In 1996 Nicholas de Ville writing the catalogue essay for ‘Maria Lalic’ wrote “the ‘Landscape’ series was suggested by colours like Raw Umber, Naples Yellow, Burnt Sienna whose names derived from place names. For Lalic there was in these associations of place a strong sense of imaginary travelling. They suggested a geography of associations with distinctive elements of the landscape being embodied in the names of the colours. In this imaginary travel the earths of Umbria and Sienna were inextricably tied to the pigments that have taken their name; as was Naples Yellow with the volcanic soil of Mount Vesuvius, its reputed source…… Her possession of the samples (of earth) confirmed her feelings that they were heavy with associations of place and history, ….a history of place and a history of art. The diptychs which have emerged from this experience are about place and the substance of the landscape, the landscape’s elemental substance becoming, literally, the substance of the paintings.” On the occasion of the first exhibition of ‘Landscape Paintings’ in Munich Michael Fehr in the 2011 catalogue essay suggested "With the Landscape Paintings that she has produced until now, Maria Lalić aims, as she declares, at a concrete, non objective landscape painting with which she seeks to build a bridge between landscape depictions, on the one hand, and, on the other, those kinds of artistic works that were created in directly dealing with nature, for example Land Art, or that make nature a theme without working on it, for ex ample the New York Earth Room by Walter de Maria or in herman de vries‘ Erdausreibungen. She emphasises that she pursues an explicitly painterly examination of nature, aiming to take the earth of a certain location, the material fact, as the occasion for and the object of paint-ing. By processing earth to paint and placing its colour in an interaction with the cultivated colours of the tube paints, it is the artist’s intention to radically revise landscape painting through painting with the material fact; it may seem paradoxical that what it takes to visualize the colour of reality is a comprehensive knowledge of painterly means and their utilization in the history of painting, as well as an extraordinarily cultivated style of painting, but this is what forms the foundation for the special position that Maria Lalić’s work has taken on not only in the framework of Concrete Art, but in the history of painting”