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Carlson's Guide to Landscape Painting
Written by a famous American painter and teacher, whose landscapes are found in many of the world's most noted museums, this book is known as one of the art student's most helpful guides. It provides a wealth of advice on the choice of subject; it tells what to look for and aim for, and explains the mysteries of color, atmospheric conditions, and other phenomena to be found in nature.
Through his profound understanding of the physical nature of landscapes and his highly developed artistic sense, John Carlson is able to explain both the whys and the hows of the various aspects of landscape painting. Among the subjects covered are angles and consequent values (an insightful concept necessary for strong overall unity of design), aerial and linear perspective, the painting of trees, the emotional properties of line and mass in composition, light, unity of tone, choice of subject, and memory work. In the beginning chapters, the author tells how to make the best of canvas, palette, colors, brushes, and other materials and gives valuable advice about texture, glazing, varnishing, bleaching, retouching, and framing. Thirty-four reproductions of Mr. Carlson's own work and 58 of his explanatory diagrams are shown on pages adjoining the text.
As Howard Simon says in the introduction: "Crammed into its pages are the thoughts and experiences of a lifetime of painting and teaching. Undoubtedly it is a good book for the beginner, but the old hand at art will appreciate its honesty and broadness of viewpoint. It confines itself to the mechanics of landscape painting but, philosophically, it roams far and wide. . . . This is a book to keep, to read at leisure, and to look into for the solution of problems as they arise, when the need for an experienced hand is felt."
Through his profound understanding of the physical nature of landscapes and his highly developed artistic sense, John Carlson is able to explain both the whys and the hows of the various aspects of landscape painting. Among the subjects covered are angles and consequent values (an insightful concept necessary for strong overall unity of design), aerial and linear perspective, the painting of trees, the emotional properties of line and mass in composition, light, unity of tone, choice of subject, and memory work. In the beginning chapters, the author tells how to make the best of canvas, palette, colors, brushes, and other materials and gives valuable advice about texture, glazing, varnishing, bleaching, retouching, and framing. Thirty-four reproductions of Mr. Carlson's own work and 58 of his explanatory diagrams are shown on pages adjoining the text.
As Howard Simon says in the introduction: "Crammed into its pages are the thoughts and experiences of a lifetime of painting and teaching. Undoubtedly it is a good book for the beginner, but the old hand at art will appreciate its honesty and broadness of viewpoint. It confines itself to the mechanics of landscape painting but, philosophically, it roams far and wide. . . . This is a book to keep, to read at leisure, and to look into for the solution of problems as they arise, when the need for an experienced hand is felt."
144 pages, Paperback
First published June 1, 1973
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724 people want to read
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Displaying 1 - 30 of 45 reviews
February 16, 2009
Regardless of whether or not you are painting landscapes , this is a good read for artistic advice and direction. His philosophy is that you can't teach "art", but that you can teach the technical skills intrinsic to all good art. "In painting we are apt to be very forgiving of poor technical performance" he says, "In good art, the results do not have to be 'explained.'" The fundamentals he proceeds to teach throughout the book are but the means to "the beauty that they are eventually to support."
He proceeds to explain with very useful insight the aspects of design, light, perspective, color, composition, and other things. He describes not only the technical aspect, but the emotional and artistic dimensions as well. He talks about developing an "accumulation of emotions" that can help sort out the plethora of data nature throws at us to develop an idea or sense of the scene to paint.
I was an art major in college, and I wish I would have had read this back in school. It has a lot of very helpful ways of thinking about one's painting.
Quotes:
"We must have design in a picture even at the expense of truth. You are using nature for your artistic needs."
Aerial perspective:
"It is the yellow that fades out of a landscape as it recedes from the foreground."
"All things become cooler in color and lighter in value as they recede into the distance."
Balloon Theory of drawing trees...
