What we hope for from the artist is help in discovering the significance of a place. In this sense we would choose in most respects for thirty minutes with Edward Hopper’s painting Sunday Morning to thirty minutes on the street that was his subject; with Hopper’s vision we see more.

There is always a subjective aspect in landscape art, something in the picture that tells us as much about who is behind the camera as about what is in front of it.

Philosophy can forsake too easily the details of experience… many writers and painters have demonstrated that thinking long about what art is or ought to be ruins the power to write or paint.

In a foreign country it is far from easy to study a scene at length when you know that at any minute someone may appear and ask what you are doing and that you can't answer, and you haven't many references, and you don't know the law. Neither is it easy to find and know the subjects for portraits or comfortable to make such picture when you cannot apply an anesthesia of small talk.

Our universe is a sea of energy - free, clean energy. It is all out there waiting for us to set sail upon it.

Little wonder that we. . .find the old pictures of openness - pictures usually without any blur, and made by what seems a ritual of patience - wonderful. They restore to us knowledge of a place we seek but lose in the rush of our search. Though to enjoy even the pictures, much less the space itself, requires that we be still longer than is our custom.

All land, no matter what has happened to it, has over it a grace, an absolutely persistent beauty.