Landscape, at its best, is not a narrow category. It is a source of surprise. It allows for the sudden assertion of a place, like an unexpected time signature within a melody.

For me, a landscape does not exist in its own right, since its appearance changes at every moment; but the surrounding atmosphere brings it to life - the air and the light which vary continually. For me, it is only the, surrounding atmosphere which gives subjects their true value.

To be sure, the moment the study passes beyond bare description the student must leave the landscape itself, must go beneath it, even to state what its form represents — to translate the outer foliage of a forest into the forest, the outer surface of buildings into different kinds of buildings, etc.... Our interest in houses, factories, and forests cannot be confined to their surface form; only in the limited field of aesthetic geography could such a restriction be justified. Our very use of such words as house, barn, factory, office building, etc., indicates that we are primarily concerned with the internal functions within these structures, the external form is a secondary aspect which we use simply as a handy means to detect the internal function - and should use only insofar as it is a reliable means for that purpose.

Landscape is the work of the mind. Its scenery is built up as much from the strata of memory as layers of rocks... The book [Landscape and Memory] is a celebration of the improbable resilience both of the Earth and of the ability of these cultural contacts to survive the nightmares of late capitalism and late industrialization. I don't want to be understood as some anti-environmentalist, which I am most emphatically not, but I do have an argument with the notion that there is this determined history whereby technological society is necessarily going to mean oblivion for nature.

Landscapes are about beauty and death. The only way you can define beauty.. ..is to know that death is hiding behind it. This is what haunts you when you’re doing a so-called landscape painting. -

The hypothesis underlying all approaches to the landscape is that there is a cosmological setting in which different regions or epochs of the universe can have different effective laws. This implies the existence of spacetime regions not directly observable... These regions must either be in the past of our big bang, or far enough away from us to be causally unrelated.

The landscape around us is but a shadow of the landscape within us.

One of the functions of landscape it to correspond to, nurture, and provoke exploration of the landscape of the imagination. Space to walk is also space to think, and I think that's one thing landscapes give us: places to think longer, more uninterrupted thoughts or thoughts to a rhythm other than the staccato of navigating the city.

This observation might be repeated with regard to all objects of the outer world which enter into relation with us. Whether the knowledge of them be of the common-place or of a scientific order matters little. Sensation is its limit, and all objects are known to us by the sensations they produce in us, and are known to us solely in this manner. A landscape is nothing but a cluster of sensations. The outward form of a body is simply sensation; and the innermost and most delicate material structure, the last visible elements of a cell, for example, are all, in so far as we observe them with the microscope, nothing but sensation.

A lake is a landscape's most beautiful and expressive feature. It is Earth's eye; looking into which the beholder measures the depth of his own nature.

The thing you know in the abstract, but which you have to see, is the vastness of the place and how little relationship one side of it has to another. Mostly, the landscape is just unbelievably beautiful. You do a lot of looking and not that much thinking.

The kinds of landscape I try to find in my films...exist only in our dreams. For me a true landscape is not just a representation of a desert or a forest. It shows an inner state of mind, literally inner landscapes, and it is the human soul that is visible through the landscapes presented in my films.

Landscape architects are a combination of artists, designers, choreographers and scientists; they must also be leaders, especially in dealing with the effects of climate change.

It was a striking demonstration of how geomorphology, the shape of the landscape, dominates human geography.