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Photo by my husband Jonathan Hanson

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Jupiter and Venus yesterday evening.

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Nacreous clouds or polar stratospheric clouds

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Nacreous clouds or polar stratospheric clouds

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I just recently learned about Polar stratospheric clouds. These could be fun to explore and paint!

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Share:

Polar stratospheric clouds also called nacreous clouds because of their unusual color are form at Polar latitudes. This is an extremely rare phenomenon! In this new lesson of the Windy.app Meteorological Textbook (WMT) and newsletter for better weather forecasting you will learn more about Polar stratospheric clouds.

Where do polar stratospheric clouds form?

Polar stratospheric clouds form in the lower stratosphere at an altitude of 15-25 km behind the Polar circle, i.e. north of 66.5°N and south of 66.5°S. at anomalously low temperatures of −78.1 degrees Celsius.

This is an extremely rare phenomenon! People in northern Europe, Greenland, Russia, Canada and the U.S. have the highest chances to see PSC. And those who come to Antarctica. Although such clouds are sometimes observed in lower latitudes.

Where do polar stratospheric clouds form. Illustration: Valerya Milovanova / Windy.app

When to observe Polar stratospheric clouds?

The best time to observe PSC is right after sunset or right before sunrise - at early dusk. At this time (within 20 minutes after sunset and 20 minutes before sunrise) the Sun is 1-6° below the horizon and illuminates clouds in the stratosphere. Lower tropospheric clouds at this time of day are in the shadows and can be seen as dark silhouettes against the background of dawn.

Polar stratospheric clouds height. Illustration: Valerya Milovanova / Windy.app

The lowest layer of the atmosphere is the troposphere. The stratosphere is the second layer from the surface, located at an altitude of about 10-50 km. On the altitude scale PSC are circled with a red line. Noctilucent clouds are marked in blue.

For PSC to form you need an abnormally low (even for the lower stratosphere!) temperature: not higher than −78 ° C or 195 K.

Such conditions are achieved very rarely and only in the winter-spring period. Therefore, PSC only appear in the cold season, unlike noctilucent clouds, which are observed in summer.

How exactly Polar stratospheric clouds form?

The first type is pale and blurred clouds

Sometimes PSC look pale and blurry - this is their first type. Such clouds consist of subcooled droplets of nitric and sulfuric acid and water, i.e. liquid particles.

Let' see how these clouds appear. First, where do the nitric and sulfuric acid and water come from?

Nitric acid is derived from nitrogen, which is 78% of the atmosphere. This acid is formed during thunderstorms, when lightning strikes. Right in the lightning channel (where there is a discharge), at extremely high temperatures, nitrogen reacts with oxygen and then reacts with water. The result is nitric acid in a gaseous state, as gases are involved in all reactions. Nitric acid vapor enters the stratosphere with air mixing, which always takes place in the atmosphere one way or another.

Sulfuric acid can be formed directly in the stratosphere. In strong volcanic eruptions, gaseous sulfur compounds are pushed into the stratosphere, from which liquid sulfuric acid is then formed. Volcanic activity creates additional conditions for PSC to appear in the sky.

And, finally, water. In the stratosphere, there's a thousand times less water vapor than in the troposphere. However, there are various mechanisms through which the necessary amount of moisture gets there. One very interesting mechanism is that at heights of 120-200 km, in the thermosphere, self-ignition and combustion of hydrogen occurs. During combustion, i.e. in the process of combining hydrogen (2H2) with oxygen (O2), water vapor (2H2O) is formed. Water vapor is heavier than hydrogen, it descends due to gravity and enters the stratosphere.

How do all these components become a cloud?

Any cloud is liquid or solid particles, and often both at the same time. A cloud appears if a gas turns into a liquid or solid substance, i.e. condensation occurs.

The smallest gas particles have to combine to form larger droplets, but gas molecules themselves are not attracted to each other. Condensation in the atmosphere occurs because there are various liquid and solid particles in the air, such as sea salt or dust. These particles serve as magnets for gas molecules, so to speak. They attract and retain gas molecules, and they combine in droplets. These solid and liquid particles are called condensation nuclei.

We have already seen what is present in the stratosphere:

liquid sulfuric acid

gaseous water

gaseous nitric acid

You may have already guessed that condensation nuclei are sulphuric acid particles. Vapors of water and nitric acid condense on them, and PSC of the first type appear. The size and density of such cloud particles is very small, which means that the light scattered from them is weak. That is why such PSC are rather pale, and they are difficult to notice.

The second type - bright colorful waves

The clouds of the second type consist only of ice crystals. These are larger particles that disperse light better. Therefore, such clouds are much brighter, and they are clearly visible in the sky.

A jet stream from the troposphere is involved in the formation of type 2 PSC, it gives them the characteristic wave-shaped structure.

A reminder: what is the jet stream?

Any wind, i.e. a rapid movement of air, appears between air volumes with different temperatures and density, as cold air always pursues warm air. But at the boundary of air masses - especially large uniform air volumes with big temperature differences - particularly strong winds appear, capable of reaching hundreds of kilometers per hour.

These winds are called jet streams. Jet streams are quite common in the troposphere. If a jet stream meets an obstacle in the form of a mountain ridge on its way, the stream forcibly rushes up the slope. Then it rushes down the slope. This is how a wave is formed in a jet stream.

The formation of a wave in a jet stream. Illustration: Valerya Milovanova / Windy.app

In polar regions, the troposphere is only 7-8 km high, so the wave tip may be in the stratosphere. When the stratosphere is wetter, it condenses at very low temperatures: gaseous water turns into ice crystals that make up PSC. This is how the clouds in the form of bright colorful waves are formed.

