1578:
1201:
1377:
1260:
1095:
1241:
1074:
1337:
1513:
1136:
1494:
528:
1443:
1358:
1590:
233:
1163:
1605:
1558:
1220:
702:
1121:
1398:
606:
1279:
1300:
1452:
1534:
1180:
1038:
1475:
773:
1148:
1053:
1461:
1321:
1419:
401:
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 between light and dark, as in the
Baglioni and Geertgen tot Sint Jans paintings illustrated above and below.
296:
439:
495:, an Italian painter, between 1470 and 1500. Another view states that: "Lucas Cranach backdated two of his works in an attempt to grab the glory" and that the technique was invented "in all probability" by Burgkmair "who was commissioned by the emperor Maximilian to find a cheap and effective way of getting the imperial image widely disseminated as he needed to drum up money and support for a crusade".
36:
279:", 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,
400:
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
716:
Rembrandt's own interest in effects of darkness shifted in his mature works. He relied less on the sharp contrasts of light and dark that marked the
Italian influences of the earlier generation, a factor found in his mid-seventeenth-century etchings. In that medium he shared many similarities with
458:
using two or more blocks printed in different colours; they do not necessarily feature strong contrasts of light and dark. They were first produced to achieve similar effects to chiaroscuro drawings. After some early experiments in book-printing, the true chiaroscuro woodcut conceived for two
1577:
977:. When informed that no lens then had a sufficiently wide aperture to shoot a costume drama set in grand palaces using only candlelight, Kubrick bought and retrofitted a special lens for the purpose: a modified Mitchell BNC camera and a Zeiss lens manufactured for the rigors of
548:
Manuscript illumination was, as in many areas, especially experimental in attempting ambitious lighting effects since the results were not for public display. The development of compositional chiaroscuro received a considerable impetus in northern Europe from the vision of the
985:. The natural, unaugmented lighting of the sets in the film exemplified low-key, natural lighting in filmwork at its most extreme, outside of the Eastern European/Soviet filmmaking tradition (itself exemplified by the harsh low-key lighting style employed by Soviet filmmaker
653:
A particular genre that developed was the nocturnal scene lit by candlelight, which looked back to earlier northern artists such as
Geertgen tot Sint Jans and more immediately, to the innovations of Caravaggio and Elsheimer. This theme played out with many artists from the
518:
sometimes made use of it. In most German two-block prints, the keyblock (or "line block") was printed in black and the tone block or blocks had flat areas of colour. In Italy, chiaroscuro woodcuts were produced without keyblocks to achieve a very different effect.
950:
636:(1578â1610), a German artist living in Rome, produced several night scenes lit mainly by fire, and sometimes moonlight. Unlike Caravaggio's, his dark areas contain very subtle detail and interest. The influences of Caravaggio and Elsheimer were strong on
557:, a very popular mystic. She described the infant Jesus as emitting light; depictions increasingly reduced other light sources in the scene to emphasize this effect, and the Nativity remained very commonly treated with chiaroscuro through to the Baroque.
561:
and his followers painted many scenes lit only by candle or the divine light from the infant Christ. As with some later painters, in their hands the effect was of stillness and calm rather than the drama with which it would be used during the
Baroque.
1094:
1120:
1589:
415:: "seeing that best to show oneself needeth no shadow of place but rather the open light... Her Majesty... chose her place to sit for that purpose in the open alley of a goodly garden, where no tree was near, nor any shadow at all..."
918:". In more highly developed photographic processes, the technique may be termed "ambient/natural lighting", although when done so for the effect, the look is artificial and not generally documentary in nature. In particular,
1073:
1200:
1135:
1376:
835:
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
1162:
839:
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".
581:, and their many followers. The use of dark subjects dramatically lit by a shaft of light from a single constricted and often unseen source, was a compositional device developed by
1604:
1336:
172:
for colour woodcuts printed with different blocks, each using a different coloured ink; and chiaroscuro for drawings on coloured paper in a dark medium with white highlighting.
