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Christ at Rest, by Hans Holbein the Younger, 1519, a chiaroscuro drawing using pen, ink, and brush, washes, white heightening, on ochre prepared paper. 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.
Ars Magna Lucis et Umbrae ("The Great Art of Light and Shadow") is a 1646 work by the Jesuit scholar Athanasius Kircher. [1] It was dedicated to Ferdinand IV, King of the Romans and published in Rome by Lodovico Grignani. A second edition was published in Amsterdam in 1671 by Johann Jansson.
At the same time, light is intrinsically found in painting, since it is indispensable for the composition of the image: the play of light and shadow is the basis of drawing and, in its interaction with color, is the primordial aspect of painting, with a direct influence on factors such as modeling and relief. [1]
In architectural drawing, sciography is the study of shades and shadows cast by simple architectural forms on plane surfaces. In general sciography, the light source is imagined as the sun inclined at 45 degrees to both vertical plane and horizontal plane coming from left hand side. The resultant shadow is then drawn.
John the Baptist (John in the Wilderness), by Caravaggio, 1604, in the Nelson-Atkins Museum of Art, Kansas City. Tenebrism, from Italian tenebroso ('dark, gloomy, mysterious'), also occasionally called dramatic illumination, is a style of painting using especially pronounced chiaroscuro, where there are violent contrasts of light and dark, and where darkness becomes a dominating feature of the ...
The French entertainer Félicien Trewey was interested in the art of Chinese shadow puppetry called Ombres Chinoises (known in china as the pi ying xi(皮影戏)), which means "Chinese shadows". He popularized the art of hand shadows when he developed shadows of famous silhouettes. It then became popular in Europe in the 19th century.
Art historians are divided as to whether the central panel was intended as a moral warning or as a panorama of paradise lost. Following van Eyck's innovations, the first generation of Netherlandish painters emphasised light and shadow, elements usually absent from 14th-century illuminated manuscripts. [14]
Light Art is a fairly new construction, as a mirror translation from Dutch or German: Lichtkunst. The pioneers of light art, being devoted to it, felt the necessity to give it certain names in order to distinguish their art from any other genres of art like painting, sculpture or photography.