Finally, what Polar stratospheric clouds and Edward Munch have in common?

Finally, a little about this phenomenon's artistic impact! Below is a well-known painting - The Scream. Yes, scientists have reason to believe that Edward Munch, the Norwegian artist, created it being impressed by polar stratospheric clouds. And if this is true, then Munch's painting is one of the earliest documented visual representations of PSC.

Text: Windy.app team

Illustration: Valerya Milovanova, an illustrator with a degree from the British Higher School of Art an Design (BHSAD) of Universal University

Cover photo: Pascal Debrunner / Unsplash

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How lenticular clouds form Cirrus Uncinus Clouds

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What does Edward Munch have to do with Polar stratospheric clouds - Windy.app

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Share: Polar stratospheric clouds also called nacreous clouds because of their unusual color are form at Polar latitudes. This is an extremely rare phenomenon! In this new lesson of the Windy.app Meteorological Textbook (WMT) and newsletter for better weather forecasting you will learn more about Polar stratospheric clouds.

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I was thinking as there were lots of new people at our last meeting that maybe Bethan would be available to do a lesson with some of the ideas she shared during Wild Wonder. Everyone could share tips and tricks they have learned through their own experiences of capturing skies.

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Credit: David Lukas

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Watercolor from Photo by Sharron

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Photo credit - David Lukas
Painting skies & snow covered
mountains were a big challenge.
I keep reminding myself you just
need more practice.
These meet-ups help push me to keep trying!

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winter sky version 2 - to see if it posts with my name

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Credit: David Lukas

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winter sky from photo

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I used Sarah Reid's photo reference. Boy, I am struggling to post this, but I'm taking the Fearless Friday approach and just putting it out there. I know I'll get better with time and practice but this just makes me cringe!

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I decided to go with something closer to home.  Sharing here because I will not be able to attend in person this evening. This scene was out of the driver’s side window during the last hour of a 5 hour drive home after visiting my dad in NC.  For about an hour I was surrounded by a very orange and pink sunset, and then I watched the moon rise over Suffolk, VA pine trees and cotton fields.  Journal entry made in Procreate.

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The images we are all painting / sketching for Meetup 10 are on the gallery here!

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We "met" on Facebook through the Nature Journal Club and the Wild Wonder Nature Journaling Conference, and I am one of the "hosts" (Roseann Hanson) along with Bethan Burton of Journaling With Nature, and Deborah Conn.

We will be hosting semi-regular Skyscapito Appreciation Society Zoom meetups to share our skyscapes, ask questions, talk paint and pens and resists and cloud morphology . . . to learn and enjoy the company of our "Sky Tribe."

Sign up below for email notifications if you would like to find out when we have meetups (this is Roseann's Field Arts list, so you will also receive occasional emails about other workshops and products related to the field arts).

You can also check our calendar below and recordings of past meetups.

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Skyscapito Appreciation Society - Exploring Overland

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We "met" on Facebook through the Nature Journal Club and the Wild Wonder Nature Journaling Conference, and I am one of the "hosts" (Roseann Hanson) along with Bethan Burton of Journaling With Nature, and Deborah Conn. We will be hosting semi-regular Skyscapito Appreciation Society Zoom meetups to share our skyscapes, ask questions, talk paint and pens and resists and cloud morphology .

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My attempt painting a gray winter sky.

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I am new to watercolor.  One of my
attempts at painting a sky.

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I am new to the group. There appear to be monthly themes. Where would I find those?
Thanks, Michele

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This was done from a picture I took in March 2015. We were in the Thingvellir National Park. People said it was the best "show" they had had in 20 years. How do you spell lucky? It's my first attempt at doing this and I used 140# paper (Arteza); paints: sap green carbazole violet, quinacradone rose, and a tiny bit of cad red; a white gel pen and a black brush pen for the trees. And LOTS of water and my finger. Jan

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My stunning Vermont sunset looking west to the Adirondack Mountains

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My stunning Vermont sunset looking west to the Adirondack Mountains

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Stick Season Sun from Burlington, Vermont

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Stick Season Sun from Burlington, Vermont

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December Sky & Tree Silouhette on CA Coast - Kim B. 

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December Sky & Tree Silouhette on CA Coast - Kim B. 

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December Sky at Pigeon Point (CA) Lighthouse - Kim B. 

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December Sky at Pigeon Point (CA) Lighthouse - Kim B. 

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A week ago I was on a glacier in Iceland, painting a mountain range during a precious daylight hour. The previous night we’d gone on a #northernlights tour, but alas, the weather did not cooperate - mostly cloudy, and nothing in the clear patches.  But I’ve seen lots of photos and paintings of them, and follow a few folks on IG who capture them brilliantly with acrylics on canvas. I wanted to try my hand, so here’s a first attempt, with #gouache on black #tonedpaper.  Fun!  I like some of my “strands” better than others, but it’s all for play and learning.  And I have a better sense of what it takes to render those magical solar strings.  The upper right corner has a base of ultramarine blue #watercolor mixed with aqua blue gouache, which seems to work if one wants a navy sky, rather than pure black.  Anyway, here’s hoping I get to see the #aurora in real life sometime. #bucketlist #goals

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I took this photo from my backyard in August 21, 2017. The clouds parted for just a few moments here and there during this full eclipse. I am going to try to paint it. (I am still very new to watercolor.)

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The sky was full of scattered clouds illuminated by the moon, so bright only the brightest stars and planets were visible.

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View out our window - in metallic gouache!

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Here's a riddle: I can be seen but not touched, my length and breadth is endless. I can be quiet as the scent of flowers, but in my fury nothing sleeps. I keep the moon and stars in my pocket. What am I?

