Promote Your Landscapes And Treescapes .....others May Comment And Vote On Your Pics

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”It had struck me how firmly the saplings were rooted in the ground -
I started on them with the brush, but because the ground was already impasted, brush-strokes simply vanished into it.
Then I squeezed the roots and trunks in from the tube and modelled them a little with the brush.”
Letter to Theo van Gogh, 3 September 1882

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Yesterday evening I was working on a slightly rising woodland slope covered with dry and mouldering beech leaves
The ground was light and dark reddish brown, emphasized by the weaker and stronger shadows of trees casting half-obliterated stripes across it.
The problem, and I found it a very difficult one, was to get the depth of colour,
the enormous power and solidity of that ground --
and yet it was only while painting it that I noticed how much light there was still in the dusk --
to retain the light as well as the glow, and depth of that rich colour,
for there is no carpet imaginable as splendid as that deep brownish-red
in the glow of an autumn evening sun,
however toned down by the trees.”
Letter to Theo van Gogh, 3 September 1882

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”Corot drew and modelled every tree trunk with the same devotion and love as if it were a figure.”
Letter to Theo van Gogh, c.September 1881

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If one draws a pollard willow as if it were a living being, which after all is what it really is,
then the surroundings follow almost by themselves,
provided only that one has focused all one's attention on that particular tree
and not rested until there was some life in it.”
Letter to Theo van Gogh, c.15 October 1881

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”… in all nature,
for instance in trees,
I see expression and soul… ”
Letter to Theo van Gogh, 5 November 1882

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”The very broad-fronted houses here [in Zweeloo] are set among oak trees of a superb bronze.
Tones in the moss of gold-green,
in the ground of reddish or bluish or yellowish dark lilac-greys,
tones of inexpressible purity in the green of the little cornfields,
tones of black in the wet tree trunks,
standing out against the golden rain of swirling, teeming autumn leaves,
which hang in loose clumps --
as if they had been blown there,
loose and with the light filtering through them --
from the poplars,
the birches,
the limes
and the apple trees.”
Letter to Theo van Gogh, 2 November 1883

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”I'm in a fever of work since the trees are in blossom
and I want to do a Provençal orchard full of enormous brightness. ”
Letter to Theo van Gogh, c.2 April 1888

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This morning I worked on an orchard of plum trees in bloom;
all at once a fierce wind sprang up,
an effect I had seen nowhere else but here, and returned at intervals.
The sun shone in between, and all the little white flowers sparkled. …
I went on painting at the risk and peril of seeing the whole show on the ground at any moment --
it's a white effect
with a good deal of yellow in it, and blue and lilac,
the sky white and blue.”
Letter to Theo van Gogh, c.11 April 1888

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I am working on nine orchards:
one white;
one pink, almost red;
one white-blue;
one grayish pink;
one green and pink.
Yesterday I overdid one of a cherry tree against a blue sky;
the young leaf shoots were orange and gold,
the clusters of flowers white,
and that against the green-blue of the sky was wonderfully glorious.
”
Letter to Emile Bernard, c.21 April 188

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i have been knocking about in the orchards,
and the result is five size 30 canvases,
which along with the three studies of olives that you have,
at least constitute an attack on the problem.
The olive is as variable as our willow or pollard willow in the North,
you know the willows are very striking,
in spite of their seeming monotonous,
they are the trees characteristic of the country
. Now the olive and the cypress have exactly the significance here as the willow has at home
. What I have done is a rather hard and coarse reality beside their abstractions,
but it will have a rustic quality,
and will smell of the earth. ”
Letter to Theo van Gogh, c.21 November 1889

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For me, trees have always been the most penetrating preachers.
I revere them when they live in tribes and families,
in forests and groves.
And even more I revere them when they stand alone.
They are like lonely persons
. Not like hermits who have stolen away out of some weakness,
but like great, solitary men, like Beethoven and Nietzsche.
In their highest boughs the world rustles
, their roots rest in infinity;
but they do not lose themselves there,
they struggle with all the force of their lives for one thing only:
to fulfil themselves according to their own laws
, to build up their own form,
to represent themselves.
Nothing is holier, nothing is more exemplary than a beautiful, strong tree
. When a tree is cut down and reveals its naked death-wound to the sun,
one can read its whole history in the luminous, inscribed disk of its trunk:
in the rings of its years, its scars,
all the struggle, all the suffering, all the sickness,
all the happiness and prosperity stand truly written, the narrow years and the luxurious years,
the attacks withstood, the storms endured.
And every young farmboy knows that the hardest and noblest wood has the narrowest rings,
that high on the mountains and in continuing danger the most indestructible,
the strongest,
the ideal trees grow

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Trees are sanctuaries.
Whoever knows how to speak to them,
whoever knows how to listen to them,
can learn the truth.
They do not preach learning and precepts,
they preach,
undeterred by particulars, the ancient law of life

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A tree says: A kernel is hidden in me, a spark, a thought, I am life from eternal life.
The attempt and the risk that the eternal mother took with me is unique,
unique the form and veins of my skin,
unique the smallest play of leaves in my branches
and the smallest scar on my bark.
I was made to form and reveal the eternal in my smallest special detail.

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Golden aquatic reeds at sunrise

A scene at the Cape Canaveral Lighthouse

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Post your landscape paintings and photos here.

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Impressions of cherry blossom in Kyoto is a dreamy vibrant landscape original painting

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