1512:
463:
in
Germany in 1508 or 1509, though he backdated some of his first prints and added tone blocks to some prints first produced for monochrome printing, swiftly followed by
1557:
1259:
1240:
1126:
Delicate engraved lines of hatching and cross-hatching, not all distinguishable in reproduction, are used to model the faces and clothes in this late-fifteenth-century
161:
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 black and white and
2112:
1799:
341:. 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
1037:
1015:
with his use of deep and selective focus augmented with strong horizon-level key lighting penetrating through windows and doorways. Much of the celebrated
514:. In Germany, the technique achieved its greatest popularity around 1520, but it was used in Italy throughout the sixteenth century. Later artists such as
2101:
Le rubénisme en Europe aux XVIIe et XVIIIe siÚcles, Volume 16 of
Museums at the Crossroads, MichĂšle-Caroline Heck, University of Michigan, Brepols, 2005
1493:
1598:, anon. Italian, sixteenth-century?, Italian style chiaroscuro woodcut, with four blocks, but no real line block, and looking rather like a watercolour
325:, where three-dimensional volume is suggested by the value gradation of colour and the analytical division of light and shadow shapesâoften called "
1299:
1815:
1357:
854:
and high-contrast lighting to create distinct areas of light and darkness in films, especially in black and white films. Classic examples are
2228:
2057:
1784:
1583:
A nineteenth-century version of the original type of chiaroscuro drawing, with coloured paper, white gouache highlights, and pencil shading
487:, it is clear that his, the first Italian examples, date to around 1516 But other sources suggest, the first chiaroscuro woodcut to be the
176:
682:'s (1606â1669) early works from the 1620s also adopted the single-candle light source. The nocturnal candle-lit scene re-emerged in the
1219:
532:
828:âsince at least the late seventeenth century. The term is less frequently used of art after the late nineteenth century, although the
2010:"Ugo da Carpi after Parmigianino: Diogenes (17.50.1) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art"
1397:
411:
cautioned in his treatise on painting against all but the minimal use we see in his works, reflecting the views of his patron Queen
2237:
1383:
1278:
874:
1004:
1023:, stage lighting, frontal lighting, and other film noir effects are interspersed in ways that diminish the chiaroscuro claim).
650:(1593â1656), a Baroque artist who was a follower of Caravaggio, was also an outstanding exponent of tenebrism and chiaroscuro.
337:
or "shadow-painting" to the
Ancient Greeks, traditionally was ascribed to the famous Athenian painter of the fifth century BC,
1533:
157:
between light and dark, usually bold contrasts affecting a whole composition. It is also a technical term used by artists and
2040:
1875:
1226:
1179:
781:
544:
of c. 1470; sources of light are the infant Jesus, the shepherds' fire on the hill behind, and the angel who appears to them.
1418:
175:
Chiaroscuro originated in the
Renaissance period but is most notably associated with Baroque art. Chiaroscuro is one of the
309:, shows delicate modelling chiaroscuro in the body of the model, for example in the shoulder, breast, and arm on the right
1709:
880:
642:
1796:
2271:
2266:
1474:
1141:
Another fifteenth-century engraving showing highlights and shading, all in lines in the original, used to depict volume
377:, which has gained considerable acceptance, chiaroscuro is one of four modes of painting colours available to Italian
2210:
2159:
2090:
1946:
1891:
1853:
1343:
111:
1052:
2256:
1306:
1909:(series "Artistic Centers of the Italian Renaissance"), pp. 148â150, 2005, Cambridge University Press, 2005,
1320:
1669:
1914:
1147:
718:
1959:
Renaissance Impressions: Chiaroscuro Woodcuts from the Collections of Georg Baselitz and the Albertina, Vienna
2175:
2261:
243:, 1519, a chiaroscuro drawing using pen, ink, and brush, washes, white heightening, on ochre prepared paper
22:
255:
as drawing on coloured paper, where the artist worked from the paper's base tone toward light using white
856:
527:
2136:
1524:
1285:
1080:
1019:
tradition relies on techniques related to chiaroscuro that Toland perfected in the early 1930s (though
1823:
1624:
1643:
640:, who exploited their respective approaches to tenebrosity for dramatic effect in paintings such as
464:
404:
Chiaroscuro modelling is now taken for granted, but it has had some opponents; namely: the English
240:
1976:
1409:
753:
1168:
Another study by Leonardo, where the linear make-up of the shading is easily seen in reproduction
907:
and figures. The effect highlights the differences between the capitalist elite and the workers.
671:
460:
367:
1442:
1388:
1109:, whose use of light to model throughout his compositions is exceptionally complex and delicate
1101:
899:
868:
776:
741:
537:
412:
268:
1918:
232:
647:
443:
338:
1543:
1404:
709:
663:
659:
405:
284:
2188:"Victorian Studies Bulletin". Northeast Victorian Studies Association, v. 9â11, 1985. 1984
1760:
1655:
701:
573:
art. Divine light continued to illuminate, often rather inadequately, the compositions of
479:
is claimed to be the first one to achieve chiaroscuro woodcuts with three blocks. Despite
8:
890:
658:
in the first few decades of the seventeenth century, where it became associated with the
605:
169:
162:
946:
may be considered some of the modern masters of chiaroscuro in documentary photography.
761:
2234:
2009:
1595:
1311:
1191:
915:
733:
695:
679:
507:
216:
1085:
2206:
2155:
2122:
2086:
2036:
1942:
1910:
1871:
1849:
1569:
1519:
1154:
1020:
986:
978:
939:
667:
637:
609:
586:
558:
554:
550:
541:
515:
408:
196:
154:
39:
2223:
1484:
749:
2276:
1610:
1106:
1012:
885:
629:
451:
378:
347:
313:
The more technical use of the term chiaroscuro is the effect of light modelling in
272:
208:
133:
64:
1735:
2241:
1803:
1363:
1059:
1008:
968:
954:
935:
923:
744:
in England, carried on with such strong, but graduated, candlelight chiaroscuro.