"We must not train our brain to think with. Think of the bearing of such ranges of color and harmonies upon the main idea of our picture. Only, think with your heart!" (p85)
"In order that we may appreciate the enlivening rhythm of a rhumba, it is not necessary to play a dirge in the next room." (p86)
"I shall always hold that the mixing of color--its desired hue, shade or nuance--is the real thrill of painting." (p92)
"His difficulty is that he has not visited the woods often enough to have acquired empirical knowledge or experience and the consequent accumulation of emotions." (p116)
"Obviously enough, a "portrait" of the woods, a mere painted snapshot, is not wanted. A snapshot is not composed of accumulated emotions, but is a static statement of 1/100 of a second's duration. It is but one degree in the giant arc of eternity. Your picture must look like all the woods that ever grew, otherwise it is but a shell." (p116)
"I call this striving and searching after something extraordinary to paint, the "tourist's idea" of painting. Do not be a tourist-painter." (p132)
"If you must travel to paint, at least know that a work of art depends, not upon time nor place, but upon something that springs from the inner man." (p132)
"When an artist singles out (from the heterogenous mass of nature's material) the subject he is going to paint, he does so by virtue of an instinct of knowledge he possesses as to that subject's pliability to his artistic needs. In other words, he brings an idea to the motif before him (or, you might say, the motif gives him an idea what his idea is). If you approach nature without some idea, she is merciless in the way in which she piles lumber in your way." (p133)
"Truly, an artist's life is a responsible one, and one of sustained effort." (p133)
He proceeds to explain with very useful insight the aspects of design, light, perspective, color, composition, and other things. He describes not only the technical aspect, but the emotional and artistic dimensions as well. He talks about developing an "accumulation of emotions" that can help sort out the plethora of data nature throws at us to develop an idea or sense of the scene to paint.
I was an art major in college, and I wish I would have had read this back in school. It has a lot of very helpful ways of thinking about one's painting.
Quotes:
"We must have design in a picture even at the expense of truth. You are using nature for your artistic needs."
Aerial perspective:
"It is the yellow that fades out of a landscape as it recedes from the foreground."
"All things become cooler in color and lighter in value as they recede into the distance."
Balloon Theory of drawing trees...
"We must not train our brain to think with. Think of the bearing of such ranges of color and harmonies upon the main idea of our picture. Only, think with your heart!" (p85)
"In order that we may appreciate the enlivening rhythm of a rhumba, it is not necessary to play a dirge in the next room." (p86)
"I shall always hold that the mixing of color--its desired hue, shade or nuance--is the real thrill of painting." (p92)
"His difficulty is that he has not visited the woods often enough to have acquired empirical knowledge or experience and the consequent accumulation of emotions." (p116)
"Obviously enough, a "portrait" of the woods, a mere painted snapshot, is not wanted. A snapshot is not composed of accumulated emotions, but is a static statement of 1/100 of a second's duration. It is but one degree in the giant arc of eternity. Your picture must look like all the woods that ever grew, otherwise it is but a shell." (p116)
"I call this striving and searching after something extraordinary to paint, the "tourist's idea" of painting. Do not be a tourist-painter." (p132)
"If you must travel to paint, at least know that a work of art depends, not upon time nor place, but upon something that springs from the inner man." (p132)
"When an artist singles out (from the heterogenous mass of nature's material) the subject he is going to paint, he does so by virtue of an instinct of knowledge he possesses as to that subject's pliability to his artistic needs. In other words, he brings an idea to the motif before him (or, you might say, the motif gives him an idea what his idea is). If you approach nature without some idea, she is merciless in the way in which she piles lumber in your way." (p133)
"Truly, an artist's life is a responsible one, and one of sustained effort." (p133)
January 14, 2022
Carlson just says it like it is. This is what art practice is all about; no happy mistakes; no fluffy remarks... just solid truths, knowledge and practice. A must for every artist's reference library.
January 26, 2009
Pretty decent landscape book.-technical but sticks to the big issues.
Although it does start to get a little high minded where he is repeating base principals over and over again in different ways...weird.
He does have an interesting chapter on painting trees and clouds. This in itself is probably worth the price of the book.-these two chapters are a little...high art. but written well and the principals they express are good things to remember when painting these types of forms.
Overall, a good book, but not as good as Andrew Loomis "the eye of the painter".
Although it does start to get a little high minded where he is repeating base principals over and over again in different ways...weird.
He does have an interesting chapter on painting trees and clouds. This in itself is probably worth the price of the book.-these two chapters are a little...high art. but written well and the principals they express are good things to remember when painting these types of forms.
Overall, a good book, but not as good as Andrew Loomis "the eye of the painter".
April 6, 2019
کارلسون نقاش امپرسیونیست و معلم نقاشی در کتاب راهنمای نقاشی منظره، علاوه بر اینکه متد نقاشیش رو کامل توضیح میده، در مورد اینکه منظره چیه، از چه عناصری تشکیل شده و درنهایت نقاشی براش چه معنایی داره صحبت میکنه. من از خوندن این کتاب چیزهای زیادی یاد گرفتم و درکنارش لذت بردم و به هر نقاشی که به منظره علاقمنده توصیه میکنم.