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Photo by Rachel Rodenberger

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An attempt to do a dramatic mackerel sky!

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pic #1: professional grade Winsor & Newton wc paints and Ooku squirrel round #1 brush

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pic # 2.  wn cotman sketchers pocket kit (about $15 for a 12 color wc set) and Royal & Langnickel wc brush (about $5 for a 7 brush set)

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pic # 2.  wn cotman sketchers pocket kit (about $15 for a 12 color wc set) and Royal & Langnickel wc brush (about $5 for a 7 brush set)

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These pics are from my video “Painting Little Sky Scenes”.  They show same technique results using different qualities of brushes and wc paints, to demonstrate that you can work with the materials that you have right now.   //  I will publish these 3 pics in 3 different entries.  I am brand new to padlet, so am clumsy in using it.

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These pics are from my video “Painting Little Sky Scenes”.  They show same technique results using different qualities of brushes and wc paints, to demonstrate that you can work with the materials that you have right now.   //  I will publish these 3 pics in 3 different entries.  I am brand new to padlet, so am clumsy in using it.

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pic #3: Prang Semi-moist wc (about $3 or $4 for an 8 color wc pallet) and Royal & Langnickel wc brush (about $5 for a 7 brush set)

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How to paint simple little cloud scenes, from a learner to other learners

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We all know that cloud formations are not static. They are constantly changing. I recently read that cloud formations change within 10 minutes. I thought it would be interesting to watch the same area in the sky for half an hour (or more) and create Skyscapito every 10 minutes to see how the clouds change. It would be interesting to share and see how other people's skies change and perhaps postulate on why we think they changed the way they did. 

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We all know that cloud formations are not static. They are constantly changing. I recently read that cloud formations change within 10 minutes. I thought it would be interesting to watch the same area in the sky for half an hour (or more) and create Skyscapito every 10 minutes to see how the clouds change. It would be interesting to share and see how other people's skies change and perhaps postulate on why we think they changed the way they did. 

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Beautiful almost full Strawberry Moon covered in magnificent clouds.
Kathy Lineberget
Staunton, Va
Happy 52 anniversary, JRL

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The moon is enchanting alone. But a Full Strawberry moon covered in clouds is simply magnificent!
Kathy Lineberger
Staunton, VA
6-11-22

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Another beautiful morning in the Shenandoah Valley

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Cloudy skies enhance the moon’s glow

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Good morning, Middlebrook!

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Sky along the Purple Heart Trail in Virginia

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Summer Solstice skyscapitos!  It’s coming up soon, at least in the Northern hemisphere. 

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Summer Solstice skyscapitos!  It’s coming up soon, at least in the Northern hemisphere. 

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A real-world exchange of skyscapitos, eg ATCs, Week of Skies postcards, or a traveling skyscapito sketchbook. 

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A real-world exchange of skyscapitos, eg ATCs, Week of Skies postcards, or a traveling skyscapito sketchbook. 

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Interesting/unusual atmospheric phenomena you have observed—may work from memory/photos. 

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Interesting/unusual atmospheric phenomena you have observed—may work from memory/photos. 

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Beautiful skies for about 2 hours of kayaking.  Then the rain began, AGAIN!

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I live on the East Coast of Georgia and witness the contrails from launches at  Cape Canaveral, about 100 miles down the coast...makes for some awesome sky view of the contrails.   If not near a launch site maybe just skies with contrails, with or without clouds.   

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I live on the East Coast of Georgia and witness the contrails from launches at  Cape Canaveral, about 100 miles down the coast...makes for some awesome sky view of the contrails.   If not near a launch site maybe just skies with contrails, with or without clouds.   

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Mixing the colors of gray, whether for fog, shadows, or storms. Yes we can use Janes, Paynes, Davys etc but those are not as interesting as observing and mixing the beautiful, subtle nuances of gray. Meadow Lark.

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Please put one idea per post so people can vote :-)

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Please put one idea per post so people can vote :-)

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Please put one idea per post so we can vote!

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Please put one idea per post so we can vote!

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Would love moon phases and maybe after that we can explore moonscapes (making our moon greography accurate) I would like to work more on cloud ID. Rain would be fun!
Valerie

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I like the ideas of moon phases or cloud types again per Bethan’s 12 practice pics.   That was fun but would be good to have continued practice.

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The cyanometer reading for 0900, Tucson, Arizona, USA (goes with next post)

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The cyanometer reading for 0900, Tucson, Arizona, USA (goes with next post)

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Hahaha, I should have known in April it would be hot and clear!!

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My sky was not too exciting on April 27, 2022. I live in Orcutt California on the central coast. There were low level stratus clouds and aerosols/haze. There was one alto cumulus cloud, very tiny to the east. In the p.m. the sky was cloudless, there was a tinge of sunset bleeding into view. So I primarily focused on practicing my weather symbols and names.

I used wax resist for the clouds in the morning with wax paper. My cyanometer Registered 1 to 3 on the scale in the a.m. (as elevation increased) and a 3 to 6 in the p.m. I used my own cyanometer that I made for one of our first meetings.

I used French aquamarine watercolor paint from exploringoverland.com, Field Arts Institute’s Sky Pallet and a pink Artesia water color brush pen for the tinge of sunset.

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My friend, Steve Hyman, very frequently posts sunrises over San Francisco on Facebook from the same vantage point. He gave me permission to share this sunrise with you. Enjoy.

