Painting with Light-Working in Series
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The document discusses light and its use in art. It notes that Rembrandt and Caravaggio pioneered dramatic chiaroscuro lighting, with a spotlight effect. This theatrical lighting style was later adopted by Hollywood film noir in the 1930s. The document also discusses artists like Richard Diebenkorn, Georgia O'Keefe, and Matthias Grünewald who used mystical or supernatural lighting effects. It provides examples of series works by artists like Joan Mitchell, Roberto Matta, Wayne Thiebaud, and Elmer Bischoff. The final section focuses on Paula Rego and notes her often assertive feminist themes, comparison to cartoon styles, use of animals in human roles, and emphasis
Painting with Light-Working in Series
- 1. Light and Concept Glenn Hirsch, Instructor
- 2. backlighting creates a mood of mystery
- 3. “value’ = the black-and-white of the color
- 4. Rembrandt and Caravaggio pioneered dramatic, ‘chiaroscuro’ light, a spotlight shining into darkness.
- 6. chiaroscuro “theatrical” light A spotlight on a stage.
- 7. The language of dramatic light was transplanted to Hollywood in the 1930s as film noir
- 9. Glowing, mystical, supernatural light – the light isn't falling on the flower, the light is coming from it. It is the source of the light. Georgia O'Keefe Matthias Grünewald
- 18. examples of series by well-known artists
- 19. Joan Mitchell
- 20. Roberto Matta
- 21. Wayne Thiebaud
- 22. Elmer Bischoff
- 23. Elmer Bischoff
- 25. Emile Nolde
- 26. Paula Rego (English, 1935- ) Rego’s work often reflects an assertive feminism, colored by folk-themes. Her style is often compared to cartoon illustration. As in cartoons, animals are often depicted in human roles and situations. Her later work adopts a more realistic style, but sometimes keeps the animal references — the Dog Woman series of the 1990s, for example, is a set of pastel pictures depicting women in a variety of dog-like poses (on all fours, baying at the moon, etc.). Clothes play an important role in Rego's work, as pieces of her visual story-telling. Many of the clothes worn by models and mannequins in her work are representative of the frocks she wore as a child in Portugal. She has favored pastels over oils for much of her career.