Chiaroscuro

For other uses, see Chiaroscuro (disambiguation).

1 History
Clair-obscur redirects here.
For the album by
Franoise Hardy, see Clair Obscur. For the book by Jean
1.1 Origin in the chiaroscuro drawing
Cocteau, see Jean Cocteau.
Chiaroscuro (English pronunciation: /kirskjro/;
Chiaroscuro originated during the Renaissance as drawing on coloured paper, where the artist worked
from the papers base tone toward light using white
gouache, and toward dark using ink, bodycolour or
watercolour.[2][3] These in turn drew on traditions in
illuminated manuscripts going back to late Roman Imperial manuscripts on purple-dyed vellum. Such works
used to be called "chiaroscuro drawings", but are more
often described in modern museum terminology by such
formulae as pen on prepared paper, heightened with
white bodycolour.[4] Chiaroscuro woodcuts began as imitations of this technique.[5] When discussing Italian art,
the term sometimes is used to mean painted images in
monochrome or two colours, more generally known in
English by the French equivalent, grisaille. The term
broadened in meaning early on to cover all strong contrasts in illumination between light and dark areas in art,
which is now the primary meaning.

1.2 Chiaroscuro modelling

The more technical use of the term chiaroscuro is
the eect of light modelling in painting, drawing, or
printmaking, where three-dimensional volume is suggested by the value gradation of colour and the analytical division of light and shadow shapesoften
called "shading". The invention of these eects in the
West, "skiagraphia" or shadow-painting to the Ancient
Greeks, traditionally was ascribed to the famous Athenian
painter of the fth century BC, Apollodoros. Although
virtually no Ancient Greek painting survives, their understanding of the eect of light modelling still may be seen
in the late-fourth-century BC mosaics of Pella, Macedonia, in particular the Stag Hunt Mosaic, in the House
of the Abduction of Helen, inscribed gnosis epoesen, or
'knowledge did it'.

Giovanni Baglione. Sacred and Profane Love. 16021603,

showing dramatic compositional chiaroscuro
Italian: [kjaroskuro]; Italian for light-dark) in art is the

use of strong contrasts between light and dark, usually

bold contrasts aecting a whole composition. It is also
a technical term used by artists and art historians for the
use of contrasts of light to achieve a sense of volume in
modelling three-dimensional objects and gures.[1] Sim- The technique also survived in rather crude standardized
ilar eects in cinema and photography also are called form in Byzantine art and was rened again in the Middle
chiaroscuro.
Ages to become standard by the early fteenth-century
Further specialized uses of the term include chiaroscuro in painting and manuscript illumination in Italy and Flanwoodcut for coloured woodcuts printed with dier- ders, and then spread to all Western art.
ent blocks, each using a dierent coloured ink; and The Raphael painting illustrated, with light coming
chiaroscuro drawing for drawings on coloured paper in from the left, demonstrates both delicate modelling
a dark medium with white highlighting.
chiaroscuro to give volume to the body of the model, and
1

HISTORY

Detail of La Fornarina by Raphael shows delicate modelling

chiaroscuro in the body of the model, for example in the shoulder, breast, and arm on the right.

strong chiaroscuro in the more common sense, in the contrast between the well-lit model and the very dark background of foliage. To further complicate matters, however, the compositional chiaroscuro of the contrast between model and background probably would not be described using this term, as the two elements are almost
completely separated. The term is mostly used to describe compositions where at least some principal elements of the main composition show the transition between light and dark, as in the Baglioni and Geertgen tot
Sint Jans paintings illustrated above and below.