492:
472:
192:
1451:
2224:
Chiaroscuro Woodcut from the Metropolitan Museum of Art Timeline of Art History
1613:, Aeneas carries his father, German style, with line block and brown tone block
1564:
1428:
1290:
1250:
996:
927:
798:
737:
683:
675:
633:
578:
374:
212:
772:
418:
In drawings and prints, modelling chiaroscuro often is achieved by the use of
2250:
1962:
1348:
931:
904:
829:
655:
503:
468:
359:
158:
1186:
1043:
1000:
992:
973:
959:
943:
687:
582:
565:
Strong chiaroscuro became a popular effect during the sixteenth century in
511:
484:
427:
301:
29:
283:. The term broadened in meaning early on to cover all strong contrasts in
999:, also informed much of his photography with chiaroscuro realism, as did
919:
911:
722:
363:
322:
264:
252:
1460:
1938:
1231:
1064:
726:
691:
590:
574:
499:
476:
330:
287:
between light and dark areas in art, which is now the primary meaning.
260:
200:
752:, and this was continued in paintings by many French artists, notably
1503:
1269:
1127:
1016:
862:
594:
593:(1571â1610), the last of whom was crucial in developing the style of
566:
383:
295:
280:
204:
180:
1327:
1210:
419:
314:
1046:
c. 1450 uses chiaroscuro modelling in all elements of the painting
760:
and others used a heavier chiaroscuro for romantic effect, as did
686:
in the mid-seventeenth century on a smaller scale in the works of
597:, where dramatic chiaroscuro becomes a dominant stylistic device.
438:
366:
to become standard by the early fifteenth-century in painting and
2058:"Revolutionary chiaroscuro woodcuts win first British exhibition"
1856:â discusses these at length. Also see Metropolitan external link.
851:
805:), on the relative merits of drawing and colour in painting (his
745:
570:
455:
423:
388:
358:
The technique also survived in rather crude standardized form in
326:
318:
306:
256:
184:
1696:
Color and Technique in Renaissance Painting: Italy and the North
2117:
982:
903:, chiaroscuro lighting creates contrast between light and dark
757:
625:
480:
393:
188:
1868:
Color and Meaning: Practice and Theory in Renaissance Painting
1787:(accessed 30 August 2007). See also Metropolitan external link
779:
painted several large groups with strong chiaroscuro, such as
100:
621:
342:
1088:, uses subtle highlights and shading on the face and clothes
967:
Perhaps the most direct use of chiaroscuro in filmmaking is
76:
1436:
Chiaroscuro as a major element in composition: photography
836:
370:
in Italy and Flanders, and then spread to all Western art.
103:
79:
70:
35:
2035:. New York: Cambridge University Press. pp. 105â107.
949:
748:
used a gentle chiaroscuro in the leafy backgrounds of his
522:
832:
and other modern movements make great use of the effect.
816:
In English, the Italian term has been usedâoriginally as
94:
51:
1656:"Chiaroscuro in Art: What Is the Chiaroscuro Technique?"
1207:
Allegory, Boy Lighting Candle in Company of Ape and Fool
1173:
Chiaroscuro as a major element in composition: painting
797:, was introduced by the seventeenth-century art-critic
46:(1602â1603), showing dramatic compositional chiaroscuro
1710:"Chiaroscuro in Painting: The Power of Light and Dark"
28:"Clair-obscur" redirects here. For the 2016 film, see
2205:, pp. 179â202; 273â81 & passim; Yale, 1996,
112:
88:
85:
73:
67:
16:
Use of strong contrasts between light and dark in art
446:, created between 1630 and 1655 (digitally restored)
351:, in the House of the Abduction of Helen, inscribed
227:
82:
2235:(Modelling) chiaroscuro from Evansville University
1568:, chiaroscuro drawing on coloured paper, 1516, by
616:(1610â1611) is modelled with dynamic chiaroscuro.
271:going back to late Roman Imperial manuscripts on
195:). Artists known for using the technique include
2248:
2085:, pp. 179â202; 273â81 & passim; Yale, 1996,
1941:, 2002, p. 24, Michael Joseph Ltd, London,
963:, some of which was shot using only candlelight
442:Chiaroscuro woodcut of the Virgin and Child by
329:". The invention of these effects in the West,
1870:. New York, N.Y.: Cambridge University Press.
1114:Chiaroscuro in modelling; prints and drawings
823:
817:
373:According to the theory of the art historian
168:Further specialized uses of the term include
1965:, London, MarchâJune 2014, exhibition guide.
790:
2033:The Italian Renaissance and Cultural Memory
1981:(in German). Vol. 32. pp. 402â404
732:Outside the Low Countries, artists such as
471:or block-cutter who worked in the press of
177:canonical painting modes of the Renaissance
138:
2149:
2121:, vol. II (1st ed.), Edinburgh:
1003:, who influenced such cinematographers as
884:(1941), and the black and white scenes in
600:
1642:Glossary of the National Gallery, London
842:
948:
914:, chiaroscuro can be achieved by using "
771:
700:
604:
526:
437:
422:, or shading by parallel lines. Washes,
294:
290:
231:
34:
2110:
1670:"Caravaggio, between shadows and light"
1384:An Experiment on a Bird in the Air Pump
523:Compositional chiaroscuro to Caravaggio
433:
430:" in printmaking are other techniques.
