In landscape-painting the sky, it is said, is the keynote, the
standard of scale, and the chief organ of sentiment; just as the
sky is the source of light in nature, and governs everything.
This led John Constable to say that “the landscape-painter who
does not make his skies a very material part of his composition
neglects to avail himself of one of his greatest aids.” He says
he was advised to consider his sky as “a white sheet thrown
behind the objects.” He claims that the skies have what he calls
a natural history in the changes that they show. As West once
told him: “Always remember, sir, that light and shade never
stand still,” adding: “In your skies always aim at brightness
... even the darkest effects there should be brightness. Your
darks should look like the darks of silver, not of lead or of
slate.” It was the fault in the skies that led to the rejection
of Constable’s picture, “Flatford Mill,” by the Royal Academy.
How much life depends upon its skies.
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