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New paper from caseformaking.com. It’s a debossed 6” circle on watercolor paper, perfect for painting a sky roundel. This is from April Fools day, a day filled with sun, clouds and rain showers. Meadowlark

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New paper from caseformaking.com. It’s a debossed 6” circle on watercolor paper, perfect for painting a sky roundel. This is from April Fools day, a day filled with sun, clouds and rain showers. Meadowlark

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Morning Meditations or how I start my day: First Nine Mornings of Spring even though it feels more like winter. Meadow Lark

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Beautiful sky today! Perfectly symmetrical.

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Maybe some sketches in non-traditionally shaped spaces? These are riffs and afters of sections traced from Hokusai's "South Wind Clear Sky". I show 5 studies in circular spaces.

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http://gurneyjourney.blogspot.com/2022/02/painting-thunderhead.html

I love how the clouds glow in this sky painting. I think Bethan did this style cloud with a little masking fluid in her class at Wild Wonder. While this painting is done in oils, James Gurney has lots of information on painting with gouache combined with watercolor on his website and YouTube channel. He paints a wide range of subjects on location using a small sketchbook on an easel. I thought I would share this for the people last night who were wanting to explore using gouache for their Skyscapitos. Maybe this would be a good topic for a future meeting.

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Over the two hour period of this painting, the scene rapidly changed from minute to minute. As soon as I had the shapes established, I had to paint the details from memory. But I can keep studying the scene for the overall color relationships.

Thunderheads, plein-air oil, 16 x 20 inch.

Brightest whites and sharpest details are reserved for the emerging billows at the top. Purer white colors of the closer clouds transition more toward warm pink or dull orange as the clouds go back in space. Light that has traveled farther has lost more of its cool wavelengths through scattering.

With these cumulus castellanus thunderheads, I look for the fractus shreds of old clouds sheared off by wind currents, dissolving back into the air, the other side of the cloud's life cycle of growth and decay. They lack the compact density of the billowing clouds, and are never as white.

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Over the two hour period of this painting, the scene rapidly changed from minute to minute. As soon as I had the shapes established, I had to paint the details from memory. But I can keep studying the scene for the overall color relationships. Thunderheads, plein-air oil, 16 x 20 inch.

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Just discovered this artist on Instagram - look at their linework!

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Refraction, reflection, distortion, etc.

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Earth and Sky Exhibit with Clyde ButcherWindsor Fine Art, New Orleans - Clyde Butcher | Black & White Fine Art Photography 

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Consider the skies of photographer Clyde Butcher

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Consider the skies of photographer Clyde Butcher

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Clyde Butcher | Black & White Fine Art Photography - Black & White Fine Art Photography

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A small sampling of Clyde Butcher's Photographs will be on display as part of an exhibit titled "Earth and Sky" at Windsor Fine Art Gallery in New Orleans. This is an exciting opportunity for Clyde's fans in the New Orleans area to view his photography in person.

Other artists in the show include Claire Mcardle, Doug Foltz, Courtney Garrett, Jennifer Moses, and Leslie Sokolow. The Windsor Fine Art Gallery is open daily, 10 am - 5 pm and by appointment. Please call 504.586.0202 for more information.

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Earth and Sky Exhibit with Clyde ButcherWindsor Fine Art, New Orleans - Clyde Butcher | Black & White Fine Art Photography

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A small sampling of Clyde Butcher's Photographs will be on display as part of an exhibit titled "Earth and Sky" at Windsor Fine Art Gallery in New Orleans. This is an exciting opportunity for Clyde's fans in the New Orleans area to view his photography in person.

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Ideas and resources discussed today.  2/25/22

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Ideas and resources discussed today.  2/25/22

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- turn off your mobile phone and use it to reflect the clouds/sky while drawing.
- Windsor &  Newton Cottman has a skyscape pocket water color pallet
- Artists to study include Maxfield Parish, J.MW. Turner, John Pike, N.C. Wyeth, Whistler.
_woodblock prints - americanart.si.edu/artist/aarnold-weitz5434
-arthistoryproject.com/artists/john-constable/stonehenge
Valerie Bayer

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Wacky atmospheric phenomena. I once saw an optical effect of a lighthouse and it’s island stacked on itself. That was many years ago at a marine biological station and I’ll never forget it.

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Series of "Skyscapitos" Over a Week or Month 

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Series of "Skyscapitos" Over a Week or Month 

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This images if from Meadowlark, she did these in February with her granddaughter.

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How about everyone paint their sky on Spring/Fall (depending on hemisphere) Equinox?

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Images of fog

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-Fog
-Skies
-Reflections on water?
-Skyscapito as seen from space
-Snapshot of clouds across the work on a particular day - spacescapito
-Painting Spring Equinox

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You can find the cyanometer recording here: https://www.exploringoverland.com/skyscapito

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Japanese Wood Blocks - South Wind, Clear Sky (Gaifū kaisei), also known as Red Fuji

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Japanese Wood Blocks - South Wind, Clear Sky (Gaifū kaisei), also known as Red Fuji

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https://www.metmuseum.org/art/collection/search/36490

The Autumn Moon at Ishiyama on Lake Biwa: https://www.metmuseum.org/art/collection/search/36527

More wood blocks here: https://americanart.si.edu/artist/arnold-wiltz-5434

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Nagoya City Museum. "Ukiyo-e from the Metropolitan Museum of Art," April 14, 1995-May 28, 1995.

New York. The Metropolitan Museum of Art. "A Sensitivity to the Seasons: Spring and Summer," December 17, 2005-June 4, 2006.

New York. The Metropolitan Museum of Art [The Met Breuer]. "Marsden Hartley's Maine," March 15-June 18, 2017.

