In 1785, Alexander Cozens published a method for imagining nature, not imitating it. He identified 23 skies, which Constable meticulously copied before reading Luke Howard’s publication proposing a nomenclature for clouds and becoming fascinated by a “natural history of the heavens.”<\/p>\n\n\n\n
Jacqueline Salmon’s Of Wind, Sky, and Sea<\/em> can be seen as a revisited natural history, interwoven with art history and photographic creations.
Her research highlights the poetry that emerges from the porous boundary between art and science. It resonates with the collection of the Le Havre Museum, rich in works by Eug\u00e8ne Boudin, with meteorological codes, and with the light of the English Channel.
The book takes the form of a rich and varied collection, blending iconography from diverse sources, borrowed and selected by the artist, with her own creations. Michel Poivert delivers, as a counterpoint to this work, a text in the form of false notes, playing on his side with this scientific imagination characteristic of this book.<\/p>\n","protected":false},"author":13,"featured_media":25191,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"nature":[],"statutdeslivres":[],"class_list":["post-25189","livre","type-livre","status-publish","format-standard","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"\n