For centuries, artists have turned to painting to capture places of deep personal and spiritual significance. They have observed their surroundings and applied their skills to translate the living experience of the land into something tangible. For many, this process acts as a therapeutic ritual where careful observation is key. Yet, while an artist might spend days, months, or even years completing a landscape, studies suggest that people spend an average of just eight seconds looking at a single artwork.

In a digital age where we consume thousands of images a day, which ones actually leave a lasting impact?

Slow looking is the mindful, intentional practice of observing an artwork for an extended period. Looking at a landscape for eight seconds provides nothing more than a brief snapshot of distant fields and a blue sky. But looking longer pushes your experience past first impressions, transforming a fleeting glance into an impactful moment. By slowing down and being inquisitive, you can step through the frame and experience a painting in its fullest form.

Here are a few ways to get your journey started:

What is the first thing you notice? What drew you across the room? For many, it is colour. Colour sets and shifts the mood of a painting, guiding your immediate emotional response. A landscape dominated by cool, translucent layers of blues and greens might evoke a tranquil, coastal atmosphere. Whereas bold, fiery strokes of yellow and red can stimulate excitement, warmth, or even anxiety.

If a landscape is abstract, Some hues may feel instantly familiar, connecting the painting to us. Other abstract landscapes reject familiarity entirely, emphasising the physical process of creation over its literal view.

‘I rarely draw what I see. I draw what I feel in my body.’ – Barbara Hepworth

Ask yourself: Why did the artist choose this specific palette? How do you think they were feeling when they created the landscape?

Let your eyes wander. Traditionally, landscape paintings are created in a horizontal format, mirroring our natural panoramic vision. This wide format invites you to look continuously across the painting and to imagine beyond its edges.

Trust your intuition and let the painting guide your eyes. Often, artists use subtle leading lines, such as a winding path, a river, or a cluster of trees, to lead you on a journey. Look at where the artist has placed you. Are you looking up at a towering mountain, or looking down onto a village from a bird’s-eye perspective?

Ask yourself: Where am I standing in relation to this view? Did the artist paint this directly in nature, from a window, or entirely from memory?

The surface of a painting tells the story of its making. Look closely at the texture. Is the paint thick and sculpted (impasto), mimicking the rough terrain of the land, or is it fluid and atmospheric? Large, sweeping brushstrokes can bring wind-like energy to a sky, while delicate marks might suggest a soft subtle breeze.

Artists use varying values of light to create depth and drama. Try squinting your eyes; this blurs the harsh details, simplifying the landscape into raw shapes of light and dark. Notice how shadows are constructed. What appears black at first glance, may be a deep blue or violet.

Ask yourself: Where is the sun or light source? How does the light alter the atmosphere?

What does the size of the painting tell you? A small, dainty painting may invite you to step closer, highlighting an appreciation for the intricate, overlooked details of a place. A massive canvas, on the other hand, may submerge you entirely, immersing you within the painted space.

‘Paintings are machines for seeing with.’ – Patrick Heron

Most importantly, notice how the artwork makes you feel after spending time with it. Has your perspective shifted since you first started looking?

Once you have formed your own understanding of the painting, read the artwork’s label. This can help you to learn about the artist’s life, intentions, or the specific history of the painted site, enriching your understanding. Finally, look at the artworks next to it. How do the surrounding pieces talk to each other? You may find complimentary similarities or contrasting differences, drawing your eye to new places and opening their stories up to new possibilities.

1. Peter Lanyon from ‘Some Aspects in Modern British Painting: An Artist’s Point of View’, lecture for the British Council in Czechoslovakia, 27 January 1964
2. Barbara Hepworth: Drawings from a Sculptor’s Landscape, 1966
3. Patrick Heron, Prunella Clough: Recent Paintings 1980–1989, page 48