Chiaroscuro woodcut of the Virgin and Child by Bartolommeo

Coriolano, created between 1630 and 1655 (digitally restored)

Lucas Cranach the Elder in Germany in 1508 or 1509,

though he backdated some of his rst prints and added
tone blocks to some prints rst produced for monochrome
printing, swiftly followed by Hans Burgkmair the Elder.[7] Despite Vasari's claim for Italian precedence in
Ugo da Carpi, it is clear that his, the rst Italian examples, date to around 1516[8][9] Another view states that
Lucas Cranach backdated two of his works in an attempt
to grab the glory and that the technique was invented in
all probability by Burgkmair who was commissioned by
the emperor Maximilian to nd a cheap and eective way
of getting the imperial image widely disseminated as he
needed to drum up money and support for a crusade.[10]

Chiaroscuro modelling now is taken for granted, but had

some opponents; the English portrait miniaturist Nicholas
Hilliard cautioned in his treatise on painting against all
but the minimal use we see in his works, reecting the
views of his patron Queen Elizabeth I of England: seeing
that best to show oneself needeth no shadow of place but
rather the open light... Her Majesty... chose her place to
sit for that purpose in the open alley of a goodly garden, Other printmakers to use the technique include Hans
where no tree was near, nor any shadow at all...[6]
Wechtlin, Hans Baldung Grien, and Parmigianino. In
In drawings and prints, modelling chiaroscuro often is Germany the technique achieved its greatest popularity
achieved by the use of hatching, or shading by parallel around 1520, but it was used in Italy throughout the sixlines. Washes, stipple or dotting eects, and surface teenth century. Later artists such as Goltzius sometimes
made use of it. In most German two-block prints, the
tone in printmaking are other techniques.
keyblock (or line block) was printed in black and the
tone block or blocks had at areas of colour. In Italy,
chiaroscuro woodcuts were produced without keyblocks
1.3 Chiaroscuro woodcuts
to achieve a very dierent eect.[11]

Chiaroscuro woodcuts are old master prints in woodcut

using two or more blocks printed in dierent colours;
they do not necessarily feature strong contrasts of light 1.4 Compositional chiaroscuro to Caravaggio
and dark. They were rst produced to achieve similar
eects to chiaroscuro drawings. After some early experiments in book-printing, the true chiaroscuro woodcut Manuscript illumination was, as in many areas, especonceived for two blocks was probably rst invented by cially experimental in attempting ambitious lighting ef-

1.5

17th and 18th centuries

1.5 17th and 18th centuries

Nativity at Night by Geertgen tot Sint Jans, c. 1490, after a composition by Hugo van der Goes of c. 1470; sources of light are
the infant Jesus, the shepherds re on the hill behind, and the
angel who appears to them.

fects since the results were not for public display. The development of compositional chiaroscuro received a considerable impetus in northern Europe from the vision of
the Nativity of Jesus of Saint Bridget of Sweden, a very
popular mystic. She described the infant Jesus as emitting
light; depictions increasingly reduced other light sources
in the scene to emphasize this eect, and the Nativity remained very commonly treated with chiaroscuro through
to the Baroque. Hugo van der Goes and his followers
painted many scenes lit only by candle or the divine light
from the infant Christ. As with some later painters, in
their hands the eect was of stillness and calm rather
than the drama with which it would be used during the
Baroque.

The central panel of Peter Paul Rubens's The Elevation of the

Cross (16101611) is modelled with dynamic chiaroscuro.

Tenebrism was especially practiced in Spain and the

Spanish-ruled Kingdom of Naples, by Jusepe de Ribera
and his followers. Adam Elsheimer (15781610), a German artist living in Rome, produced several night scenes
lit mainly by re, and sometimes moonlight. Unlike Caravaggios, his dark areas contain very subtle detail and
interest. The inuences of Caravaggio and Elsheimer
were strong on Peter Paul Rubens, who exploited their respective approaches to tenebrosity for dramatic eect in
paintings such as The Raising of the Cross (16101611).
Artemisia Gentileschi (1593-1656), a Baroque artist who
was a follower of Caravaggio, was also an outstanding exponent of tenebrism and chiaroscuro.
A particular genre that developed was the nocturnal scene
lit by candlelight, which looked back to earlier northern
artists such as Geertgen tot Sint Jans and more immediately, to the innovations of Caravaggio and Elsheimer.
This theme played out with many artists from the Low
Countries in the rst few decades of the seventeenth century, where it became associated with the Utrecht Caravaggisti such as Gerrit van Honthorst and Dirck van
Baburen, and with Flemish Baroque painters such as
Jacob Jordaens. Rembrandt van Rijn's (1606-1669) early
works from the 1620s also adopted the single-candle light
source. The nocturnal candle-lit scene re-emerged in
the Dutch Republic in the mid-seventeenth century on a
smaller scale in the works of jnschilders such as Gerrit
Dou and Gottfried Schalken.

