For this research point, I looked at four artists: J.M.W. Turner, John Constable, Winslow Homer and John Singer Sargent. I have already researched them elsewhere and found it interesting to see how they treated the sky in their watercolour paintings.
J.M.W. Turner (English, 1755 – 1851)
Looking at Turner’s sky studies makes me feel less miserable about my own attempts at painting skies! There are brushstrokes, many ambiguities, muddy areas… things I didn’t like seeing in my watercolours. So maybe there’s hope I might improve if I continue to practice…
The skies Turner creates are very atmospheric. It’s interesting to see how he blends the colours wet in wet and they still remain separately visible as blue, yellow, orange and red.
Venice: The Doge’s Palace and the Riva degli Schiavoni, from the Bacino 1840 https://www.tate.org.uk/art/artworks/turner-venice-the-doges-palace-and-the-riva-degli-schiavoni-from-the-bacino-d32154
A sunset sky c. 1825-30 http://www.tate.org.uk/art/artworks/turner-a-sunset-sky-d25486
Crimson sunset, c. 1825 http://www.tate.org.uk/art/artworks/turner-crimson-sunset-d25331
Running wave in a cross-tide, evening c. 1820-30 http://www.tate.org.uk/art/artworks/turner-running-wave-in-a-cross-tide-evening-d25433
John Constable (English, 1776 – 1837)
John Constable was a direct contemporary of J.M.W. Turner and I see some resemblance in how the sky was treated – with respect to some attempts to make brush mark contours disappear by overworking them with water.
In the study of clouds and trees (1821), the sky looks very fresh and not overworked. By contrast, the other skies look like there’s been considerable effort to create the desired shape from some initial painting. Nevertheless, there is a really dramatic effect from the choice of colour and the strong contrasts within the sky. If Old Sarum and Stonehenge had a clean blue sunday afternoon sky, this would create a completely different and much less dramatic atmosphere.
A study of clouds and trees 1821
A house amongst trees, 1832
Old Sarum, 1834
Stonehenge 1835
all from http://paintwatercolorcreate.blogspot.com/2014/01/constables-watercolor-landscape.html
Winslow Homer (North America, 1836 – 1910)
I’m completely overwhelmed by Winslow Homer’s skies. What I admire is that the brushstrokes are so nicely integrated in the paintings, and also the intense and brilliant colours.
Sunset Fires, gouache, watercolor, 1880
Storm, Bahamas, watercolor on paper
Adirondack Lake, watercolor, 1889, Museum of Fine Arts, Boston, MA
Gloucester Sunset, watercolor, 1880, Private Collection
Eastern Point Light, watercolor, 1880
Sailboat and Fourth of July Fireworks, watercolor, 1880
All from http://paintwatercolorcreate.blogspot.com/2013/05/picturing-sky-with-watercolors.html and http://paintwatercolorcreate.blogspot.com/2014/05/homers-watercolor-evening.html
John Singer Sargent (North America, 1856 – 1925)
The skies by John Singer Sargent have much more prominent brushstrokes. I don’t know if I were satisfied if I had made them (taking into account that I’m practically always dissatisfied), but looking at them as made by someone else, I do like them and think they work well as a sky. So maybe… just be more friendly with myself? That is, besides practicing a lot which is definitely required!
From Jerusalem 1905-6,
Sky c.1900-10
Sky and Mountains c.1909-11
Clouds 1897,
All from http://paintwatercolorcreate.blogspot.com/2013/05/picturing-sky-with-watercolors.html and http://paintwatercolorcreate.blogspot.com/2014/05/homers-watercolor-evening.html