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Katsushika Hokusai | South Wind, Clear Sky (Gaifū kaisei), also known as Red Fuji, from the series Thirty-six Views of Mount Fuji (Fugaku sanjūrokkei) | Japan | Edo period (1615-1868) | The Met

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Nagoya City Museum. "Ukiyo-e from the Metropolitan Museum of Art," April 14, 1995-May 28, 1995. New York. The Metropolitan Museum of Art. "A Sensitivity to the Seasons: Spring and Summer," December 17, 2005-June 4, 2006. New York. The Metropolitan Museum of Art [The Met Breuer]. "Marsden Hartley's Maine," March 15-June 18, 2017.

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The Lake, Petworth: Sunset, a Stag DrinkingJoseph Mallord William Turner (1775–1851)

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The Lake, Petworth: Sunset, a Stag DrinkingJoseph Mallord William Turner (1775–1851)

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https://www.tate.org.uk/art/artworks/turner-the-lake-petworth-sunset-a-stag-drinking-t03884

Turners painting on coloured paper techniques article: https://www.jacksonsart.com/blog/2014/10/23/watercolour-painting-coloured-paper/

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Dimensions

Support: 635 × 1320 mm
frame: 486 × 1534 × 75 mm

Acquisition

Accepted by HM Government in lieu of tax and allocated to the Tate Gallery 1984. In situ at Petworth House

Catalogue entry

Oil on panel 251 x 190 (9 7/8 x 7 1/2)
Inscribed 'AFS 1861' (initials in monogram) b.r. Also inscribed, presumably by the artist, on labels formerly on back and now separately preserved: 'N° <...> 1 | Oriana | Painted by Frederick Sandys | Thorpe next Norwich | Norfolk' and 'Or[iana] n° 1.'
Purchased (Grant-in-Aid) with assistance from the Abbott Fund 1984
Prov: Presumably sold by the artist to William Houghton Clabburn, Thorpe, Norwich 1861 (see below), for whose executors sold Spelman, Norwich 25 Sept. 1889 (148); ...; anon, sale, Christie's 20 Nov. 1897 (46) £50 bt Charles Fairfax Murray; offered for sale by him to Samuel Bancroft Jr 1906 but not bt; ...; Lord Lawrence of Kingsgate, sold Christie's 15 March 1935 (144) £65.2s. bt MeKelvie; ...; anon. sale, Christie's 18 Nov. 1949 (110) £84 bt Leggatt, from whom bt by Lt-Col. R.C. Allhusen Dec. 1949 and sold Sotheby's 19 June 1984 (26, repr. in col.) £30,094 bt Christopher Wood, from whom bt by Tate Gallery
Exh: RA 1861 (639); Works by the Late George Frederick Watts ... and the Late Frederick Sandys, RA, Jan-March 1905 (302)
Lit: Rowland Elzea (ed.), The Correspondence between Samuel Bancroft, Jr. and Charles Fairfax Murray 1892-1916, Delaware Art Museum Occasional Papers, II, Wilmington, Delaware 1980, pp.137, 186-8

In Tennyson's early poem 'The Ballad of Oriana' Oriana is described standing on the wall of a castle, watching her betrothed in battle below. An arrow meant for him goes astray and she is killed instead. Only one line of the ballad, 'She stood upon the castle wall', can be directly related to Sandys's , which is more an imaginary of Oriana than an illustration of Tennyson's narrative. Sandys's main concern is clearly with the different textures of his sitter's skin, hair and brocade cloak, his minute scrutiny of which, and of the background, suggests an interest in fifteenth-century Flemish painting. Some years earlier Sandys had copied a portrait by Rogier van der Weyden ( Frederick Sandys 1829-1904, exh. cat., Brighton Museum and Art Gallery 1974, no.10, pl.2) and he toured Belgium and Holland the year after painting 'Oriana'.

The landscape background of the painting contains at least one reference to Sandys's native city of Norwich. The bridge is based on Bishop's Bridge, which also figures in 'Autumn' (Norwich Castle Museum; Brighton 1974, no.52, pl.24), a picture Sandys was probably working on at the same time as 'Oriana'.

Brocades similar to the one used for Oriana's cloak appear in other early works by Sandys. His fascination with such materials may have been one of the reasons why his paintings appealed to the Clabburn family of Thorpe near Norwich, who were shawl manufacturers of some repute, winning gold medals in the international exhibitions of 1855 and 1862. 'Oriana' was in William Houghton Clabburn's sale in 1889 and had probably been bought by him when it first appeared at the in 1861. Sandys's only other exhibit that year was a portrait of Mrs Clabburn, painted in 1860 (Brighton 1974, no.84, pl.55). In 1861 he painted Mrs Clabburn senior, in 1869 drew her daughter-in-law again, in 1870 drew and painted Clabburn himself and subsequently drew his two sons ( ibid., nos.85, 107, 108, 95, 109, 110 respectively, all repr.). At his death W.H. Clabburn's collection included numerous works by Sandys in addition to these family portraits. In the RA catalogues Sandys gave his own address as Thorpe between 1861 and 1865, thereafter reverting to a London address.

Sandys presumably knew Holman Hunt's two illustrations to 'Oriana' in Moxon's 1857 edition of Tennyson s but there is no thematic or stylistic connection between them and his painting. Lost sight of by scholars for some years before it reappeared at auction in 1984, 'Oriana' is one of a handful of paintings by Sandys of the late 1850s and early 186os that show his earliest, most 'hard-edged' Poems Pre-Raphaelite style. From about 1862 Rossetti's influence becomes more apparent in his work.