Strong chiaroscuro became a popular eect during the

sixteenth century in Mannerism and Baroque art. Divine
light continued to illuminate, often rather inadequately,
the compositions of Tintoretto, Veronese, and their many
followers. The use of dark subjects dramatically lit by a
shaft of light from a single constricted and often unseen
source, was a compositional device developed by Ugo
da Carpi (c. 1455c.1523), Giovanni Baglione (1566
1643), and Caravaggio (15731610), the last of whom
was crucial in developing the style of tenebrism, where
dramatic chiaroscuro becomes a dominant stylistic de- Rembrandts own interest in eects of darkness shifted
in his mature works. He relied less on the sharp contrasts
vice.

3 CINEMA AND PHOTOGRAPHY

to the Dbat).
In English, the Italian term has been used since at least
the late seventeenth century. The term is less frequently
used of art after the late nineteenth century, although the
Expressionist and other modern movements make great
use of the eect.

Especially since the strong twentieth-century rise in the

reputation of Caravaggio, in non-specialist use the term is
mainly used for strong chiaroscuro eects such as his, or
Rembrandts. As the Tate puts it: Chiaroscuro is generally only remarked upon when it is a particularly prominent feature of the work, usually when the artist is usThe Matchmaker by Gerrit van Honthorst
ing extreme contrasts of light and shade.[13] Photography
and cinema also have adopted the term. For the history
of the term, see Ren Verbraeken, Clair-obscur, histoire
of light and dark that marked the Italian inuences of the dun mot (Nogent-le-Roi, 1979).[14]
earlier generation, a factor found in his mid-seventeenthcentury etchings. In that medium he shared many similarities with his contemporary in Italy, Giovanni Benedetto
3 Cinema and photography
Castiglione, whose work in printmaking led him to invent
the monotype.
Chiaroscuro also is used in cinematography to indicate
Outside the Low Countries, artists such as Georges de La extreme low-key and high-contrast lighting to create disTour and Trophime Bigot in France and Joseph Wright of tinct areas of light and darkness in lms, especially in
Derby in England, carried on with such strong, but grad- black and white lms. Classic examples are The Cabiuated, candlelight chiaroscuro. Watteau used a gentle net of Dr. Caligari (1920), Nosferatu (1922), Fritz Langs
chiaroscuro in the leafy backgrounds of his ftes galantes, Metropolis (1927)The Hunchback of Notre Dame (1939),
and this was continued in paintings by many French The Devil and Daniel Webster (1941), and the black and
artists, notably Fragonard. At the end of the century white scenes in Andrei Tarkovsky's Stalker (1979).
Fuseli and others used a heavier chiaroscuro for romantic eect, as did Delacroix and others in the nineteenth For example, in Metropolis, chiaroscuro lighting is used
to create contrast between light and dark mise-en-scene
century.
and gures. The eect of this is primarily to highlight the
dierences between the capitalist elite and the workers.

Use of the term

Joseph Wright of Derby painted several large groups with strong

chiaroscuro, such as The Orrery.

The French use of the term, clair-obscur, was introduced

by the seventeenth-century art-critic Roger de Piles in the
course of a famous argument (Dbat sur le coloris), on
the relative merits of drawing and colour in painting (his
Dialogues sur le coloris, 1673,[12] was a key contribution

In photography, chiaroscuro can be achieved with the use

of "Rembrandt lighting". In more highly developed photographic processes, this technique also may be termed
ambient/natural lighting, although when done so for the
eect, the look is articial and not generally documentary
in nature. In particular, Bill Henson along with others,
such as W. Eugene Smith, Josef Koudelka, Garry Winogrand, Lothar Wolleh, Annie Leibovitz, Floria Sigismondi, and Ralph Gibson may be considered some of the
modern masters of chiaroscuro in documentary photography.
Perhaps the most direct intended use of chiaroscuro in
lmmaking would be Stanley Kubrick's Barry Lyndon.[15]
When informed that no lens currently had a wide enough
aperture to shoot a costume drama set in grand palaces
using only candlelight, Kubrick bought and retrotted
a special lens for these purposes: a modied Mitchell
BNC camera and a Zeiss lens manufactured for the rigors of space photography, with a maximum aperture of
f/.7. The naturally unaugmented lighting situations in the
lm exemplied low-key, natural lighting in lmwork at
its most extreme outside of the Eastern European/Soviet
lmmaking tradition (itself exemplied by the harsh lowkey lighting style employed by Soviet lmmaker Sergei