کتابخونهی پردیس هنرهای زیبا دانشگاه تهران دو نسخه از این کتاب داره.
کتابخونهی پردیس هنرهای زیبا دانشگاه تهران دو نسخه از این کتاب داره.
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December 27, 2007Easy how to book covers the basics of landscape painting.
July 26, 2023
This is an extremely useful guide for the budding artist. In fact one art teacher, whom I respect above all others, labels this THE BIBLE for landscape artists. If only I had read this book at the beginning of my painting hobby. I could have spared myself a lot of frustration by taking author (and prominent artist) John F. Carlson's (1875-1947) advice (from the very first chapter) and NOT started with watercolor paints. It turns out they are much more difficult to control than any other medium.
On the plus side, Carlson explains some basic but key concepts, with wonderful supporting diagrams. Concepts like the importance of intentional design and composition, the influence of light on a scene, understanding perspective, and using to advantage the emotional component inherent in each color. He also provides useful and concrete tips on painting some of the more common landscape elements, like trees and clouds. Some information leans a bit heavily toward the scientific, which made it harder for me to digest. But there was so much information I found to be truly valuable.
Now, here comes the big BUT. Originally copyrighted in 1929, CARLSON'S GUIDE TO LANDSCAPE PAINTING certainly does NOT hold up well in its references to artists or use of pronouns. So, understand going in that, throughout the book, ALL artists are male, whether referred to individually or generically. It's been a long time since I read a book that felt this dated in style and I actually found it detracted from my enjoyment of the book.
I would also have to say the writing is on the stilted and dry side, probably also a reflection of writing norms at the time of its creation. Bottom line: useful information, a bit of a slog to read.
On the plus side, Carlson explains some basic but key concepts, with wonderful supporting diagrams. Concepts like the importance of intentional design and composition, the influence of light on a scene, understanding perspective, and using to advantage the emotional component inherent in each color. He also provides useful and concrete tips on painting some of the more common landscape elements, like trees and clouds. Some information leans a bit heavily toward the scientific, which made it harder for me to digest. But there was so much information I found to be truly valuable.
Now, here comes the big BUT. Originally copyrighted in 1929, CARLSON'S GUIDE TO LANDSCAPE PAINTING certainly does NOT hold up well in its references to artists or use of pronouns. So, understand going in that, throughout the book, ALL artists are male, whether referred to individually or generically. It's been a long time since I read a book that felt this dated in style and I actually found it detracted from my enjoyment of the book.
I would also have to say the writing is on the stilted and dry side, probably also a reflection of writing norms at the time of its creation. Bottom line: useful information, a bit of a slog to read.
January 9, 2025
Wonderfully written, with a love and respect for landscape painting and the pursuits of the artist coming through every passage. There is a lot of very useful practical information about the nature of landscape painting, how to see the scene and how outdoor light situations affect value structure and colour relationships. The framework for seeing the value structure in a landscape as being simplified to the ground plane, slanted plane, upright plane and then assigning general values to those planes based on how they receive light from the sun and skybox was incredibly eye opening, and once you know about it its funny how you didn’t see it sooner. Advice of what does and does not create interesting compositions is a little more scarce and esoteric though there is some. In addition to the more practical information, there is also a lot of philosophising about what differentiates a work of art from mere visual description and how the nature of being an artist demands an honest conversation between the soul of the artist and the truth of the subject matter, with a deep respect for both.
February 15, 2025
I would love to give it 5 stars; however, I deducted 1 star because in at least two chapters, the information is bizarrely outdated causing you to either chuckle or skip them. For instance, recommending the use of zinc white is not advisable in this age due to its tendency to become brittle.
The fact that it was written 100 years ago made me feel like I was in a time machine with archaic vocabulary and grammar that made the reading increasingly challenging. Although his teaching style is rather verbose, I could sense his enthusiasm to share everything he knows, which I appreciate.
He covered many various subjects related to landscape painting, making it highly educational. My favorite is probably the last chapter, which focused on using your own working memory to enhance your art. After all, he articulated that true art happens when you express your thoughts than merely apply paint to canvas. Additionally, he explained that your memory serves as the best filter for capturing the traits and characteristics of the natural elements.
