{"id":3801,"date":"2012-04-22T18:49:49","date_gmt":"2012-04-22T23:49:49","guid":{"rendered":"http:\/\/fredhatt.com\/blog\/?p=3801"},"modified":"2014-12-14T19:44:25","modified_gmt":"2014-12-15T00:44:25","slug":"painters-of-light","status":"publish","type":"post","link":"https:\/\/fredhatt.com\/blog\/2012\/04\/22\/painters-of-light\/","title":{"rendered":"Painters of Light"},"content":{"rendered":"
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Bambi’s First Year, 2009(?), by Thomas Kinkade<\/p><\/div>\n

Thomas Kinkade<\/a>, “Painter of Light (TM)” passed away earlier this month. \u00a0His psychedelically colorful fantasy landscapes are too sugary for my taste, but he’s a fascinating cultural figure of our time. \u00a0It strikes me that his technically accomplished, rather surrealistic style would have been embraced by the contemporary art world if he had presented it as ironic rather than earnest, and if he had sold exclusively to elite collectors instead of marketing to the masses. \u00a0Can’t you just imagine the painting above in a Chelsea gallery or in the pages of Juxtapoz<\/a> magazine? \u00a0But he made the statement he wanted to make, and made a ton of money doing so.<\/p>\n

Don’t worry – I’m not going to go on about Kinkade, \u00a0nor about the ironies of the Art World. \u00a0This post is inspired by Kinkade’s trademarked epithet<\/a>, “Painter of Light”. \u00a0The post is a selection of great Western paintings of the last four centuries that beautifully capture effects of light. \u00a0They’re presented here in chronological order. \u00a0 Any art history fan reading this will surely think of great painters and works I’ve left out, and I invite you to share your favorites in the comments section.<\/p>\n

The term of art for drawing or painting emphasizing contrasts of light and shadow is the beautiful Italian word “chiaroscuro<\/a>“, and there is no better example of the technique than Caravaggio. \u00a0He achieved an almost photographic feeling of realism and presence using dramatic, high-contrast light. \u00a0Where most artists of his time portrayed Biblical figures as idealized types in standardized poses, Caravaggio shows them as individuals, with distinctive features, physical flaws, and very human gestures and attitudes. \u00a0The chiaroscuro technique is so vivid you feel like you could touch the people in his paintings.<\/p>\n

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The Supper at Emmaus, 1606, by Caravaggio<\/p><\/div>\n

Around the same time, El Greco was moving away from realism, with figures distorted in ways that suggest movement or emotion. \u00a0Was El Greco consciously experimenting with modes of expression hundreds of years ahead of their time, or was he a bit crazy? \u00a0Either way, the composition below is charged with energy. \u00a0The light is not realistic as in the Caravaggio – it strikes different figures from different directions, and sometimes seems to be a glow from within. \u00a0But the sense of light is powerful here anyway, as the turbulent sky, the satiny fabrics, and the serpentine bodies and limbs of the figures all seem to crackle with the electricity of a storm about to burst.<\/p>\n

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The Vision of St. John (Opening of the Fifth Seal), 1614, by El Greco<\/p><\/div>\n

El Greco worked in Spain but came from Crete, and may have been influenced by the highly stylized traditions of Eastern Orthodox art. \u00a0He was certainly an outlier in his era, as a main movement in the 17th century was towards more realism. \u00a0Many artists of the time specialized in illusionistic rendering of subtle light effects, as in this candlelit scene by van Honthorst. \u00a0I love the way the warm candlelight glows on the face and breast of the female figure, while the male in the foreground is just a black silhouette with a rim of light suggesting his features.<\/p>\n

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The Matchmaker, 1625, by Gerrit van Honthorst<\/p><\/div>\n

Georges de La Tour did many paintings with very convincing candlelight or lamplight effects. \u00a0His style is serene, his compositions spare and elegant. The flame below is so beautifully rendered that it actually seems to be emitting light.<\/p>\n

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Magdalen with the Smoking Flame, 1640, by Georges de La Tour<\/p><\/div>\n

Many of Vermeer’s paintings show interior scenes lit by daylight coming laterally through windows. \u00a0The light effects are observed with great accuracy, including subtleties like the warm-toned light reflected from the table top onto the wall beneath the window, and the way the window light reveals the texture of the wall and map behind the young woman.<\/p>\n