Published in:
The Tate Gallery 1984-86: Illustrated Catalogue of Acquisitions Including Supplement to Catalogue of Acquisitions 1982-84, Tate Gallery, London 1988, pp.80-1

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'The Lake, Petworth: Sunset, a Stag Drinking', Joseph Mallord William Turner, c.1829 | Tate

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Dimensions Support: 635 × 1320 mmframe: 486 × 1534 × 75 mm Acquisition Accepted by HM Government in lieu of tax and allocated to the Tate Gallery 1984. In situ at Petworth House Oil on panel 251 x 190 (9 7/8 x 7 1/2) Inscribed 'AFS 1861' (initials in monogram) b.r.

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Here is a black and white line drawing.

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Lauren Harris North Shore of Baffen Island

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Lauren Harris North Shore of Baffen Island

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https://royalcanvas.ca/product/north-shore-baffin-island-by-lawren-s-harris-group-of-seven/

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Description

Giclee prints on canvas or paperof "North Shore , Baffin Island" by L awren Harris.

Canadian artist Lawren Stewart Harris is best known as a member of the Group of Seven, and is considered the main driving force that brought together and joined the varying talents and temperaments which formed the Group. He was also the founder of the now famous Canadian Group of Painters which succeeded the Group of Seven in 1933.

Only logged in customers who have purchased this product may leave a review.

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North Shore , Baffin Island by Lawren Stewart Harris

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Giclee prints on canvas or paperof "North Shore , Baffin Island" by L awren Harris. Canadian artist Lawren Stewart Harris is best known as a member of the Group of Seven, and is considered the main driving force that brought together and joined the varying talents and temperaments which formed the Group.

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https://www.brandywine.org/museum/blog/island-funeral

Spruce Ledge: https://collections.brandywine.org/objects/11541/black-spruce-ledge-lobstering-off-black-spruce-ledge

CocaCola Ad: https://docs.google.com/document/d/1ptYEt-c7mwcmTDW49xQIirsqjbG4T7GaTBaTjTm_GyY/edit?usp=sharing

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Among the many paintings, prints and drawings the Museum received in this 50th anniversary year, one of the most significant is N. C. Wyeth's magnificent Island Funeral, given by E. I. du Pont de Nemours and Company. Area residents may have seen the painting in the Hotel du Pont, Wilmington, where it hung for many years in the Christina Room. What's the story behind this amazing painting?

One day in September, 1935, the Wyeth family sat on the porch of "Eight Bells," their summer home in Port Clyde, Maine, and watched as a flotilla of boats passed on the way to nearby Teel Island and the funeral of Rufus W. Teel. Teel was born and lived his whole life, about 97 years, on the island, working as a lobsterman. Teel became somewhat of legend in mid-coast Maine, as an unidentified article from a 1926 newspaper proves.

The visual imagery of the boats approaching Teel Island for the funeral stayed with N. C. Wyeth and he produced a quick sketch of a composition that he would develop into one of the most arresting paintings of his career. While Wyeth would complete at least one more detailed, larger composition drawing, this first sketch has all the compositional elements of the final painting: the aerial perspective (called a "bird's eye view") that allowed Wyeth to depict the whole island, the light source from the right side of the image creating dramatic shadows, and a hint of the abstract cloud formation in the sky.

In his Chadds Ford studio, Wyeth decided to paint Island Funeral in egg tempera on a gesso panel. Part of the process involved texturing the surface of the gesso, which Wyeth did with a sharp point, such as a stylus or the end of a brush. In some areas, the gouged lines enhance the painted image; in other areas, the gouged lines are more randomly applied. The overall surface texture energizes the image and adds visual interest.

One of the most striking features of the painting is the intensity of the blues and greens Wyeth used. These colors were the result of an informal collaboration between the artist and the DuPont Company. Chemists employed at the company's Jackson Laboratory provided Wyeth with pigments made from "Monastral Fast Blue B" and "Monastral Fast Green G," two vibrant, light fast dyes that had been recently developed at DuPont.

N. C. Wyeth organized his first and only one-artist gallery exhibition at New York's Macbeth Gallery around Island Funeral. The exhibition's purpose was to present Wyeth as an artist rather than an illustrator. All his life, he struggled to shed the pejorative connotations associated with illustration, and more than any other painting, Island Funeral, in composition, color and expression demonstrates his consummate artistry. The painting is on display now at the Brandywine River Museum of Art.

Header Image: N. C. Wyeth (1882-1945), Island Funeral, 1939, Egg tempera and oil on hardboard, Gift of E. I. du Pont de Nemours and Company in honor of the Brandywine Conservancy and Museum of Art's 50th Anniversary, 2017

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Among the many paintings, prints and drawings the Museum received in this 50th anniversary year, one of the most significant is N. C. Wyeth's magnificent Island Funeral, given by E. I. du Pont de Nemours and Company. Area residents may have seen the painting in the Hotel du Pont, Wilmington, where it hung for many years in the Christina Room.

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Also Winslow Homer and John Singer Sargent  

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Also Winslow Homer and John Singer Sargent  

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https://www.metmuseum.org/art/collection/search/12295

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File:Winslow Homer - Sand and Sky.jpg - Wikimedia Commons

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https://arthive.com/artists/11692~Frank_Harmon_Myers/works/303128~The_Ohio_River

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By using our website you accept our conditions of use of cookies to track data and create content (including advertising) based on your interest. Find out more about what data we collect and use at .

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artwork the ohio river frank harmon myers

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The Ohio River by Frank Harmon Myers: History, Analysis & Facts

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By using our website you accept our conditions of use of cookies to track data and create content (including advertising) based on your interest. Find out more about what data we collect and use at .

