Which term, meaning 'light-dark' in Italian, is used to describe the use of strongly contrasting light and shade in a painting?
"as linear perspective, the realistic depiction of both physical and psychological features, and the manipulation of light and darkness, including tone contrast, sfumato (softening the transition between colours) and chiaroscuro (contrast between light and dark), in a single unifying style which expressed total compositional order, balance and harmony. In particular, the individual parts of the painting had a complex but balanced and well-knit relationship to a dynamic whole. Painting of the High Renaissance is considered to be the absolute zenith of western painting and achieved the balancing and reconciliation, in harmony, of contradictory and seemingly mutually exclusive artistic positions, such"
"Academy. ""Chiaroscuro"" is Italian for “""light-dark""” in art and is characterized by strong contrasts between light and dark, usually bold contrasts affecting a whole composition. It is also a technical term used by artists and art historians for using contrasts of light to achieve a sense of volume in modeling three-dimensional objects such as the human body. Chiaroscuro originated during the Renaissance as drawing on coloured paper, where the artist worked from this base tone towards light, with white gouache, and dark, with ink, bodycolour or watercolour. The French use of the term, ""clair-obscur"", was introduced in the seventeenth century."
"Chiaroscuro Chiaroscuro (; ; Italian for ""light-dark""), in art, is the use of strong contrasts between light and dark, usually bold contrasts affecting a whole composition. It is also a technical term used by artists and art historians for the use of contrasts of light to achieve a sense of volume in modelling three-dimensional objects and figures. Similar effects in cinema and photography also are called chiaroscuro. Further specialized uses of the term include chiaroscuro woodcut for coloured woodcuts printed with different blocks, each using a different coloured ink; and chiaroscuro drawing for drawings on coloured paper in a dark"
"his notes about painting, he highlights that light and shadow should intermingle ""without lines or borders, in the manner of smoke or beyond the focus plane"". Sfumato usually implies using many translucent layers to create a gradual tone spectrum from dark to light, eliminating thus the unwanted sharp contours. The technique is emphasized in the ""Mona Lisa"" (1503–1506, Musée du Louvre, Paris). On the other hand, chiaroscuro, another oil painting technique, uses strong tonal contrasts between light and dark to model three-dimensional forms, often to dramatic effect. The first use of light-dark three-dimensional shadows – known as """"skiagraphia"""" or ""shadow-painting"""
"Tenebrism Tenebrism, from Italian ' (""dark, gloomy, mysterious""), also occasionally called dramatic illumination, is a style of painting using profoundly pronounced chiaroscuro, where there are violent contrasts of light and dark, and where darkness becomes a dominating feature of the image. The technique was developed to add drama to an image through a spotlight effect, and was popular in Baroque painting. Tenebrism is used only to obtain a dramatic impact while chiaroscuro is a broader term, also covering the use of less extreme contrasts of light to enhance the illusion of three-dimensionality. The term is somewhat vague, and tends to"
"and ""unione"". The Raphael painting illustrated, with light coming from the left, demonstrates both delicate modelling chiaroscuro to give volume to the body of the model, and strong chiaroscuro in the more common sense, in the contrast between the well-lit model and the very dark background of foliage. To further complicate matters, however, the compositional chiaroscuro of the contrast between model and background probably would not be described using this term, as the two elements are almost completely separated. The term is mostly used to describe compositions where at least some principal elements of the main composition show the transition"
"Derby and other artists of the Romantic Movement, but the term is rarely used to characterize their work in general. Tenebrism Tenebrism, from Italian ' (""dark, gloomy, mysterious""), also occasionally called dramatic illumination, is a style of painting using profoundly pronounced chiaroscuro, where there are violent contrasts of light and dark, and where darkness becomes a dominating feature of the image. The technique was developed to add drama to an image through a spotlight effect, and was popular in Baroque painting. Tenebrism is used only to obtain a dramatic impact while chiaroscuro is a broader term, also covering the use"
"until the age of the Italian Renaissance when it was given a new name: chiaroscuro. Apollodorus' development of skiagraphia was only the beginning of this form of art's gradual development. In Italian, ""chiaro"" means light and ""scuro"" means dark. So the two together symbolize the combination and distribution of light and dark into one to create a more lifelike image. No longer simply used for paintings on canvas of stationary objects, chiaroscuro is used in all types of art, even sculpture, frescoes, and woodcuts. Chiaroscuro is used to produce volume and relief, to unify the objects in a painting, or"
"was continued in paintings by many French artists, notably Fragonard. At the end of the century Fuseli and others used a heavier chiaroscuro for romantic effect, as did Delacroix and others in the nineteenth century. The French use of the term, ""clair-obscur"", was introduced by the seventeenth-century art-critic Roger de Piles in the course of a famous argument (""Débat sur le coloris""), on the relative merits of drawing and colour in painting (his ""Dialogues sur le coloris"", 1673, was a key contribution to the ""Débat""). In English, the Italian term has been used since at least the late seventeenth century."
