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There is nothing that special to see when looking at me. I'm a painter who paints day in day out, from morning till evening - figure pictures and landscapes, more rarely portraits.
The landscapes were in my arms as I did it.
The sigh of History rises over ruins, not over landscapes, and in the Antilles there are few ruins to sigh over, apart from the ruins of sugar estates and abandoned forts.
Well, painting is the one thing I do, that is just me. It's me and easels, and the pencils. And as long as I don't drool too much over the canvas, the colors come out pretty good. And it's a chance to express all that I've got inside, that I sometimes keep hidden. And I think that's why I paint big broad, wide open landscapes.
Joni Eareckson Tada
Yes, and there were changes of light on landscapes and changes of direction of the wind and the force of the wind and weather. That whole scene is too important in Homer to neglect.
I am not a religious person myself, but I did look for nature. I had spent my first sabbatical in New York City. Looked for something different for the second one. Europe and the U.S. didn't really feel enticing because I knew them too well. So Asia it was. The most beautiful landscapes I had seen in Asia were Sri Lanka and Bali.
I love hiking to the top of mountains in L.A. and seeing incredible landscapes. It really inspires me.
Even in a less exaggerated description, any verbal account of a person is bound to find itself employing an assortment of waterfalls, lightning rods, landscapes, birds, etc.
Black-and-white photography, which I was doing in the very early days, was essentially called art photography and usually consisted of landscapes by people like Ansel Adams and Edward Weston. But photographs by people like Adams didn't interest me.
Like prospecting in the 19th century, reconnaissance of the asteroids would of necessity take place in an arena where trouble is likely and help is distant. Heroic stories of individual triumph and failure, set on landscapes never seen by humankind, are in the cards.
He was so excited. He cut out pictures of these landscapes and neighborhoods and kind of really tried to give you a feel of the movie. It was kind of cute but at the same time it really showed his enthusiasm for it.
I do portraits. I usually do live models in a class environment, but I've been painting at home more. I really love the human form, and I love faces. I've tried to do landscapes a few times.
I'm inspired by many things, from landscapes to textiles. Art and architecture always influence my design process.
Part of the work is determining through what instrument you are playing. Actors are physical, olympian storytellers and we should be able to create entire landscapes with nothing.
As you wake up to sort of Morocco coming to life, and you drive a two hour journey through the desert as the sun is rising over the sand dunes... I saw landscapes and visual stuff that I'll never forget. It was special.
My memory is basically visual: that's what I remember, rooms and landscapes. What I do not remember are what the people in these room were telling me. I never see letters or sentences when I write or read, but only the images they produce.
Karl Ove Knausgaard
I used to paint landscapes without any people in them but now I paint people who happen to be in a particular place. They might be outside a pub, or on a beach or in a studio. They might have clothes on or they might not.
I love big budgeted, epic rock landscapes. That's what turns me on.
Melissa Auf der Maur
I've dreamed landscapes for years, and my dreams play an enormous role in my work. In fact, when I first started doing landscapes I felt insecure about painting in this style, and the dreams were like positive omens for me, and I've done a few paintings that were exact replicas of images that came to me in dreams.
Franz Kline, who became known for his black and white paintings, did a whole series of gorgeous landscapes and wonderful portraits that may still hang in Greenwich Village.
After Land I wanted to continue exploring the theme but I needed a new challenge so turned to colour. I explored Bradford and produced a series of urban landscapes that I liked, but because Land had made such an impact on the general public my colour work wasn't reviewed.
What I see as the particularly exciting prospect for writing horror fiction as we go forward is setting stories in more internal landscapes than external ones, mapping out the mind as the home for scary things instead of the house at the end of the lane or lakeside campground or abandoned amusement park.
It's interesting how people who were once fairly radical can become, later in life, kind of conservative, and not just in terms of politics - how, if you're an artist, you can start out being somewhat avant-garde and then end up doing landscapes.
I like America's diversity and its landscapes.
I've been in beautiful landscapes where one is tempted to whip out a camera and take a picture. I've learned to resist that.
A. P. J. Abdul Kalam
C. S. Lewis
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