Got me thinking for sure!
The fact that it was written 100 years ago made me feel like I was in a time machine with archaic vocabulary and grammar that made the reading increasingly challenging. Although his teaching style is rather verbose, I could sense his enthusiasm to share everything he knows, which I appreciate.
He covered many various subjects related to landscape painting, making it highly educational. My favorite is probably the last chapter, which focused on using your own working memory to enhance your art. After all, he articulated that true art happens when you express your thoughts than merely apply paint to canvas. Additionally, he explained that your memory serves as the best filter for capturing the traits and characteristics of the natural elements.
Got me thinking for sure!
February 27, 2024
Reading older art books is a great experience. There's always a Bob Ross-esque deep love for what is. So much of modern art (particularly with AI garbage and the messy debates surrounding it) is driven by consume, consume, consume. The purpose of making and viewing and appreciating art is not to consume, but to enjoy.
Hand in hand with this enjoyment is the concept that real art is visceral. Making it is an experience that often does not translate into words. Art is about you, the artist, and the endlessly transformative experience that that is. This book does a great job of explaining the "rules" while also allowing the necessary room for "there are no rules, you just have to do it until you understand it."
Hand in hand with this enjoyment is the concept that real art is visceral. Making it is an experience that often does not translate into words. Art is about you, the artist, and the endlessly transformative experience that that is. This book does a great job of explaining the "rules" while also allowing the necessary room for "there are no rules, you just have to do it until you understand it."
September 7, 2024
Това със сигурност не е типичната за днешно време арт книга, в която се обръща внимание на конкретни техники и в която има показно в почти всяка глава. Вмедто това, Карлсън говори по-скоро за настройката, която един човек трябва да има, за да бъде художник. Обръща внимание и на основните принципи в изкуството, но го прави по-скоро по поетичен, отколкото по практичен начин. На теория, книгата е за начинаещи, но не съм сигурна, че един напълно начинаещ ще успее да разбере всичко, което авторът споделя, именно заради стила му.
Илюстрациите са доста по-оскъдни от това, на което съм свикнала в подобни книги и честно казано липсата им се усещаше. Щеше да е плюс и ако картините на автора бяха цветни вмедто черно бели, особено в главата за Цветове.
Илюстрациите са доста по-оскъдни от това, на което съм свикнала в подобни книги и честно казано липсата им се усещаше. Щеше да е плюс и ако картините на автора бяха цветни вмедто черно бели, особено в главата за Цветове.
November 18, 2021
Every art book that you end up saying 'I need to read it again' are always the best.
Carlson's guide must be read again after a considerable span of time (maybe half or a year later), due actually to your artistic evolution - once more experienced, you can better understand many of its statements.
Also loved Carlson's narrative approach. Felt like I had the honor to sit and listen to him, as a master and as a friend.
Carlson's guide must be read again after a considerable span of time (maybe half or a year later), due actually to your artistic evolution - once more experienced, you can better understand many of its statements.
Also loved Carlson's narrative approach. Felt like I had the honor to sit and listen to him, as a master and as a friend.
July 1, 2018
You just can't beat this book. Listen, what teacher tells his students to consider the weight balance of a mountain when painting a landscape. This man is truly brilliant and his work has obviously stood the test of time because of it. Carlos's Guide is one of the most important books any painter could ever study. It's not only a must-read, it is vital the development of a painter's skills..
December 15, 2018
This book will become a yearly read for me to refresh the topics and absorb all that Carlson teaches. I found myself pausing, rereading a line to grasp fully what he was saying. Many quotations of wisdom can be found within this book. I'm sure to make many mistakes in my own art journey but that is the joy in the learning. Hard to read in places, beautiful to read in others.
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December 13, 2019I love, love, love this book. You've got to love the 'datedness' of it. It's priceless! Even if you aren't an artist its such a fun window on the way the world was, and while you;'re enjoying that you learn so much about landscape painting. This will be a pivotal guide for me to go back to again and again. I made tons of notes, and I say his instructions to myself when I'm painting. Great!
April 8, 2023
This book answered most of the questions I had about landscape painting that so confused me when I was art student back in the 1970s! In fact, for several days after it arrived, I sat reading it spellbound, as the voices of all my painting teachers repeated their criticisms and suggestions in my mind. A truly bittersweet experience, for sure, but satisfying, nonetheless.