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Officer and Laughing Girl, 1655, by Johannes Vermeer<\/p><\/div>\n

Goya’s paintings of terror and madness often use harsh, dramatic lighting. \u00a0This scene of abduction by flying witches looks like a night scene illuminated by a spotlight or a bolt of lightning from above. \u00a0The contrasty lighting leaves many details in darkness – the deep shadows where horrors lurk.<\/p>\n

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Flying Witches (Vuelo de Brujas), 1797, by Francisco Goya<\/p><\/div>\n

In Blake’s depiction of necromancy, the conjured spirit of the prophet Samuel shines as a column of light in the darkness, casting his fearsome glow on the crouching figures of King Saul and the Witch of Endor.<\/p>\n

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The Witch of Endor Raising the Spirit of Samuel, 1800, by William Blake<\/p><\/div>\n

The painting below may be a self-portrait by Marie-Denise Villers. \u00a0I’ve found very few images of other works by this painter, but this piece is a wonderful depiction of the penetrating gaze<\/a> of an artist. \u00a0The window-light coming from behind the artist makes her golden ringlets and white gown glow, and the light reflects from the drawing paper to softly bathe her face from below – a very unusual choice for a portrait, but here the effect highlights both her youthful beauty and her eyes looking into your depths. \u00a0(This painting has always been one of my favorites at the Metropolitan Museum.)<\/p>\n

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Young Woman Drawing, 1801, by Marie-Denise Villers<\/p><\/div>\n

Ingres’ painting shows a Scottish bard dreaming of the characters of Celtic myth, bathed in \u00a0a mysterious beam of light that seems to glow from inside the circle of figures.<\/p>\n

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The Dream of Ossian, 1813, by Jean Auguste Dominique Ingres<\/p><\/div>\n

Friedrich specialized in romantic landscapes where human figures are dwarfed by mysterious environments that seem filled with spirits. \u00a0All of his paintings have wonderfully rendered effects of light and air.<\/p>\n

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Man and Woman Contemplating the Moon, c. 1830, by Caspar David Friedrich<\/p><\/div>\n

In this masterful depiction of a glowing golden sunset, also by Friedrich, the figures are bathed in a diffuse backlight and the skylight both reflects off the surface of the water (especially in the foreground) and shines through its translucency (especially in the distance).<\/p>\n

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The Stages of Life, 1835, by Caspar David Friedrich<\/p><\/div>\n

Turner took the study of light and its interaction with air and water, smoke and rain, in a radically abstract direction. \u00a0This swirling composition can be appreciated as pure paint and gesture like abstract expressionism, but the image of the boat, barely visible in the tempest, gives it even more depth and motion.<\/p>\n

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Snow Storm \u2013 Steam Boat off a Harbor\u2019s Mouth Making Signals in Shallow Water, and Going by the Lead. The Author was in this Storm on the Night the Ariel Left Harwick, 1842, by J. M. W. Turner<\/p><\/div>\n

Bierstadt’s grand landscapes often feature special lighting effects. \u00a0In this one I like the interaction of the red firelight and the greenish glow of the full moon.<\/p>\n

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Oregon Trail, 1863, by Albert Bierstadt<\/p><\/div>\n

Monet’s entire long career is a study of natural light in all its variations. \u00a0The details don’t matter in the example below, but the differences between the shaded foreground and the sunlit background, and how the colors and tones of all these areas are fragmented in reflections on the water surface are both vivid and subtle.<\/p>\n

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La Grenouillere, 1869, by Claude Monet\u00a0<\/p><\/div>\n

Caillebotte was also a great observer of light. \u00a0Look at how the light gives form to the foreshortened bare backs of the workers, and how the light reflects differently off the glossy and non-glossy parts of the floor.<\/p>\n

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The Floor Strippers, 1875, by Gustave Caillebotte<\/p><\/div>\n

Degas often depicted subtle effects of lighting through variations in color rather than just variations in value. \u00a0Some of the shadows on the bather’s body have a greenish tone, while others have a reddish tinge. \u00a0Even though the detail and chiaroscuro are fairly minimal here, the body has a great feeling of three-dimensional presence.<\/p>\n