2249:
2176:"Chiaroscurro in German Expressionism"
2030:
1974:
1968:
1892:"Four Canonical Painting Modes by APA"
850:is used in cinematography for extreme
809:, 1673, was a key contribution to the
764:and others in the nineteenth century.
620:Tenebrism was especially practiced in
459:blocks was probably first invented by
267:. These in turn drew on traditions in
2055:
782:A Philosopher Lecturing on the Orrery
502:who have used this technique include
132:
1865:
1693:
1031:Chiaroscuro in modelling; paintings
801:in the course of a famous argument (
2201:David Landau & Peter Parshall,
2081:David Landau & Peter Parshall,
1975:Steiff (1891). "Schott, Johannes".
1844:David Landau & Peter Parshall,
483:'s claim for Italian precedence in
44:Divine Love Conquering Earthly Love
13:
2231:from Spencer Museum of Art, Kansas
1761:"Francisco Goya â Spanish Culture"
1551:Chiaroscuro drawings and woodcuts
767:
540:, c. 1490, after a composition by
14:
2288:
2217:
2148:For the history of the term, see
2012:. Metmuseum.org. February 3, 2012
624:and the Spanish-ruled Kingdom of
228:Origin in the chiaroscuro drawing
1603:
1588:
1576:
1556:
1532:
1511:
1492:
1473:
1459:
1450:
1441:
1417:
1396:
1375:
1356:
1335:
1319:
1307:Magdalene with the Smoking Flame
1298:
1277:
1258:
1239:
1218:
1199:
1178:
1161:
1146:
1134:
1119:
1093:
1072:
1051:
1036:
63:
2182:
2168:
2152:Clair-obscur, histoire d'un mot
2142:
2130:
2104:
2095:
2075:
2049:
2024:
2002:
1993:
1951:
1923:
1899:
1884:
1859:
1848:, pp. 180â84; Yale, 1996,
1838:
1808:
995:, the longtime collaborator of
345:, Macedonia, in particular the
165:, are also called chiaroscuro.
2056:Brown, Mark (March 11, 2014).
1978:Allgemeine Deutsche Biographie
1957:Landau and Parshall, 179â192;
1790:
1778:
1753:
1728:
1702:
1687:
1662:
1648:
1636:
719:Giovanni Benedetto Castiglione
1:
2194:
1797:Example from the Metropolitan
1425:Christ on the Mount of Olives
981:, with a maximum aperture of
362:and was refined again in the
259:, and toward dark using ink,
2031:Emison, Patricia A. (2012).
881:The Devil and Daniel Webster
789:The French use of the term,
756:. At the end of the century
23:Chiaroscuro (disambiguation)
7:
2154:. Nogent-le-Roi: J. Laget.
2139:. Retrieved 30 August 2007.
1816:"Holbein in England â Tate"
1785:Harvard Art Museum glossary
1618:
922:along with others, such as
875:The Hunchback of Notre Dame
857:The Cabinet of Dr. Caligari
717:his contemporary in Italy,
10:
2293:
2240:December 12, 2008, at the
1929:Quotation from Hilliard's
1896:. Retrieved June 18, 2015.
1802:December 20, 2008, at the
1645:(accessed 23 October 2011)
1525:William-Adolphe Bouguereau
1344:Adoration of the Shepherds
1081:Portrait of Juan de Pareja
1026:
614:The Elevation of the Cross
222:
27:
20:
2272:Composition in visual art
2267:Italian words and phrases
2150:Verbraeken, René (1979).
1625:Light-and-shade watermark
450:Chiaroscuro woodcuts are
426:or dotting effects, and "
355:, or 'knowledge did it'.
275:. Such works are called "
2118:Encyclopaedia Britannica
1999:Landau and Parshall, 150
1866:Hall, Marcia B. (1994).
1694:Hall, Marcia B. (1987).