"painters in the region. At the turn of the 16th century, especially in Northern Italy, artists also began to use new techniques in the manipulation of light and darkness, such as the tone contrast evident in many of Titian's portraits and the development of sfumato and chiaroscuro by Leonardo da Vinci and Giorgione. The period also saw the first secular (non-religious) themes. There has been much debate as to the degree of secularism in the Renaissance, which had been emphasized by early 20th-century writers like Jacob Burckhardt, based on, among other things, the presence of a relatively small number of"
"Shadows add depth and perspective to a painting. See chiaroscuro for a discussion of the uses of such contrasts in visual media. Color paints are mixed together to create darkness, because each color absorbs certain frequencies of light. Theoretically, mixing together the three primary colors, or the three secondary colors, will absorb all visible light and create black. In practice it is difficult to prevent the mixture from taking on a brown tint. As a poetic term in the Western world, darkness is used to connote the presence of shadows, evil, and foreboding, or in modern parlance, to connote that"
"name of caravaggism. The works of Adam Elsheimer's were a turning point between chiaroscuro and tenebrism. At first glance, a tenebrism painting could look very similar to the one using powerful chiaroscuro effects. However, there is a difference between the two styles: chiaroscuro is a shading technique used especially to give objects the illusion of volume, while tenebrism is a compositional technique that uses very dark shadows, in which some areas of the painting are preserved darkly (sometimes black), allowing only one or two areas of interest to be strongly illuminated; at the same time, the transition from light to"
"light as the predominant source of illumination, relying heavily on the chiaroscuro technique. This compositional approach has been extensively used in Tintoretto's ""Last Supper"" (1592–1594). If the religious chiaroscuro of the Renaissance served to create quiet and calm scenes, painters such as Caravaggio, Baglione, Veronese, and Georges de La Tour, had the tendency to use this style for a dramatic effect. In Baroque, painting relied heavily on the use of shadows for their dramatic effect. Caravaggio has accomplished the dramatic illumination to its greatest extent with his method called tenebrism – a technique that has spread to Europe under the"
"is now the primary meaning. The more technical use of the term chiaroscuro is the effect of light modelling in painting, drawing, or printmaking, where three-dimensional volume is suggested by the value gradation of colour and the analytical division of light and shadow shapes—often called ""shading"". The invention of these effects in the West, """"skiagraphia"""" or ""shadow-painting"" to the Ancient Greeks, traditionally was ascribed to the famous Athenian painter of the fifth century BC, Apollodoros. Although few Ancient Greek paintings survive, their understanding of the effect of light modelling still may be seen in the late-fourth-century BC mosaics of Pella,"
"on traditions in illuminated manuscripts going back to late Roman Imperial manuscripts on purple-dyed vellum. Such works are called ""chiaroscuro drawings"", but may only be described in modern museum terminology by such formulae as ""pen on prepared paper, heightened with white bodycolour"". Chiaroscuro woodcuts began as imitations of this technique. When discussing Italian art, the term sometimes is used to mean painted images in monochrome or two colours, more generally known in English by the French equivalent, grisaille. The term broadened in meaning early on to cover all strong contrasts in illumination between light and dark areas in art, which"
"The term is less frequently used of art after the late nineteenth century, although the Expressionist and other modern movements make great use of the effect. Especially since the strong twentieth-century rise in the reputation of Caravaggio, in non-specialist use the term is mainly used for strong chiaroscuro effects such as his, or Rembrandt's. As the Tate puts it: ""Chiaroscuro is generally only remarked upon when it is a particularly prominent feature of the work, usually when the artist is using extreme contrasts of light and shade"". Photography and cinema also have adopted the term. For the history of the"
"named after Ernest Mach, a nineteenth-century physicist who discovered that light-dark contrasts will intensify when opposing colors are placed next to each other: light areas will appear lighter and dark areas will seem darker. She linked this investigation into subjective sensations of the beholder to how edges, boundaries, and contours are experienced in modern art. In 1975 Baer was the subject of a retrospective at the Whitney Museum of American Art, showcasing her Minimalist work. However, Baer reached an impasse with non-objective painting. Sensing that her format had become a formula, she could go no further with it. Two transitional"
