DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.2086#0088
LIGHT AND SHADE, OR CHIAROSCURO.
the sails and boats. By this treatment, the chief interest being concentrated on the
tower, the view might with propriety be called " The old tower at Trent in the
Tyrol;" whereas the former might as appropriately be named " The city of Trent."
It may be remarked that the name by which the artist intends his picture to be
known often gives a clue to the treatment, not only of the light and shade, but of
the whole composition.
When shadow is thrown all over any part or object in a composition, it is highly
important that the shape should be agreeable, without being formal or peculiar;
when two or three objects are grouped together under the same shadow, monotony
may be avoided by some difference in the local colours. Should objects in the picture
present a shape unpleasing or deficient in quantity, the light may be either carried on
by other objects or represented in the sky: a different effect may also be obtained by
choosing a different time of day. Objects of uncouth or difficult form may be united
by some general effect so as to dispense with a portion of their outline; in this way
parallel lines may be discarded, and others obtained unequal in size, and varied by
the arrangement of the accidental shadows. Any formal manner of treating subjects,
such as relieving light against dark, or dark against light, should be used with
caution, and varied by difference in the quantities aud tones, otherwise it might lead
to a mannerism which, being contrary to the variety and simplicity of nature, is
usually distinguished as a " tricky" style of art.
In Fig. 29 great breadth is gained by placing light upon light, and dark upon
dark, with a large portion of half tint of a deep tone. Subjects treated in this style
present, if managed with skill, a very broad, rich, and pleasing effect. When light
passes into light until it ar-
rives at a focus, or point of
greatest intensity, a brilliant
and natural effect, approxi-
mating to that produced by
light proceeding from the sun
or other luminary, is the re-
sult. This simple, graduated
mode of treatment is often
used to obtain breadth in
colour as well as light; thus,
warm colours having been in- '' • -'■'•
troduced in the first instance, may be made to pass gradually into those of a cooler
tone. In these cases a small portion of light in the one, and of colour in the other,
may be repeated on the side opposed to the largest mass.
the sails and boats. By this treatment, the chief interest being concentrated on the
tower, the view might with propriety be called " The old tower at Trent in the
Tyrol;" whereas the former might as appropriately be named " The city of Trent."
It may be remarked that the name by which the artist intends his picture to be
known often gives a clue to the treatment, not only of the light and shade, but of
the whole composition.
When shadow is thrown all over any part or object in a composition, it is highly
important that the shape should be agreeable, without being formal or peculiar;
when two or three objects are grouped together under the same shadow, monotony
may be avoided by some difference in the local colours. Should objects in the picture
present a shape unpleasing or deficient in quantity, the light may be either carried on
by other objects or represented in the sky: a different effect may also be obtained by
choosing a different time of day. Objects of uncouth or difficult form may be united
by some general effect so as to dispense with a portion of their outline; in this way
parallel lines may be discarded, and others obtained unequal in size, and varied by
the arrangement of the accidental shadows. Any formal manner of treating subjects,
such as relieving light against dark, or dark against light, should be used with
caution, and varied by difference in the quantities aud tones, otherwise it might lead
to a mannerism which, being contrary to the variety and simplicity of nature, is
usually distinguished as a " tricky" style of art.
In Fig. 29 great breadth is gained by placing light upon light, and dark upon
dark, with a large portion of half tint of a deep tone. Subjects treated in this style
present, if managed with skill, a very broad, rich, and pleasing effect. When light
passes into light until it ar-
rives at a focus, or point of
greatest intensity, a brilliant
and natural effect, approxi-
mating to that produced by
light proceeding from the sun
or other luminary, is the re-
sult. This simple, graduated
mode of treatment is often
used to obtain breadth in
colour as well as light; thus,
warm colours having been in- '' • -'■'•
troduced in the first instance, may be made to pass gradually into those of a cooler
tone. In these cases a small portion of light in the one, and of colour in the other,
may be repeated on the side opposed to the largest mass.