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https://www.amazon.com/Watercolor-Dover-Instruction-John-Pike/dp/0486447839/ref=sr_1_1?crid=I744TXS7GCR4&keywords=john+pike+watercolor&qid=1645831671&sprefix=john+pike+watercol%2Caps%2C481&sr=8-1

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Watercolor (Dover Art Instruction) [John Pike] on Amazon.com. *FREE* shipping on qualifying offers. Watercolor (Dover Art Instruction)

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Bethan's website & quotes: Journaling with Nature

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Bethan's website & quotes: Journaling with Nature

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https://www.journalingwithnature.com/

Quotes: Constable described the sky as “the chief organ of sentiment” in a landscape. He also wrote “painting is but another word for feeling”

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Find new ways to connect with nature, increase nature journaling skills and find joy and wonder in the little things! Journaling With Nature will be your guide.

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International Nature Journaling Week!(1-7th June 2021)

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International Nature Journaling Week!(1-7th June 2021)

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https://www.naturejournalingweek.com/

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More information about this year's event is coming soon. For now, explore the website - there is lots to discover! You can Start Here and then find out How to Participate in the week. There is a page for Parents & Teachers, one for the Reluctant Artist and a page on sharing the Written Word in our nature journal pages. On the Blog you will find posts from nature journalers around the world, sharing ideas and knowledge on different aspects of journaling. The Books & Inspiration page will point you to books and websites where you can learn more about nature journaling and nature connection. Sign-up to the newsletter to receive updates and ideas.

If you have enjoyed the week, please consider making a donation to help cover the cost of running this event.
Your generous support helps make International Nature Journaling Week possible.
Thank you!

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More information about this year's event is coming soon. For now, explore the website - there is lots to discover! You can Start Here and then find out How to Participate in the week. There is a page for Parents & Teachers , one for the Reluctant Artist and a page on sharing the Written Word in our nature journal pages.

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Fourth Annual Wild Wonder Nature Journaling Conference: September 14-18, 2022

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Fourth Annual Wild Wonder Nature Journaling Conference: September 14-18, 2022

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Online conference: https://johnmuirlaws.com/wildwonder/

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You can still join us via Video Pass for the Fourth Annual Wild Wonder Nature Journaling Conference, which was held online live, September 14-18, 2022. Our 5-day event features a rich schedule of 30 classes, panels, lectures, and nature journaling challenges. Your $60 Video Pass includes access to all conference recordings through April 15, 2023-a super bargain at $2 per class! Read below for more details or click above to buy your pass now.
See this brief video message from me with more info on the conference!
We are so grateful to our Wild Wonder 2022 teacher team, which includes more than 30 teachers, journalers, writers, artists, and thought leaders in nature, nature journaling, and visual thinking, such as: Mike Daikubara, Timothy Joe, Julie Zickefoose, and more! Click here for bios of all of our teachers and speakers.

With the $60 Standard Video Pass, you have access to the recordings of the classes, panels, virtual field trips, and keynotes from the event, not to mention class handouts, class transcripts, and chats from each class, as well as special conference discounts. This Video Pass price is only $2 per class or lecture-a super bargain!

PAY IT FORWARD TICKETS
We have a tiered ticketing system, enabling those who can pay more to help support those who cannot afford to attend: the Pay It Forward Video Pass includes a donation to Wild Wonder, and the Pay It Forward PLUS Video Pass includes a donation and special gifts for you, including a donor zipper pouch featuring the beautiful American Robin art by John Muir Laws! See our Eventbrite ticket page for details.

Note: For those who purchased the full live conference ticket, your ticket already includes this access. This Video Pass is for those who missed the live conference but want access to all of the recordings. Videos from this event will not be shared later for free. Only paid participants (video pass or full pass) will have access.

CLASS SCHEDULE
Click here to review the Wild Wonder 2022 Class Schedule. The event includes 30 classes and talks. NOTE: The videos from this event will not be shared later for free.

AUCTION FUNDRAISER
The Wild Wonder 2022 Online Auction Fundraiser raises funds for scholarships to future events. If you'd like to donate something to our auction, please email us at wildwonder@gmail.com and tell us more! We are grateful to the many community members who donated to support this fundraiser! Thank you so much!

FREQUENTLY ASKED QUESTIONS
Please review our conference FAQs and see if your question is answered.

ABOUT THE WILD WONDER CONFERENCE

THANK YOU TO OUR WILD WONDER 2022 PARTNER AND SPONSORS
We are grateful for the generous support of our Partner and Sponsors, which helps make this event possible. We welcome additional sponsors. To learn more about sponsorship opportunities, please email us at wildwonderconf@gmail.com.
PARTNER

The Foster: The mission of The Foster is to unite and celebrate artist-explorer Tony Foster's watercolor wilderness Journeys and inspire connection to art and the natural world.

The Wild Wonder Foundation, which is dedicated to encouraging nature connection and conservation through attention, curiosity, art, science, and community.

SPONSORS
What is the Wild Wonder Nature Journaling Conference?
John Muir Laws and the Wild Wonder Foundation are thrilled to partner with The Foster to host Wild Wonder Nature Journaling Conference, an annual event that gathers people who are passionate about nature, art, science, curiosity, and wonder to share ideas, learn from each other, support each other, inspire each other, and have fun together in nature's beauty.

Why "Wild Wonder?"
We chose this name for many reasons. We chose Wild, because nature journaling connects us with the wild of nature, and wild because we feel wild and free when we journal. We also wanted our conference name to give a nod to poet Mary Oliver, who asked in her poem "The Summer Day": "What is it you plan to do with our one wild and precious life?" The name includes Wonder because paying close attention to nature brings wonder as in curiosity (I wonder...?) and wonder as in awe.

