I'd not really considered before that a "fine art" landscape picture would be a means of conveying feeling or emotion. I'd never tried to do it myself.
Portraits, of course; but I'd always looked at any landscape photograph as an image, in isolation. If it struck me as beautiful or interesting or luminous or striking for some reason, then I considered it worthwhile. If not, whether it was mine or anyone else's, I moved on to the next one. I could adjust my images for colour balance, sharpness, cropping; I could fiddle with areas to remove imperfections; I could hit the "make my image look like crap" button before printing and try to restore it to what I wanted to see before committing it to paper. But the image, in isolation, on the page, was all I was aiming to produce, to be assessed according to its appeal per se.
If one is allowed to use only one word to define art, my guess is it would be the word "feeling" (like the word "thought" would define science). Someone else might use "beauty" to define arts... however, it is rather hard to define beauty without resorting to feelings. In an attempt to define one's own and distinctive style, another word associated with feelings is often mentioned: passion.
I have yet to see a great work of art (any art, not just landscape photography) that is a result of careful reasoning. Sure there are attempts to "reason" into a successful photograph: we see millions of such attempts on the web... all those perfectly exposed, perfectly auto-focused, perfectly color balanced, perfectly composed, etc.... yet perfectly boring images. In this age of the Internet, auto-everything cameras, and omnipresent "how-to" books and articles, anyone can read about how to expose and compose, pre-process and post-process, etc. All this is going to teach us is "how" to take a picture... but not "why". And of course we need those skills, i.e., how... yet it is only a necessary, but not sufficient precondition... we also need the "why" part, and that is where feelings come into the picture (pun intended).
Another angle on the role of feelings: take any book on the principles of composition. They would talk about sense (or feeling) of balance, sense of stability and calm, tension, fear, comfort. For example:
"... The upper half of a picture is a place of freedom, happiness, and triumph; objects placed in the top half often feel more "spiritual"..."
"...We feel more scared looking at pointed shapes; we feel more secure or comforted looking at rounded shapes or curves..."
Both citations are from the book "Picture This - How Pictures Work" by Molly Bang (highly recommended, btw).