Chiaroscuro

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  • Rembrandt Influence

    Along with this he also used interesting and novel painting techniques, that had evolved and morphed from his earlier years. To increase the drama of the scene, he flooded it with light, coming from a direct source in the middle of the painting. Although Rembrandt constantly used light in his paintings, the extremely bright light in this painting, resembling fire, causing it seem as if the characters are forging a sacred oath. As usual, Rembrandt uses chiaroscuro to sculpt the figures and bring them out of the background. Although currently the background is not decorative, originally this painting was the largest ever painted by Rembrandt. Through viewing a sketch for the original work, there initially was a large room behind the table before it was cut down and the use of sculpting light would have been necessary to bring the characters out of the depths of this space. Also, the figures are painted in much broader brushstrokes than his earlier paintings and many claim this is regarding the barbaric origins and actions of the narrative. The focus should not be on the people, but on the bravery and power represented in the crossed swords. Finally, this painting uses many deep red colors, invoking…

    Words: 1674 - Pages: 7
  • How Leonardo Da Vinci Changed The World Essay

    Da Vinci was the very first artist in his time period to value consistency in colors. He saw that brightness was more than the colors you use. This is what made him value brightness more than colors. In addition to being the first to value consistency, he was also one of the first to base his paintings on nature, science, and realism. He drew exactly what he saw. His opinion was that you shouldn’t change how nature looks. Which is what caused him to “mirror” nature. Also, he practiced…

    Words: 915 - Pages: 4
  • Domenica Piola's Allegory Of Youth

    of art. The ends and edges of the figures and objects are still identifiable but they are fuzzy and blurry enough to make them distinguishable from Renaissance artworks. Another factor that made Baroque art unique from Renaissance art was the use of colors. Piola has the colors dark and muted to give the sense of drama. The hue pink is the “brightest” color used which facilitates the viewer’s attention to where Piola wants them to look. The dark blue and brown hues are used to not draw much…

    Words: 724 - Pages: 3
  • Adoration Of The Shepherds Analysis

    The medium used is the same as Wtewael version of The Adoration of the Shepherds. One of the main differences that is noticeable is that Grecos piece has the newly developed style of “Chiaroscuro” which was heavily used during the Baroque period mainly by Caravaggio. Greko uses angels in his pieces and has removed all animals that contain powerful iconography. The Ox is nowhere to be seen, the sheep is nowhere to seen and there is no dog. Wtewael has a style that of which is exaggerated colors…

    Words: 1746 - Pages: 7
  • Chiaroscuro In Byzantine Art

    definition, the fine art term "chiaroscuro" (from the Italian for "light-dark"; or the French "clair-obscur") describes the prominent contrast of light and shade in a painting, drawing or print, and the skill demonstrated by the artist in the management of shadows to create the illusion of three-dimensional forms. The point is, solidity of form is only detectable in the presence of light. (For instance, it is only as dawn approaches that objects or figures - hitherto detectable only as slightly…

    Words: 361 - Pages: 2
  • Calling Of St Mathew Analysis

    Introduction The ‘Calling of St Mathew’ and ‘The Last Supper’ are beautiful and renowned pieces of artwork, created by two artistically gifted individuals who are regarded as among the all-time greats in Western Art. As a result, they hold an influential place in Western Art history, commanding great influence on contemporary artists. The ‘Calling of St. Matthew’ is an oil painting set on a 322 × 340 cm canvas. It was painted between 1599 and 1600 by the Italian Baroque master Michelangelo…

    Words: 1478 - Pages: 6
  • Hans Memling's The Arnolfini Portrait

    immature and the depth of the room defies common sense. As the figure seems too large for this narrow space, it could be inferred that the perspective may not accord with nature and that the background was added to the painting to suggest space. Hans Memling, a German-born artist who was apprenticed under Rogier van der Weyden and then moved to Brussels after his master died, pushed chiaroscuro further for different reasons than those of Jan van Eyck. Hans Memling was famous for his…

    Words: 1079 - Pages: 5
  • Leonardo Da Vinci: The Last Supper

    creations and thus could pay service to Him by utilizing it as subject matter. The visual elements of this work are deceivingly complex. Leonardo concentrated tremendous effort in the painting of Mona Lisa, herself. She appears astonishing life like, with realism that, at this time was decidedly unprecedented. From her identifiable brown irises, the visible cuticle and nail beds, to the slightly wave strands of hair, the details imbedded in the work never cease to amaze viewers. The background…

    Words: 598 - Pages: 3
  • Merisi Da Caravaggio

    Jaclyn Serrani Professor Rebecca Glenn ARHT 106 12 November 2015 The Calling of Saint Matthew Michelangelo Merisi da Caravaggio was known to be one of the most revolutionary artists of his time. Caravaggio is a distinguished artist who had a very large influence throughout the entire Baroque Era. He was born on September 29, 1571 in Milan. Caravaggio lived a very scandalous lifestyle (Caravaggio). What made Caravaggio’s paintings stand out was the realism he used through his painting…

    Words: 980 - Pages: 4
  • Mabel Dwight Summer's Night Analysis

    an idealized representation of the feminist movement in the twentieth century. The shadows in the work are personified by two women like figures undressing and one man like figure standing by an open door. The light shining out of the windows and open door highlight the women’s undergarments which hang loosely in plain view by the man’s shadow. I argue that the chiaroscuro presented in this work creates a visual vocabulary of warmth and invitation which reflects the feminist conversation of the…

    Words: 717 - Pages: 3
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