WHY ISN'T WILD WONDER FREE?
There are many free nature journaling classes available in our community, including many taught by John Muir Laws (including hundreds of recordings available on his blog). One of the key goals of the Wild Wonder Nature Journaling Conference is to publicize and support the development of more nature journaling teachers across the US and around the world, and in that spirit, all of our teachers are paid for their time. Our evening speakers are also respected professionals in their fields, and we pay them for their time as well. Lastly, managing this complicated live event takes many people many hundreds of hours, and our event team is also paid for their time. Your ticket cost helps support all of the members of this community who work hard to bring you this event, and it also raises money for others to attend our event for a reduced cost. We have kept the ticket price as low as possible-in fact, it works out to about $3 per class or talk, which we think is a super bargain. Thank you for your support!
THANK YOU TO OUR WILD WONDER 2022 PLANNING TEAM!

John Muir Laws, Creative Director

Beth Kelley Gillogly, Founding Director, Marketing Director

Roseann Hanson, Logistics Director

Natalie Downe, Volunteer Coordinator'

Yvea Moore, Pencil Miles Coordinator

Lisa Schnell, Logistics & Volunteers Associate

Brooke Morales, Logistics & Marketing Associate

SIGN UP FOR UPDATES
To receive the very latest updates, please subscribe to John Muir Laws' newsletter. Thank you!

QUESTIONS, COMMENTS, SUGGESTIONS?
Please first review our conference FAQsand see if your question is answered there. If not,please email the conference team at wildwonderconf@gmail.com. For fastest assistance, please do not contact any members of the leadership team members through Facebook or personal email addresses. Thank you for your cooperation!

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Wild Wonder Nature Journaling Conference

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You can still join us via Video Pass for the Fourth Annual Wild Wonder Nature Journaling Conference, which was held online live, September 14-18, 2022. Our 5-day event features a rich schedule of 30 classes, panels, lectures, and nature journaling challenges.

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N. Rockies Nature Journaling Conf 6/24-26

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N. Rockies Nature Journaling Conf 6/24-26

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https://the-ohara-commons-and-sustainability-center.square.site/product/northern-rockies-nature-journaling-conference/107?cs=true&cst=custom

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Northern Rockies Nature Journaling Conference | The O'Hara Commons

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Nestled in the beauty of the Sapphire and Bitterroot Mountain ranges of Montana is the home of Northern Rockies Nature Journaling Conference. The weekend of June 24 through June 26, 2022, a knowledgeable panel of instructors will lead us through meaning and fun nature journaling strategies as we celebrate our passion for nature.Visit O'Hara Commons for more details.

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3 very different artists pushing the definition of ‘skyscapito’:  John Constable https://arthistoryproject.com/artists/john-constable/stonehenge/. 

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3 very different artists pushing the definition of ‘skyscapito’:  John Constable https://arthistoryproject.com/artists/john-constable/stonehenge/. 

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Georgia O’Keefe https://www.artic.edu/artworks/100858/sky-above-clouds-iv

And… Yoko Ono http://hyperallergic.com/657999/tv-to-see-the-sky-getty-yoko-ono/

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See Stonehenge in the Kaleidoscope
More Constable Romantic Artwork Watercolor Artwork Made in 1835

Obelisk uses cookies to measure site usage, helping us understand our readers' interests and improve the site. By continuing to browse this site you agree to the use of cookies. Cookie Policy

I Understand

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See Stonehenge in the Kaleidoscope More Constable Romantic Artwork Watercolor Artwork Made in 1835 Obelisk uses cookies to measure site usage, helping us understand our readers' interests and improve the site. By continuing to browse this site you agree to the use of cookies. Cookie Policy I Understand

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New book: Master of Field Arts
https://www.exploringoverland.com/shop/master-of-field-arts

https://www.exploringoverland.com/skyscapito

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We "met" on Facebook through the Nature Journal Club and the Wild Wonder Nature Journaling Conference, and I am one of the "hosts" (Roseann Hanson) along with Bethan Burton of Journaling With Nature, and Deborah Conn.

We will be hosting semi-regular Skyscapito Appreciation Society Zoom meetups to share our skyscapes, ask questions, talk paint and pens and resists and cloud morphology . . . to learn and enjoy the company of our "Sky Tribe."

Sign up below for email notifications if you would like to find out when we have meetups (this is Roseann's Field Arts list, so you will also receive occasional emails about other workshops and products related to the field arts).

You can also check our calendar below and recordings of past meetups.

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Skyscapito Appreciation Society - Exploring Overland

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We "met" on Facebook through the Nature Journal Club and the Wild Wonder Nature Journaling Conference, and I am one of the "hosts" (Roseann Hanson) along with Bethan Burton of Journaling With Nature, and Deborah Conn. We will be hosting semi-regular Skyscapito Appreciation Society Zoom meetups to share our skyscapes, ask questions, talk paint and pens and resists and cloud morphology .

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Four days to go with my granddaughters “paint a sky a day in February” challenge. Meadowlark with Meadow Larkette.

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Granddaughter visited today and we worked on Skyscapitos techniques. We decided to paint a sky each day during February on half a sheet of watercolor paper- 15x 22”. Same view and time for each day. Meadow Lark with Meadow Larkette. 

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Granddaughter visited today and we worked on Skyscapitos techniques. We decided to paint a sky each day during February on half a sheet of watercolor paper- 15x 22”. Same view and time for each day. Meadow Lark with Meadow Larkette. 

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Hawk in waxing gibbous sky.  Moonrise on one side and sunset on the other (reflecting on the hawk).

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This looks great! Looking forward to working through it.

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2 nights later.  Also done with Procreate.