Chiaroscuro is an art term that’s used quite frequently, but sometimes without an understanding of exactly what it means. This article will cover the more important aspects of Chiaroscuro, primarily as it relates to painting.
The word Chiaroscuro itself is Italian, and roughly means, “light and dark.” It was first used to describe a type of drawing on medium-dark paper where the artist created both darker areas with ink and lighter areas with white paint.
Later on the term was used for woodcut prints which essentially did the same thing, using white and black together.
When it comes to painting, however, Chiaroscuro truly came to life in the paintings of Caravaggio during the late 16th century.
Caravaggio began to use deep, dark backgrounds for many of his paintings, and seemed to almost turn a spotlight on his figures. The high contrast in those paintings made for intensely powerful and dramatic works of art.
Because of Caravaggio, Chiaroscuro became very popular, and today the word is most often used to mean “high contrast” more than anything else. (To achieve this same sort of impact, you’ll want to mix your black oil paint yourself, for the deepest, darkest contrast.)
Sometimes the source of the intense illumination in a painting, whether by Caravaggio or other artists, was actually IN the painting—you can see examples in religious works, where an angel or other holy figure actually illuminates the entire scene.
Other times the light source is simply a candle, or a fire.
All of these situations offered artists a chance to explore silhouettes and other extremes, and obviously made the emphasis on light and shadow more important than the scene itself on many occasions.
For painters today, dramatic lighting is a tool to be used intentionally, with care.
When the focus of a painting is upon the form of objects, or the shape of a figure, then Chiaroscuro can be exceedingly helpful. Strong directional light will lift out details and features, and give a true three-dimensional appearance.
But not every painting will benefit. Chiaroscuro can be too harsh in portraits, too unnatural (how often are things actually lit by a spotlight?), or just too dramatic for what you’re trying to portray.
Rembrandt knew the value of Chiaroscuro’s direct lighting (in order to display the features of a face) but he softened edges and lessened the contrast of “true” Chiaroscuro to lend a calmness to his paintings as well.
So the next time you see an example of Chiaroscuro, think about how it’s being used—does the high contrast help or hurt the overall message of the painting?
GET EMPTYEASEL IN YOUR INBOX
We'll send you articles & tutorials right as we publish them, so you never miss a post! Unsubscribe here at any time.
Chiaroscuro ni neno la sanaa ambalo hutumiwa mara nyingi, lakini wakati mwingine bila kuelewa ni nini hasa inamaanisha. Makala hii itazungumzia mambo muhimu zaidi ya Chiaroscuro, hasa yale yanayohusiana na uchoraji. "Neno ""chiaroscuro"" linatokana na neno la Kiitaliano ""chiaroscuro,"" linalomaanisha ""nuru na giza,"" na linatumiwa kuelezea aina ya mchoro kwenye karatasi ya rangi ya rangi ya rangi ya rangi ya rangi ya rangi ya rangi ya rangi ya rangi ya rangi ya rangi ya rangi ya rangi ya rangi ya rangi ya rangi." Baadaye neno hilo lilitumiwa kwa ajili ya uchapishaji wa mbao ambao kimsingi ulifanya kitu kimoja, kwa kutumia nyeupe na nyeusi pamoja. Kwa mfano, katika karne ya 16 na 20, picha za Chiaroscuro zilipigwa na Caravaggio. Caravaggio alianza kutumia mandhari nzito na nyeusi kwa michoro yake mingi, na ilionekana kuwa karibu kuelekeza uangalifu kwenye takwimu zake. Tofauti kubwa katika michoro hiyo ilitokeza kazi za sanaa zenye nguvu sana na zenye kuvutia. Kwa sababu ya Caravaggio, Chiaroscuro ikawa maarufu sana, na leo neno hilo hutumiwa mara nyingi kumaanisha "tofauti ya juu" zaidi ya kitu kingine chochote. (Kufikia aina hii sawa ya athari, unataka kuchanganya rangi yako nyeusi ya mafuta mwenyewe, kwa tofauti ya kina, nyeusi zaidi.) Wakati mwingine chanzo cha mwangaza mkali katika mchoro, iwe na Caravaggio au wasanii wengine, ilikuwa kweli katika mchoro - unaweza kuona mifano katika kazi za kidini, ambapo malaika au takwimu nyingine takatifu kweli huangaza eneo lote. Nyakati nyingine chanzo cha nuru ni mshumaa tu, au moto. Hali hizi zote zilimpa msanii nafasi ya kuchunguza silhouettes na mambo mengine ya kupita kiasi, na kwa wazi ilifanya mkazo juu ya mwanga na kivuli kuwa muhimu zaidi kuliko eneo lenyewe mara nyingi. Kwa wachoraji wa leo, taa ya kuvutia ni chombo kinachotumiwa kimakusudi, kwa uangalifu. Wakati umakini wa uchoraji ni juu ya fomu ya vitu, au umbo la takwimu, basi Chiaroscuro inaweza kuwa na msaada mkubwa. Nuru yenye nguvu ya mwelekeo itatokeza mambo madogo-madogo na sifa, na kutoa sura ya kweli ya pande tatu. Lakini si kila mchoro utakafaidika. Chiaroscuro inaweza kuwa kali sana katika picha, isiyo ya asili sana (ni mara ngapi vitu kwa kweli huangazwa na taa? ), au tu sana ya kuvutia kwa nini wewe ni kujaribu kuelezea. Rembrandt alijua thamani ya mwanga wa moja kwa moja wa Chiaroscuro (ili kuonyesha sifa za uso) lakini aliboresha kingo na kupunguza tofauti ya Chiaroscuro ya "kweli" ili kutoa utulivu kwa michoro yake pia. Kwa hiyo wakati mwingine unaona mfano wa Chiaroscuro, fikiria jinsi inavyotumiwa - je, tofauti ya juu husaidia au kuharibu ujumbe wa jumla wa uchoraji? Pata EMPTYEASEL Katika Inbox Yako Tutakutumia makala na mafunzo moja kwa moja tunapozichapisha, kwa hivyo kamwe usikose chapisho! Unsubscribe hapa wakati wowote.