1630:
1227:Crucifixion of St. Peter
807:Dialogues sur le coloris
672:Flemish Baroque painters
643:The Raising of the Cross
489:Triumph of Julius Caesar
465:Hans Burgkmair the Elder
241:Hans Holbein the Younger
2257:Visual arts terminology
1326:Landscape chiaroscuro,
601:17th and 18th centuries
491:, which was created by
461:Lucas Cranach the Elder
368:manuscript illumination
269:illuminated manuscripts
153:) is the use of strong
134:[ËkjaroËskuËro]
1674:www.carredartistes.com
1389:Joseph Wright of Derby
964:
843:Cinema and photography
824:
818:
791:
786:
777:Joseph Wright of Derby
742:Joseph Wright of Derby
725:led him to invent the
713:
617:
545:
538:Geertgen tot Sint Jans
447:
413:Elizabeth I of England
310:
251:originated during the
244:
47:
2203:The Renaissance Print
2083:The Renaissance Print
1846:The Renaissance Print
1410:Jean-Honoré Fragonard
952:
775:
704:
648:Artemisia Gentileschi
608:
585:(c. 1455 â c. 1523),
530:
444:Bartolommeo Coriolano
441:
381:painters, along with
298:
291:Chiaroscuro modelling
235:
38:
1826:on December 17, 2011
1544:John Everett Millais
803:DĂ©bat sur le coloris
710:Gerrit van Honthorst
664:Gerrit van Honthorst
660:Utrecht Caravaggisti
434:Chiaroscuro woodcuts
406:portrait miniaturist
277:chiaroscuro drawings
21:For other uses, see
2262:Artistic techniques
2229:Chiaroscuro woodcut
1266:St. Peter in prison
1247:The Flight to Egypt
632:and his followers.
170:chiaroscuro woodcut
163:low-key photography
1736:"Johannes Vermeer"
1468:Chiaroscuro faces
1351:, mid-17th century
1312:Georges de La Tour
1192:Domenico Beccafumi
965:
916:Rembrandt lighting
787:
734:Georges de La Tour
714:
696:Gottfried Schalken
680:Rembrandt van Rijn
618:
546:
508:Hans Baldung Grien
448:
311:
273:purple-dyed vellum
245:
217:Georges de La Tour
48:
2123:Colin Macfarquhar
2042:978-1-107-00526-6
1935:Nicholas Hilliard
1917:, 9780521624459,
1905:Hall, Marcia B.,
1877:978-0-521-45733-0
1570:Hans Springinklee
1520:The Knitting Girl
1500:An Old Man in Red
1155:Leonardo da Vinci
1021:high-key lighting
987:Sergei Eisenstein
979:space photography
940:Floria Sigismondi
668:Dirck van Baburen
638:Peter Paul Rubens
610:Peter Paul Rubens
589:(1566â1643), and
587:Giovanni Baglione
559:Hugo van der Goes
555:Bridget of Sweden
551:Nativity of Jesus
542:Hugo van der Goes
533:Nativity at Night
452:old master prints
409:Nicholas Hilliard
197:Leonardo da Vinci
40:Giovanni Baglione
2284:
2189:
2186:
2180:
2179:
2172:
2166:
2165:
2146:
2140:
2134:
2128:
2126:
2108:
2102:
2099:
2093:
2079:
2073:
2072:
2070:
2068:
2053:
2047:
2046:
2028:
2022:
2021:
2019:
2017:
2006:
2000:
1997:
1991:
1990:
1988:
1986:
1972:
1966:
1955:
1949:
1927:
1921:
1903:
1897:
1895:
1888:
1882:
1881:
1863:
1857:
1842:
1836:
1835:
1833:
1831:
1822:. Archived from
1812:
1806:
1794:
1788:
1782:
1776:
1775:
1773:
1771:
1757:
1751:
1750:
1748:
1746:
1732:
1726:
1725:
1723:
1721:
1706:
1700:
1699:
1698:. J.J. Augustin.
1691:
1685:
1684:
1682:
1680:
1666:
1660:
1659:
1652:
1646:
1640:
1611:Ludolph Buesinck
1607:
1592:
1580:
1560:
1536:
1515:
1496:
1477:
1463:
1454:
1445:
1421:
1400:
1379:
1368:La Partie carrée
1360:
1339:
1323:
1302:
1281:
1262:
1243:
1222:
1203:
1182:
1165:
1150:
1138:
1123:
1107:Johannes Vermeer
1097:
1076:
1055:
1040:
1013:Vittorio Storaro
897:For example, in
886:Andrei Tarkovsky
827:
821:
796:
721:, whose work in
630:Jusepe de Ribera
379:High Renaissance
348:Stag Hunt Mosaic
152:
149:
146:
143:
140:
136:
