This chapter focuses on the landscape painter as an agent operating in real space, thus representing a shift from perceiving the landscape to engaging with it actively. Performance is viewed as an intricate presence of making, which both absorbs experience and displays it. The performative aspects of painting out-of-doors are acknowledged as marking landscape painting&s;s ethics, publicizing it, rendering it an invigorated, lively genre, and at the same time pushing it to the limits of representation, with the conviction that art is a matter of presence and action rather than mere illusionistic rendition. The concept of movement is referred to as a central axis and as one connoting phenomenological ideas. While open-air painting is significant in this conceptualization, the chapter shows how painters also took the outdoor praxis&s; liberating dispositions into the studio, while preserving the aura of freedom, movement, and truth achieved out-of-doors. The closing part of the chapter addresses ideologies of making, distinguishing landscape painting from image-generating practices and trends. Overall, the chapter echoes and rounds out aspects discussed in the first chapter: whereas immersiveness renders the perceiving subject passive and in a state of receptivity, performance renders hir active and emphasizes hir presence in terms of agency, thus enabling the artist to “seize the landscape from both ends.”