"Leonardeschi, who often used it heavily, other prominent practitioners of sfumato included Correggio, Raphael and Giorgione. Raphael's ""Madonna of the Meadow"" is a famous example, particularly around Mary's face. The Leonardeschi include Bernardino Luini and Funisi. Sfumato Sfumato (, ) is a painting technique for softening the transition between colours, mimicking an area beyond what the human eye is focusing on, or the out-of-focus plane. Leonardo da Vinci was the most prominent practitioner of sfumato, based on his research in optics and human vision, and his experimentation with the camera obscura. He used it in many works, including the ""Virgin"
"Cangiante According to the theory of the art historian Marcia B. Hall, which has gained considerable acceptance, cangiante is one of four modes of painting colours available to Italian High Renaissance painters, along with sfumato, chiaroscuro and ""unione"". The word itself derives from the Italian ""cangiare"" (""to change""). ""Cangiante"" is characterized by a change in color necessitated by an original color's darkness or lightness limitation. For example, when painting shadows on a yellow object, the artist may use a red color simply because the yellow paint cannot be made dark enough. There are other methods of rendering shadows or highlights"
"the notorious fade in-fade out effect used in the movies when one picture succeeds another: as one picture gradually vanishes, the following one gets clearer and clearer. And the same goes for music when one theme succeeds another. When science and art intertwine, the Florentine engineer Maurizio Seracini, provides another fine example. As a specialist in reflectography and infra-red techniques, he pioneered the restoration of the works of Leonardo da Vinci and was able to use the latest technology to uncover The Batlle of Anghiari and to reveal one of the first drawings of the master from under the current"
"the varied means of expression and various advances in painting technique, such as linear perspective, the realistic depiction of both physical and psychological features, and the manipulation of light and darkness, including tone contrast, sfumato (softening the transition between colours) and chiaroscuro (contrast between light and dark), in a single unifying style which expressed total compositional order, balance and harmony. In particular, the individual parts of the painting had a complex but balanced and well-knit relationship to the whole. Painting of the High Renaissance is considered to be the absolute zenith of western painting and achieved the balancing and reconciliation,"
"dark is not gradual. The style was used for a purely dramatic effect (hence the term ""dramatic illumination""), and there was no involvement in trying to create the illusion of three-dimensionality. This style has been the victim of many negative criticisms in the Baroque, critics accusing artists of using this method to ""hide"" the mistakes of the paintings. First, Caravaggio's art, which approached the new artistic style in the most radical way, was aimed. Like Caravaggio, Rembrandt as well was accused of hiding his defects in the shades' painting. Tenebrism gave the darkness a positive value, both iconic and symbolic,"
"the greatest of whom is Michelangelo, whose ""David"" of 1500 is also a male nude study; more naturalistic than Donatello's and with greater emotional intensity. Both sculptures are standing in ""contrapposto"", their weight shifted to one leg. The period known as the High Renaissance of painting was the culmination of the varied means of expression and various advances in painting technique, such as linear perspective, the realistic depiction of both physical and psychological features, and the manipulation of light and darkness, including tone contrast, sfumato (softening the transition between colours) and chiaroscuro (contrast between light and dark), in a single"
"paintings from this period including ""The Cardsharps"" and one of the two versions of ""The Fortune Teller"". All three versions demonstrate the innovative approach to light that Caravaggio adopted at this time. Caravaggio's method, as described by Caravaggio's contemporary Giulio Mancini, was to use ""a strong light from above with a single window and the walls painted black, so that having the lights bright and the shadows dark, it gives depth to the painting, but with a method that is not natural nor done or thought of by any other century or older painters like Raphael, Titian, Correggio and others."""