131:
124:
120:
116:
110:
109:
106:
105:
102:
97:
96:
91:
90:
87:
84:
81:
78:
75:
72:
69:
62:
2292:
2291:
2287:
2286:
2285:
2283:
2282:
2281:
2247:
2246:
2242:Wayback Machine
2220:
2215:
2197:
2192:
2187:
2183:
2174:
2173:
2169:
2162:
2147:
2143:
2135:
2131:
2109:
2105:
2100:
2096:
2080:
2076:
2066:
2064:
2054:
2050:
2043:
2029:
2025:
2015:
2013:
2008:
2007:
2003:
1998:
1994:
1984:
1982:
1973:
1969:
1956:
1952:
1928:
1924:
1904:
1900:
1890:
1889:
1885:
1878:
1864:
1860:
1843:
1839:
1829:
1827:
1814:
1813:
1809:
1804:Wayback Machine
1795:
1791:
1783:
1779:
1769:
1767:
1765:www.enforex.com
1759:
1758:
1754:
1744:
1742:
1734:
1733:
1729:
1719:
1717:
1716:. July 20, 2007
1708:
1707:
1703:
1692:
1688:
1678:
1676:
1668:
1667:
1663:
1654:
1653:
1649:
1641:
1637:
1633:
1621:
1614:
1608:
1599:
1593:
1584:
1581:
1572:
1561:
1547:
1537:
1528:
1516:
1507:
1497:
1488:
1478:
1464:
1455:
1446:
1432:
1422:
1413:
1401:
1392:
1380:
1371:
1364:Antoine Watteau
1361:
1352:
1340:
1331:
1324:
1315:
1303:
1294:
1286:The Proposition
1282:
1273:
1263:
1254:
1244:
1235:
1223:
1214:
1204:
1195:
1183:
1169:
1166:
1157:
1151:
1142:
1139:
1130:
1124:
1110:
1098:
1089:
1086:Diego VelĂĄzquez
1077:
1068:
1060:Saint Sebastian
1056:
1047:
1041:
1029:
1009:Vilmos Zsigmond
969:Stanley Kubrick
955:Stanley Kubrick
936:Annie Leibovitz
924:W. Eugene Smith
845:
770:
768:Use of the term
603:
525:
493:Andrea Mantegna
473:Johannes Schott
436:
293:
230:
225:
193:Renaissance art
150:
147:
144:
141:
129:
122:
118:
114:
99:
93:
66:
60:
59:
33:
26:
17:
12:
11:
5:
2290:
2280:
2279:
2274:
2269:
2264:
2259:
2245:
2244:
2232:
2226:
2219:
2218:External links
2216:
2214:
2213:
2198:
2196:
2193:
2191:
2190:
2181:
2167:
2160:
2141:
2129:
2103:
2094:
2074:
2048:
2041:
2023:
2001:
1992:
1967:
1950:
1933:, c. 1600, in
1931:Art of Limming
1922:
1898:
1883:
1876:
1858:
1837:
1807:
1789:
1777:
1752:
1727:
1714:EmptyEasel.com
1701:
1686:
1661:
1647:
1634:
1632:
1629:
1628:
1627:
1620:
1617:
1616:
1615:
1609:
1602:
1600:
1594:
1587:
1585:
1582:
1575:
1573:
1565:Man of Sorrows
1562:
1555:
1549:
1548:
1538:
1531:
1529:
1517:
1510:
1508:
1498:
1491:
1489:
1485:José de Ribera
1479:
1472:
1466:
1465:
1458:
1456:
1449:
1447:
1440:
1434:
1433:
1429:Francisco Goya
1423:
1416:
1414:
1402:
1395:
1393:
1381:
1374:
1372:
1362:
1355:
1353:
1341:
1334:
1332:
1325:
1318:
1316:
1304:
1297:
1295:
1291:Judith Leyster
1283:
1276:
1274:
1264:
1257:
1255:
1251:Adam Elsheimer
1245:
1238:
1236:
1224:
1217:
1215:
1205:
1198:
1196:
1184:
1177:
1171:
1170:
1167:
1160:
1158:
1152:
1145:
1143:
1140:
1133:
1131:
1125:
1118:
1112:
1111:
1099:
1092:
1090:
1078:
1071:
1069:
1057:
1050:
1048:
1042:
1035:
1028:
1025:
997:Ingmar Bergman
928:Josef Koudelka
844:
841:
799:Roger de Piles
769:
766:
750:fĂȘtes galantes
740:in France and
738:Trophime Bigot
706:The Matchmaker
684:Dutch Republic
676:Jacob Jordaens
634:Adam Elsheimer
602:
599:
524:
521:
435:
432:
375:Marcia B. Hall
353:gnosis epoesen
292:
289:
237:Christ at Rest
229:
226:
224:
221:
159:art historians
15:
9:
6:
4:
3:
2:
2289:
2278:
2275:
2273:
2270:
2268:
2265:
2263:
2260:
2258:
2255:
2254:
2252:
2243:
2239:
2236:
2233:
2230:
2227:
2225:
2222:
2221:
2212:
2211:0-300-06883-2
2208:
2204:
2200:
2199:
2185:
2177:
2171:
2163:
2161:2-85497-021-7
2157:
2153:
2145:
2138:
2137:Tate Glossary
2133:
2124:
2120:
2119:
2114:
2107:
2098:
2092:
2091:0-300-06883-2
2088:
2084:
2078:
2063:
2059:
2052:
2044:
2038:
2034:
2027:
