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John Constable's Skies: A Fusion of Art and Science [Paperback]

John E. Thornes
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Table of Contents

Introduction
Chapter 1 Landscape meteorology
1.1 The imitation of nature
1.2 The sky
1.3 The atmosphere
1.4 Clouds and weather
1.5 Light, the sun, rainbows and other optical effects
1.6 Of truth of skies
Chapter 2 John Constable's meteorological understanding
2.1 Constable's art and science
2.2 Weather in Constable's skies
2.3 Constable's training as a windmiller
2.4 Hampstead Heath
2.5 Constable's letters
2.6 The inscriptions to the sky studies of 1820/22
2.7 Constable's annotations to Forster's book
2.8 Copies of Cozens' skies and other drawings
2.9 Constable's enigmatic rainbow
2.10 English Landscape Scenery
Chapter 3 Evolution of the skies in Constable's art
3.1 Dawn in the valley 1776-98: calm
3.2 Sunrise 1799-1812: light air
3.3 Morning 1812-16: slight breeze
3.4 Late morning 1817-20: gentle breeze
3.5 High noon 1821-22: moderate breeze
3.6 Afternoon 1823-28: fresh breeze
3.7 Sunset 1829-32: strong breeze
3.8 The valley in shadow 1833-37: near gale
Chapter 4 The influence of art and science on Constable's skies
4.1 A brief history of skies in landscape art
4.2 From the beginnings of art to the end of the sixteenth century
4.3 The painted skies of the seventeenth century
4.4 Eighteenth-century skies in England
4.5 Nineteenth-century skies
4.6 Johan Christian Dahl (1788-1857) and the Dresden School
4.7 Landscape painting, artistic style, science and skies
4.8 Meteorological science through the eyes of Luke Howard
4.9 John Ruskin and the role of skies in landscape painting
Chapter 5 A fusion of art and science
Appendix 1: Towards an accurate dating of certain of John Constable's sky studies 1820/22
Appendix 2: Sky studies without weather inscriptions attributed to John Constable
Appendix 3: Transcript of the letter from John Constable to the Revd. John Fisher, 23 October 1821

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