"against landscape backgrounds of expressive colours. Giuseppe Cesari (c. 1568 – 3 July 1640) was an Italian Mannerist painter and instructor to Caravaggio. Early Baroque artist Adam Elsheimer created night scenes that were highly original. His works departed slightly from other works of the Baroque period were dramatic and abundantly detailed. Baroque paintings featured ""exaggerated lighting, intense emotions, release from restraint, and even a kind of artistic sensationalism"". Elsheimer's lighting effects in general were very subtle, and very different from those of Caravaggio. He often uses as many as five different sources of light, and graduates the light relatively gently,"
"alongside her husband (of now 50 years), she found herself artistically in her 30s where she rediscovered her love of art, developing into the renowned artist she was—having dedicated herself artistically to acrylic paintings on canvas for almost four decades. Her work is often compared to the Dutch Masters of the 17th century for her mastery of light and the art of ""chiaroscuro"", an Italian term that describes the technique of contrasting light and shade in order to enhance shape, form, texture and transparency. Oranges—her indisputable object of artistic focus—center in most of her current paintings due to their unmistakable"
"light art and photography. The main difference from other ""light painting"" or ""light writing"", it has been claimed, is the role of the background in the photo. Locations in the natural landscape or amongst buildings, such as industrial ruins, are carefully researched for distinctive backgrounds for each composition and LED-lamps are often used for contrasting cold and warm light to emphasise the existing structures. Collaboration is usually required in the performance of the work, with one person creating light figures and structures while the other operates the camera. In collaboration with Jörg Miedza, JanLeonardo founded the project LAPP-PRO.de that further"
"of the color theory of Neo-Impressionism. Deep green, violet, and blue in the shadows contrast with dots of rose, orange, and yellow to recreate the brilliant summer sun. Pissarro's great-grandson Joachim Pissarro, an art historian, declared that in this painting he ""manages to blend his abiding respect for the new technical rules with a sense of freedom and spontaneity. The pulverizing chromatic effect of this new technique is extraordinary light, dazzling colors . . . a brilliant energy that seems to radiate from the canvas."" The frame is a reproduction of the original, balancing Pissarro's preference for white with his"
"medium with white highlighting. The underlying principle is that solidity of form is best achieved by the light falling against it. Artists known for developing the technique include Leonardo da Vinci, Caravaggio and Rembrandt. It is a mainstay of black and white and low-key photography. It is one of the modes of painting colour in Renaissance art (alongside cangiante, sfumato and unione). The term chiaroscuro originated during the Renaissance as drawing on coloured paper, where the artist worked from the paper's base tone toward light using white gouache, and toward dark using ink, bodycolour or watercolour. These in turn drew"
"with the less well-lit parts of the composition often containing important parts of it. Michelangelo Merisi da Caravaggio was an Italian artist active between 1593 and 1610. His paintings, which combine a realistic observation of the human state, both physical and emotional, with a dramatic use of lighting, had a formative influence on the Baroque school of painting. Caravaggio's novelty was a radical naturalism that combined close physical observation with a dramatic, even theatrical, use of chiaroscuro. This came to be known as Tenebrism, the shift from light to dark with little intermediate value. Georges de La Tour was a"
"and intense light and dark shadows, but the classicism of French Baroque painters like Poussin and Dutch genre painters such as Vermeer are also covered by the term, at least in English. As opposed to Renaissance art, which usually showed the moment before an event took place, Baroque artists chose the most dramatic point, the moment when the action was occurring: Michelangelo, working in the High Renaissance, shows his David composed and still before he battles Goliath; Bernini's Baroque David is caught in the act of hurling the stone at the giant. Baroque art was meant to evoke emotion and"
"and the background. Live theatre lighting designs often use backlighting to give a more three-dimensional appearance to actors or set elements, when front lighting alone would give a flat, two-dimensional look. In ""chiaroscuro"" effects in painting, such as the candlelit paintings by Joseph Wright of Derby (""illustration, left""), backlighting helps separate subjects in the foreground and emphasizes depth. In photography, a back light (often the sun) that is about sixteen times more intense than the key light produces a silhouette. A fill flash used with a backlit subject yields more even lighting. The vertical angle of the back light can"
"Christ"", demonstrated his mastery over linear perspective and also over the science of light. Another painting exists, a cityscape, by an unknown artist, perhaps Piero della Francesca, that demonstrates the sort of experiment that Brunelleschi had been making. From this time linear perspective was understood and regularly employed, such as by Perugino in his ""Christ Giving the Keys to St. Peter"" (1481-82) in the Sistine Chapel. Giotto used tonality to create form. Taddeo Gaddi in his nocturnal scene in the Baroncelli Chapel demonstrated how light could be used to create drama. Paolo Uccello, a hundred years later, experimented with the"