February 22, 2020
Amazing
There's so much information in this book it has to be read multi time to full recognize all the painting drawing and techniques that Mr Carlson is trying to pass on to part time artists.
There's so much information in this book it has to be read multi time to full recognize all the painting drawing and techniques that Mr Carlson is trying to pass on to part time artists.
September 21, 2020
Although this book was written in the 1950’s, it is a must for serious painters regardless of medium. I would have loved to have taken Mr. Carlson’s class when he was alive. As a beginner with acrylics, this will be my ongoing reference as I continue to paint.
May 25, 2021
Lots of useful information here. I have ordered a copy for a re-read and notes. The tone is a little preachy and sometimes chiding (how could you even think of doing THAT?), but there is a lot of good instruction included.
December 6, 2022
I just re-read this after many years, and found it a good reminder of the basics. I appreciate it more now that I have spent a lot of time painting "en plein air". Of course, the language is amusingly antiquated, and he constantly refers to his audience in only the male gender.
August 18, 2025
Nice book to get down some of the basics of landscape painting. It places focus on fundamentals like value relationships, composition and atmospheric depth. There's also some helpful tips on how to get realistic sky gradients, clouds or trees. Overall, I found it very helpful as a beginner.
December 19, 2019
Brilliantly written and still relevant for today’s landscape artists. A must read if you are into creating art with oils.
January 8, 2020
i'm not sure i can fully appreciate everything since i'm not a painter, but oh my god this man loved oil painting and complex sentences. love love love
November 20, 2020
There is no question in my mind that this is one of the best books on landscape painting. It is worth the effort.
January 6, 2021
Lots of great information on drawing and painting, different perspective from more recent books.
February 25, 2024
Best I’ve read by far….
Teaching how to think and feel as an artist, by far the best book I have read and will study it’s lessons long into the future.
Teaching how to think and feel as an artist, by far the best book I have read and will study it’s lessons long into the future.
May 25, 2025
This really is THE guide to landscape painting.
August 2, 2025
intense study of painting
Great for a non visual learner. I would have tp\o unpack all the ideas in this book to benefit from it. More study than I can commit to now.
Great for a non visual learner. I would have tp\o unpack all the ideas in this book to benefit from it. More study than I can commit to now.
May 29, 2021
A lyrical tutorial in the ability to truly see.
September 29, 2016
This book is amazing! If you want to paint landscapes, then this is a must have. Carlson condenses his knowledge and experience into a well written guidebook. I am new to landscape painting and I'm re-reading it now. I plan to keep re-reading it as long as I paint.
He discusses some techniques, but mostly philosophy mixed with some science on painting landscapes. His insights are remarkable and still relevant today.
His writing style may seem stiff to most, but since it was written in the twenties, it is to be expected. What is interesting is that the content remains relevant. How many books written in the first part of the twentieth century have remained relevant?
I appreciate that he includes only black and white pictures in the book. This helps the reader to see the values easier, which is very important to landscape painting. He spends quite a bit of time discussing values and how to make sure your values are correct.
This is a must have for any landscape painter and should be considered for all painters.
He discusses some techniques, but mostly philosophy mixed with some science on painting landscapes. His insights are remarkable and still relevant today.
His writing style may seem stiff to most, but since it was written in the twenties, it is to be expected. What is interesting is that the content remains relevant. How many books written in the first part of the twentieth century have remained relevant?
I appreciate that he includes only black and white pictures in the book. This helps the reader to see the values easier, which is very important to landscape painting. He spends quite a bit of time discussing values and how to make sure your values are correct.
This is a must have for any landscape painter and should be considered for all painters.
April 8, 2012
"It requires grit to be a spontaneous finisher," so writes Carlson in chapter twelve, The Main Line and Theme, of his short book on landscape painting. Anyone who has dealt with the finishing of a picture would certainly concur on this point. Carlson's is a no-nonsense guide to painting that has much useful material. True, he disdains much of what has marked the twentieth century in its artistic endeavors, but this is a book that should be read not only for its practical advice, but as a historic document for what it reveals about early twentieth concerns in painting. Carlson, who lived from 1875 to 1947, was born in Sweden and moved with his family to America when he was only nine. He is rightly grouped with the American Impressionists, and even a cursory glance at his paintings will reveal that he was a solid painter who took obvious delight in what he did as an artist.
Displaying 1 - 30 of 45 reviews