2011:
2005:
1996:
1980:
1979:
1971:
1964:
1963:Royal Academy
1960:
1954:
1948:
1947:0-7181-1301-2
1944:
1940:
1936:
1932:
1926:
1920:
1916:
1912:
1908:
1902:
1893:
1887:
1879:
1873:
1869:
1862:
1855:
1854:0-300-06883-2
1851:
1847:
1841:
1825:
1821:
1817:
1811:
1805:
1801:
1798:
1793:
1786:
1781:
1766:
1762:
1756:
1741:
1737:
1731:
1715:
1711:
1705:
1697:
1690:
1675:
1671:
1665:
1657:
1651:
1644:
1639:
1635:
1626:
1623:
1622:
1612:
1606:
1601:
1597:
1591:
1586:
1579:
1574:
1571:
1567:
1566:
1559:
1554:
1553:
1552:
1545:
1541:
1540:Self-Portrait
1535:
1530:
1526:
1522:
1521:
1514:
1509:
1505:
1501:
1495:
1490:
1486:
1482:
1476:
1471:
1470:
1469:
1462:
1457:
1453:
1448:
1444:
1439:
1438:
1437:
1430:
1426:
1420:
1415:
1411:
1407:
1406:
1399:
1394:
1390:
1386:
1385:
1378:
1373:
1369:
1365:
1359:
1354:
1350:
1349:Matthias Stom
1346:
1345:
1338:
1333:
1329:
1322:
1317:
1313:
1309:
1308:
1301:
1296:
1292:
1288:
1287:
1280:
1275:
1271:
1267:
1261:
1256:
1252:
1248:
1242:
1237:
1233:
1229:
1228:
1221:
1216:
1212:
1208:
1202:
1197:
1193:
1189:
1188:
1181:
1176:
1175:
1174:
1164:
1159:
1156:
1149:
1144:
1137:
1132:
1129:
1122:
1117:
1116:
1115:
1108:
1104:
1103:
1096:
1091:
1087:
1084:, c. 1650 by
1083:
1082:
1075:
1070:
1066:
1062:
1061:
1054:
1049:
1045:
1039:
1034:
1033:
1032:
1024:
1022:
1018:
1014:
1010:
1006:
1005:LĂĄszlĂł KovĂĄcs
1002:
998:
994:
990:
988:
984:
980:
976:
975:
971:'s 1975 film
970:
962:
961:
957:'s 1975 film
956:
951:
947:
945:
941:
937:
933:
932:Lothar Wolleh
929:
925:
921:
917:
913:
908:
906:
905:mise-en-scene
902:
901:
895:
893:
892:
887:
883:
882:
877:
876:
871:
870:
865:
864:
859:
858:
853:
849:
840:
838:
833:
831:
830:Expressionist
826:
820:
819:claro-obscuro
814:
812:
808:
804:
800:
795:
794:
784:
783:
778:
774:
765:
763:
759:
755:
751:
747:
743:
739:
735:
730:
728:
724:
720:
711:
707:
703:
699:
697:
693:
689:
688:fijnschilders
685:
681:
677:
673:
669:
665:
661:
657:
656:Low Countries
651:
649:
646:(1610â1611).
645:
644:
639:
635:
631:
627:
623:
615:
611:
607:
598:
596:
592:
588:
584:
580:
576:
572:
568:
563:
560:
556:
552:
543:
539:
535:
534:
529:
520:
517:
513:
509:
505:
504:Hans Wechtlin
501:
496:
494:
490:
486:
482:
478:
474:
470:
469:formschneider
466:
462:
457:
453:
445:
440:
431:
429:
425:
421:
416:
414:
410:
407:
402:
398:
396:
395:
390:
386:
385:
380:
376:
371:
369:
365:
361:
360:Byzantine art
356:
354:
350:
349:
344:
340:
336:
334:
328:
324:
320:
316:
308:
305:(1518â19) by
304:
303:
297:
288:
286:
282:
278:
274:
270:
266:
262:
258:
254:
250:
242:
238:
234:
220:
218:
214:
210:
206:
202:
198:
194:
190:
186:
182:
178:
173:
171:
166:
164:
160:
156:
135:
127:
126:
121:-oh, -
108:
57:
53:
45:
41:
37:
31:
24:
19:
2202:
2184:
2170:
2151:
2144:
2132:
2116:
2113:Chiaro-Scuro
2106:
2097:
2082:
2077:
2065:. Retrieved
2062:The Guardian
2061:
2051:
2032:
2026:
2016:February 18,
2014:. Retrieved
2004:
1995:
1983:. Retrieved
1977:
1970:
1958:
1953:
1934:
1930:
1925:
1919:google books
1906:
1901:
1886:
1867:
1861:
1845:
1840:
1828:. Retrieved
1824:the original
1819:
1810:
1792:
1780:
1768:. Retrieved
1764:
1755:
1743:. Retrieved
1739:
1730:
1718:. Retrieved
1713:
1704:
1695:
1689:
1677:. Retrieved
1673:
1664:
1650:
1638:
1563:
1550:
1539:
1518:
1499:
1481:Saint Jerome
1480:
1467:
1435:
1424:
1403:
1382:
1367:
1342:
1305:
1284:
1265:
1246:
1225:
1206:
1187:Annunciation
1185:
1172:
1113:
1105:c. 1658, by
1102:The Milkmaid
1100:
1079:
1058:
1044:Fra Angelico
1030:
