DOI Page / Citation link:
https://doi.org/10.11588/diglit.19949#0059
LIGHT AND SHADE.
55
this arrangement of light and shade might be adapted to
a great variety of combinations.
The simplest form of effect is the opposition of two
masses. If the subject be dark—as a building or a group
of trees—it will be relieved by a light sky : if it be light,
the sky will be darker. This simple opposition we men-
tion in order to observe, that, in every pictorial compo-
sition, it prevails in the great masses and throughout the
details ; but the principle* is concealed in proportion as
the work is successful. Every dark must be relieved by
a light; and every light must tell against a dark : this is
the law of natural chiaroscuro, and in 'art it is the principle
of relief; but the contrasts must not seem either harsh or
artificial.
The forms of light and shade are subject to the same
laws as those of objects : hence, if a subject be treated
with a breadth of light, the principal mass must not
regularly divide the composition either vertically or hori-
zontally. If shade prevail in the picture, the same rule
applies ; but light or shade may be introduced at either
side of the picture, occupying there the entire plane, and
diminishing to a point at the opposite extremity of the
horizon.
In a light picture a simple and agreeable effect is
produced by placing the principal dark or most substantial
* Ars est artem celare.
55
this arrangement of light and shade might be adapted to
a great variety of combinations.
The simplest form of effect is the opposition of two
masses. If the subject be dark—as a building or a group
of trees—it will be relieved by a light sky : if it be light,
the sky will be darker. This simple opposition we men-
tion in order to observe, that, in every pictorial compo-
sition, it prevails in the great masses and throughout the
details ; but the principle* is concealed in proportion as
the work is successful. Every dark must be relieved by
a light; and every light must tell against a dark : this is
the law of natural chiaroscuro, and in 'art it is the principle
of relief; but the contrasts must not seem either harsh or
artificial.
The forms of light and shade are subject to the same
laws as those of objects : hence, if a subject be treated
with a breadth of light, the principal mass must not
regularly divide the composition either vertically or hori-
zontally. If shade prevail in the picture, the same rule
applies ; but light or shade may be introduced at either
side of the picture, occupying there the entire plane, and
diminishing to a point at the opposite extremity of the
horizon.
In a light picture a simple and agreeable effect is
produced by placing the principal dark or most substantial
* Ars est artem celare.