CHIAROSCURO (n.)

CHIAROSCURO (ita.) · CLAIR-OBSCUR (fra.) · DAG EN SCHADUW (nld.) · LICHT UND SCHATTEN (deu.)
BOHLMANN, Carolin, FINK, Thomas et WEISS, Philipp (éd.), Lichtgefüge des 17. Jahrhunderts : Rembrandt und Vermeer - Leibniz und Spinoza, München, Fink Verlag, 2008.
DETHLEFS, Hans Joachim, « Gerard de Lairesse and the Semantic Development of the Concept of Haltung in German », Oud Holland, 122/4, 2009, p. 215-233 [En ligne : http://www.jstor.org/stable/42711753 consulté le 30/03/2018].
FRANK, Hilmar, « Helldunkel. Die Malerei eröffnet einen neuen Wissensraum », dans BOHLMANN, Carolin, FINK, Thomas et WEISS, Philipp (éd.), Lichtgefüge des 17. Jahrhunderts : Rembrandt und Vermeer - Leibniz und Spinoza, München, W. Fink, 2008, p. 207-226.
HANSON, Craig A., The English Virtuoso: Art, Medicine, and Antiquarianism in the Age of Empiricism, Chicago, University of Chicago Press, 2009.
KERN, Ulrike, Light and Shade in Dutch and Flemish Art. A History of Chiaroscuro in Art Theory and Artistic Practice in the Netherlands of the Seventeenth and Eighteenth Centuries, Turnhout, Brepols, 2013.
KERN, Ulrike, « CLAIR-OBSCUR », dans HECK, Michèle-Caroline (éd.), LexArt. Les mots de la peinture (France, Allemagne, Angleterre, Pays-Bas, 1600-1750) [édition anglaise, 2018], Montpellier, Presses Universitaires de la Méditerranée, 2018, p. 129-132.
PUTTFARKEN, Thomas, Roger de Piles’ Theory of Art, New Haven - London, Yale University Press, 1985.
TAYLOR, Paul, « The Concept of "Houding” in Dutch Art », Journal of the Warburg and Courtauld Institutes, 55, 1992, p. 210-232 [En ligne : http://www.jstor.org/stable/751425 consulté le 30/03/2018].
VERBRAEKEN, René, Clair-obscur, histoire d'un mot, Nogent-le-Roi, Éd. J. Laget, 1979.
WIEN, Iris, « "The Chiaroscuro does really exist in Nature”. John Constable’s English Landscape Scenery and Contemporary Theories on Colour, Light and Atmosphere », dans BUSHART, Magdalena et WEDEKIND, Gregor (éd.), Die Farbe Grau, Berlin, Walter De Gruyter, 2016, p. 155-175.

FILTERS

CONCEPTUAL FIELDS

LINKED QUOTATIONS

2 sources
5 quotations

Quotation

Chiaro-Scuro.
It is taken in two Senses : first, Painting in Chiaro-Scuro, is meant, when there are only two Colours employed. Secondly, It is taken for the disposing of the Lights and Shadows Skilfully ; as when we say, A Painter understands well the Chiaro-Scuro.

Le terme painting est ici compris dans un sens large, comprenant le dessin.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin
MATERIALITE DE L’ŒUVRE → technique de la peinture

Quotation

Chiaro-Scuro.
It is taken in two Senses : first, Painting in Chiaro-Scuro, is meant, when there are only two Colours employed. Secondly, It is taken for the disposing of the Lights and Shadows Skilfully ; as when we say, A Painter understands well the Chiaro-Scuro.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière

Quotation

Friend,
            Pray what is painting in Chiaro Scuro ?
                        Traveller.
           
It is a manner of Painting that comes nearer Design than Colouring, it being first taken from the Imitation of the Statues of Marble, or of Bronze, or other Stones, and it is much used upon the Outside, and Fronts of Great Houses and Palaces, in Stories which seem to be of Marble, or Porphire, or any other Stone the Painter thinks fit to Imitate.
            This Way of Painting, which seldom employs above two Colours, may be done in Fresco upon a Wall, which is the best Way ; or upon Cloth, and then it is most commonly employed for Designs of Triumphal Arches, and in Decorations of the Stage for Plays, and other such Entertainments Vassary, gives the secret of doing it either Way.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin

Quotation

We will now lay down a few Precepts necessary to be observ’d and so conclude this Discourse of Chiaro Scuro.
In
Light we must consider the Sun in his Luster, as Rising, Meridionall, Setting and according to the Vapours he meets in the Air. [...].
We must Consider
Lights as Principall falling Perpendicular (without Interruption) on any Surface or Extremity. Glancing by sliding Diagonally on Elevated Bodys. And Secondary, for things at distance, according to the Thickness of Vapours which Intervene, and offer many incidental opportunitys for giving the more Beauty to the stronger Lights ; as likewise loosen the Lighted parts by the opposition of the deep Teints.
If the
Design be in the open Air, the Light is extended and diffus’d on the Objects with the greater Tenderness. If in Inclosed Places, it is more confin’d, the Lightnings more strong and Quick.
The
Chief Light must be on the Principall Figure of the Group, and must be extended without the Interruption of little shaddows, that the Relievo may stand more boldly out.
All Shaddow must have a Sympathy with the Lights in their Colour as likewise the Reflections with the Bodys Reflecting. Arteficial Lights, if very bright, give a quick Heightning, and dark and deeply shortned Shaddows.
Lastly it must be carefully observ’d that betwixt all
Lights and Shaddows there must be such Mediums, as may take of all Hardness, and so Arteficially wrought in as may not foul either with the other and so take away the Beauty and strength of the Picture.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière

Quotation

Chiaro Scuro ; Placing of Lights.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière