiveness of the earth For killing what we cannot even name.
Landscape is my religion. . . . God in a green legend, I lean over the pool In a testament of leaves. I dangle my twinkling mood Before me in a cool cave roofed with branches And floored with a skin of water.
I’d like to think that the actions we take today will allow others in the future to discover the wonders of landscapes we helped protect but never had the chance to enjoy ourselves.
I had a Vincent van Gogh, a small Provençal landscape. We sold it. If you're going to have a van Gogh it should be a really good van Gogh.
I find those wind turbines around Lake George to be utterly offensive. I think they're just a blight on 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.
Distinctly American poetry is usually written in the context of one's geographic landscape, sometimes out of one's cultural myths, and often with reference to gender and race or ethnic origins.