Close your bodily eye, that you may see your picture first with the eye of the spirit. Then bring to light what you have seen in the darkness, that its effect may work back, from without to within.
I must stay alone and know that I am alone to contemplate and feel nature in full; I have to surrender myself to what encircles me, I have to merge with my clouds and rocks in order to be what I am.
I am not so weak as to submit to the demands of the age when they go against my convictions. I spin a cocoon around myself; let others do the same. I shall leave it to time to show what will come of it: a brilliant butterfly or maggot.
What the newer landscape artists see in a circle of a hundred degrees in Nature they press together unmercifully into an angle of vision of only forty-five degrees. And furthermore, what is in Nature separated by large spaces, is compressed into a cramped space and overfills and oversatiates the eye, creating an unfavorable and disquieting effect on the viewer.
Just as the pious man prays without speaking a word and the Almighty hearkens unto him, so the artist with true feelings paints and the sensitive man understands and recognizes it.
The painter should paint not only what he has in front of him, but also what he sees inside himself. If he sees nothing within, then he should stop painting what is in front of him.
The artist should paint not only what he sees before him, but also what he sees within him. If, however, he sees nothing within him, then he should also refrain from painting that which he sees before him. Otherwise, his pictures will be like those folding screens behind which one expects to find only the sick or the dead.
When a scene is shrouded in mist, it seems greater, nobler, and heightens the viewers' imaginative powers, increasing expectation -
like a veiled girl. Generally the eye and the imagination are more readily drawn by nebulous distance than by what is perfectly plain for all to see