1001:Gregg Toland
993:Sven Nykvist
991:
974:Barry Lyndon
972:
966:
960:Barry Lyndon
958:
944:Ralph Gibson
909:
898:
896:
889:
879:
873:
867:
861:
855:
847:
846:
834:
825:chiaro-scuro
815:
810:
806:
802:
793:clair-obscur
792:
788:
780:
731:
715:
705:
652:
641:
619:
613:
583:Ugo da Carpi
564:
547:
531:
512:Parmigianino
497:
488:
485:Ugo da Carpi
449:
428:surface tone
417:
403:
399:
392:
382:
372:
357:
352:
346:
332:
312:
302:La Fornarina
300:
285:illumination
276:
248:
246:
236:
191:) (see also
174:
167:
55:
49:
43:
30:Clair Obscur
18:
1830:January 31,
1820:tate.org.uk
1770:January 22,
1745:January 22,
1720:January 22,
1679:January 22,
1506:, 1652â1654
1213:, 1589â1592
1153:Drawing by
953:Still from
920:Bill Henson
912:photography
848:Chiaroscuro
723:printmaking
670:, and with
500:printmakers
364:Middle Ages
339:Apollodoros
333:skiagraphia
323:printmaking
265:watercolour
253:Renaissance
249:chiaroscuro
179:(alongside
56:chiaroscuro
2251:Categories
2195:References
1985:August 11,
1939:Roy Strong
1915:0521624452
1232:Caravaggio
1065:Botticelli
900:Metropolis
869:Metropolis
692:Gerrit Dou
591:Caravaggio
575:Tintoretto
477:Strasbourg
299:Detail of
261:bodycolour
201:Caravaggio
148:light-dark
2067:March 11,
1504:Rembrandt
1412:, c. 1777
1370:, c. 1713
1314:, c. 1640
1270:Rembrandt
1194:, 1545â46
1128:engraving
1017:film noir
863:Nosferatu
762:Delacroix
754:Fragonard
595:tenebrism
567:Mannerism
553:of Saint
384:cangiante
281:grisaille
247:The term
205:Rembrandt
181:cangiante
155:contrasts
61:English:
2238:Archived
1800:Archived
1619:See also
1405:The Bolt
1328:Jan Both
1211:El Greco
894:(1979).
878:(1939),
866:(1922),
860:(1920),
727:monotype
690:such as
674:such as
662:such as
579:Veronese
516:Goltzius
420:hatching
315:painting
130:Italian:
2277:Shadows
1027:Gallery
891:Stalker
872:(1927)
852:low key
746:Watteau
571:Baroque
456:woodcut
424:stipple
389:sfumato
327:shading
319:drawing
307:Raphael
257:gouache
223:History
209:Vermeer
185:sfumato
142:
2209:
2158:
2125:, 1771
2089:
2039:
1945:
1913:
1874:
1852:
1740:Artble
1596:Saturn
1546:, 1881
1527:, 1869
1487:, 1652
1431:, 1819
1391:, 1768
1330:, 1646
1293:, 1631
1272:, 1631
1253:, 1609
1234:, 1600
1067:, 1474
1011:, and
942:, and
785:, 1766
758:Fuseli
712:, 1625
626:Naples
510:, and
498:Other
481:Vasari
467:. The
394:unione
215:, and
189:unione
1631:Notes
1502:, by
1310:, by
983:f/0.7
811:DĂ©bat
628:, by
622:Spain
343:Pella
321:, or
239:, by
123:SKURE
119:SKOOR
2207:ISBN
2156:ISBN
2087:ISBN
2069:2014
2037:ISBN
2018:2012
1987:2021
1943:ISBN
1911:ISBN
1907:Rome
1872:ISBN
1850:ISBN
1832:2012
1772:2019
1747:2019
1722:2019
1681:2019
837:Tate
822:and
736:and
694:and
666:and
569:and
391:and
213:Goya
187:and
139:lit.
113:kee-
2115:",
1542:by
1523:by
1483:by
1427:by
1408:by
1387:by
1347:by
1289:by
1268:by
1249:by
1230:by
1209:by
1190:by
1063:by
989:).
910:In
888:'s
813:).
708:by
612:'s
536:by
475:in
454:in
263:or
117:-É-
101:ÊÉr
77:ÉËr
52:art
50:In
2253::
2060:.
1961:,
1937:,
1818:.
1763:.
1738:.
1712:.
1672:.
1366:â
1007:,
938:,
934:,
930:,
926:,
729:.
698:.
678:.
577:,
506:,
397:.
387:,
317:,
219:.
211:,
207:,
203:,
199:,
183:,
137:;
128:,
115:AR
104:oÊ
54:,
42:.
2178:.
2164:.
2127:.
2111:"
2071:.
2045:.
2020:.
1989:.
1894:.
1880:.
1834:.
1774:.
1749:.
1724:.
1683:.
1658:.
335:"
331:"
151:'
145:'
125:-
107:/
98:)
95:j
92:(
89:k
86:s
83:Ë
80:É
74:Ë
71:i
68:k
65:/
58:(
32:.
25:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
