The origins of tenebrism and its influence on baroque art Baroque art of the second part of 16th and 17th century if we try to compare it with in certain respects static art in classical Renaissance epoch will be to a considerable degree distinguished by its dynamic appearance. Representative distinguishing features of the baroque style in art are realized both with the help of diagonal composition lines, which give the impression of continuous motion, and with the application of rich chiaroscuro (Vishny 2).
“Both these techniques created a grandiose, dramatic style appropriate to the vital spirit of the Counter Reformation. At the beginning of 17th century many painters also began to turn away from the artificiality of Mannerism in an attempt to emulate more closely the natural world” (Vishny 4).
As an inherent constituent in baroque art, chiaroscuro (borrowed Italian word which means treatment of light and shade) may be identified as vigorous contrasts of light and shadow. Experts usually interpret it as the play of light and dark. “In the compositional structure of baroque art, one of the basic, most characteristic, means of expression is the way light and shade are used. In the paintings of quite a number of the artists from around 1600 the darkness deepens, dimming the outlines of the figures and objects, sometimes even predominating over the lit up parts” (Rzepinska 1).
The Essay on Art assignment
1. List and describe three of the technological breakthroughs or discoveries that changed art during the Modern Era, 1800-1945. Indicate specific ways in which these changed the form and/or content, themes, purposes/functions of art, and the lives of artists. Photography Light bulbs Use of metal in construction There have been many inventions since the 19th century that has been incorporated in ...
To a certain extent chiaroscuro as a technique of painting was appeared in painting style of the 15th century in Italy and Flanders and was simply a result of light simulation, where highlights and shadow skillfully developed a three-dimensional volume. But veritable chiaroscuro was formed in Mannerism and Baroque art of the 16th century (Vishny 2).
An exaggerated form of chiaroscuro is a style of painting which constitutes high turbulent oppositions of light and shadow called tenebrism (from the Italian word “tenebroso” which literally means dark, obscure gloomy).
“Tenebrism is more specifically use of dark, regardless of how much light is in the painting” (Toker (a), 12).
It was tenebrism which substituted absolute classical soft illumination for emphasized dramatical and pointed one in order to obtain intensively dark and impressive effects. Darkness and shadow became contrary to light and simultaneously supplementary to it. Such a tandem created a significant accent on psychological and iconographic grounds in the new language of baroque art.
The main subjects and figures of pictures with the using of tenebrism are often swallowed up in shadow and violently illuminated by a richly concentrated beam of light from a single confined and frequently identifiable source like a moonlight, street lights, candles, lightning, fire, lamps or window, as though a ramp shone on them, reserving the other areas in shadow (Rzepinska 1).
“At times they have even had the light source emanating from within the subject. But whatever the source, it is largely rendering the path of light through darkness that finally makes it credible” (Painting 2).
Thus subjects appeared very illuminated and blazing where a shaft of light source impacts them, and highly dark where the beam of light does not pointedly strike. The reflection of beam of light off a subject is sometimes implied just marginally in order to simply display the form though often it isn’t involved at all. Such a kind of pictures got the name of “night pictures painted in the dark manner” (Painting 4).
The Essay on Heart Of Darkness-the Contrast Between Light And Dark
In many literary works the author uses contrast to display the difference between good and evil. Most often this contrast is between light and dark images. Dark representing evil and light representing good. In Joseph Conrad’s Heart of Darkness, the author uses many different medians to display the contrast between good and evil. The different settings display the changing developments of ...
At the period of baroque art there was a prevalent conception of interpreting darkness as a value, as a high contrast but simultaneously as indispensable supplement to vivid light.
And it was Caravaggio (1573-1610) who gave significant and outstanding representation to this trend which appeared in the light of a overall background in the spirit of the time (Toker (b), 7).
It is widely accepted that Caravaggio was the baroque innovator and renowned trendsetter of tenebrism. “His use of powerful chiaroscuro effects in religious and genre paintings had a profound influence on other Italian painters, such as Orazio Gentileschi and his daughter Artemisia, and, indeed, on European art in general” (Vishny 1).
Caravaggio was one of the most outstanding and remarkable in his use of the dramatic painting style. It can be observed in his Judith and Holofernes, Calling of Matthew, Conversion of St. Paul.
There were two eminent French painters specifically absorbed the Caravaggesque style. “Georges de La Tour, primarily a painter of religious subjects, was a master of light and shadow, demonstrating his virtuosity at so illuminating faces and hands, by the light of a single candle, that flesh seems almost translucent. Louis Le Nain also used light and shadow dramatically in his monumental paintings of peasant life” (Painting 2).
Jusepe de Ribera and Francisco de Zurbaran from Spain incorporated Caravaggio’s tenebrism introducing particular qualities in his style. Such a fidelity attachment gave Ribera the opportunity to be realistic in a savage manner, like in his Clubfooted Boy (1652).
Zurbaran saturated his paintings with peculiar mysticism.
Diego Velazquez also was a perfect Spanish virtuoso of tone and color (Painting 1).
Besides the Flemish baroque genius, Peter Paul Rubens, vigorously merged with Caravaggesque tenebrism just as the famous colorists Titian and Veronese. “Large in scale, Rubens’s paintings are charged with vibrant color and light, dramatic in composition and fluid of line His way of contrasting light and shadow, as well as his wide range of themes, can be seen by considering just two of his paintings: The Descent from the Cross (1611-1614, Cathedral, Antwerp), with its great compositional sweep, and the tender portrait of a beautiful young woman in Le chapeau de paille (1620, National Gallery, London)” (Painting 3).
The Essay on Relationship analysis of the Baroque and Romantic Art Movements
Baroque art movement started in the 17th century extending to early 18th century and led to the Rococo, Neoclassical and then to Romanticism art movement. The styles of Baroque period began in Rome, Italy and later spread to most parts of Europe. Romanticism movement began in Europe in the late 18th century and extended to mid-19th century leading to Realism art Period. The name Baroque is ...
Early Rembrandt’s paintings, for example the Money-Changer (1627, Staatliche Museen, Berlin), also were under great impact of Caravaggio. Though in his later masterpieces he used his own unmatched technique of tenebrism (Painting 4).
Thus the treatment of light and shadow is the most ingrained distinguishing feature of baroque art.
“This was also perhaps the only period in history when this question called forth so much speculation and achieved such great prestige, unheard of before then or ever since” (Rzepinska 2).
Works cited Rzepinska , Maria. Tenebrism in Baroque Painting and Its Ideological Background. 6 December 2005. IRSA Publishing House. 25 February 2006. http://www.irsa.com.pl/main Vishny, Michele. Baroque Painting. Central Oregon Community College.
24 February 2006 http://mwonser.cocc.edu/default.aspx “Painting.” Microsoft Encarta Online Encyclopedia. 2005. 24 February 2006. http://encarta.msn.com Toker, Franklin (a).
Baroque Art in Flanders, Spain and France. 2001.
25 February 2006. http://vrcoll.fa.pitt.edu/ftoker Toker, Franklin (b).
Baroque Art in Italy: Caravaggio and Bernini. 2001. 24 February 2006. http://vrcoll.fa.pitt.edu/ftoker/tokerfile.