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The Tub, 1886, by Edgar Degas<\/p><\/div>\n

Sargent’s watercolors are even looser with the detail, but wonderfully capture the qualities of light, as in this scene of a mother and baby, their faces obscured in the shade of a tent while their bodies are in sunlight.<\/p>\n

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Bedouin Mother, 1905, by John Singer Sargent<\/p><\/div>\n

Monet’s later work uses much more vivid colors than his early work. \u00a0They blend in the eye, in a way that looks realistic from a distance.<\/p>\n

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The Grand Canal, 1908, by Claude Monet<\/p><\/div>\n

Bonnard was always interested in color effects. \u00a0Some of his later works dispense with light-dark contrasts so much that they’re almost unreadable in black-and-white reproductions. \u00a0This one, though, still has chiaroscuro. \u00a0The figure is deeply shadowed, but she’s surrounded by light and color.<\/p>\n

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Model in Backlight, 1908, by Pierre Bonnard<\/p><\/div>\n

Here’s another Sargent. \u00a0With minimal detail, he gives us the effects of sunlight dappled through leaves and skipping off the surface of water.<\/p>\n

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The Bathers, 1917, by John Singer Sargent<\/p><\/div>\n

This is the only purely nonobjective piece in this post. \u00a0Paul Klee brought a deep study of color and light to his playful abstractions, which often suggest an inner glow, or the effects of light passing through translucent colored glass.<\/p>\n

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Eros, 1923, by Paul Klee<\/p><\/div>\n

Ivan Albright used chiaroscuro not to show the form of his figures, but to show the texture. \u00a0The effect is grotesque and cruel, like a contrasty photograph that reveals\u00a0every wrinkle and pore, but it also has a powerful luminous effect.<\/p>\n

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Into the World There Came a Soul Called Ida, 1930, by Ivan Albright<\/p><\/div>\n

Hopper was famous for his studies of light and shadow, both sunlight and nighttime artificial light effects. \u00a0His treatment of light always seems to create an impression of empty space around his subjects.<\/p>\n

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Summer Evening, 1947, by Edward Hopper<\/p><\/div>\n

Here George Tooker places some of his figures in deep shade under the Coney Island boardwalk, and other figures in full sun. \u00a0Notice the central reclining male figure in the dark foreground, with one leg in the sun. \u00a0The shadowy figures also help make the blue sky look luminous.<\/p>\n

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Coney Island, 1948, by George Tooker<\/p><\/div>\n

In “The Waiting Room:, Tooker depicts a very different light atmosphere, the sickly fluorescent overhead glow permeating a dehumanizing institutional space. \u00a0These two pictures embody polar extremes of the modern urban experience, and the quality of the light in each piece defines its spirit.<\/p>\n

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The Waiting Room, 1957, by George Tooker<\/p><\/div>\n

I’ll conclude with a magnificent chiaroscuro nude by Andrew Wyeth. \u00a0The light and shadow make the figure tangible. \u00a0The woman’s face turns into the darkness, which is mysterious space. \u00a0A photograph of this scene, exposed to keep detail in the sunlit areas, might look like this, with deep black shadows all around, but the human eye would naturally see detail in the darker areas. \u00a0The artist has chosen to surround his subject in pitch black, all the brighter to make the light.<\/p>\n

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Lovers, 1981, by Andrew Wyeth<\/p><\/div>\n

All of the illustrations in this post were found on the web. \u00a0Clicking on the images will take you to the sites where I found them, and in many cases to larger versions of the pictures.<\/p>\n","protected":false},"excerpt":{"rendered":"

Thomas Kinkade, “Painter of Light (TM)” passed away earlier this month. \u00a0His psychedelically colorful fantasy landscapes are too sugary for my taste, but he’s a fascinating cultural figure of our time. \u00a0It strikes me that his technically accomplished, rather surrealistic style would have been embraced by the contemporary art world if he had presented it […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[200,202],"tags":[271,275,17,123,57,61,29,22],"class_list":["post-3801","post","type-post","status-publish","format-standard","hentry","category-art-history-2","category-collections-of-images","tag-art-history","tag-color","tag-figures","tag-landscape","tag-light-painting","tag-nature","tag-seasons","tag-technique"],"yoast_head":"\nPainters of Light - 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