5
Another study by Leonardo, where the linear makeup of the shading is easily seen in reproduction
Chiaroscuro as a major element in composition: painting
Allegory, Boy Lighting Candle in Company of Ape
and Fool by El Greco
Annunciation by Domenico Beccafumi
Crucixion of St. Peter by Caravaggio
The Flight to Egypt by Adam Elsheimer
Still from Stanley Kubrick's Barry Lyndon, some of which was
shot using only candlelight

Landscape chiaroscuro, Jan Both

Nativity by Gerard van Honthorst

Eisenstein).

Mary Magdalene, by Georges de La Tour

Sven Nykvist, the longtime collaborator of Ingmar

St. Peter in prison by Rembrandt
Bergman, also informed much of his photography with
chiaroscuro realism, as did Gregg Toland, who inuenced
The Proposition by Judith Leyster
such cinematographers as Lszl Kovcs, Vilmos Zsig Antoine Watteau - La Partie carre
mond, and Vittorio Storaro with his use of deep and selective focus augmented with strong horizon-level key light Fragonard, The Lock, 1780
ing penetrating through windows and doorways. Much
Goya, Christ on the Mount of Olives
of the celebrated lm noir tradition relies on techniques
Toland perfected in the early thirties that are related
to chiaroscuro (though high-key lighting, stage lighting, Chiaroscuro as a major element in composition: photogfrontal lighting, and other eects are interspersed in ways raphy
that diminish the chiaroscuro claim).
Portrait

Gallery

Chiaroscuro in modelling; paintings

Female nude study

female nude study monochrome
Male nude light and shadow

Fra Angelico c. 1450 uses chiaroscuro modelling in Chiaroscuro faces

all elements of the painting
Saint Jerome by Jos de Ribera
Saint Sebastian by Botticelli, 1474
An Old Man in Red by Rembrandt
Velzquez uses subtle highlights and shading on the
Self-Portrait by John Everett Millais
face and clothes
The Knitting Girl by William-Adolphe Bouguereau
The Milkmaid, Vermeer's use of light to model
throughout his compositions is exceptionally comChiaroscuro drawings and woodcuts
plex and delicate
Chiaroscuro in modelling; prints and drawings
Delicate engraved lines of hatching and crosshatching, not all distinguishable in reproduction, are
used to model the faces and clothes in this latefteenth-century engraving
Another fteenth-century engraving showing highlights and shading, all in lines in the original, used
to depict volume
Drawing by Leonardo da Vinci

Man of Sorrows, chiaroscuro drawing on coloured

paper, 1516, by Hans Springinklee
A nineteenth-century version of the original type
of chiaroscuro drawing, with coloured paper, white
gouache highlights, and pencil shading
Saturn, anon. Italian, sixteenth-century?, Italian
style chiaroscuro woodcut, with four blocks, but no
real line block, and looking rather like a watercolour
Ludolph Buesinck, Aeneas carries his father, German style, with line block and brown tone block

See also
Cangiante
Sfumato
Tenebrism

Notes

[1] Glossary of the National Gallery, London (accessed 23

October 2011)
[2] Harvard Art Museum glossary (accessed 30 August
2007). See also Metropolitan external link
[3] Example from the Metropolitan Archived September 22,
2013, at the Wayback Machine.
[4] Holbein in England - Tate. tate.org.uk.
[5] David Landau & Peter Parshall, The Renaissance Print,
pp.180-84; Yale, 1996, ISBN 0-300-06883-2 - discusses
these at length. Also see Metropolitan external link.
[6] Quotation from Hilliards Art of Limming, c. 1600,
in Nicholas Hilliard, Roy Strong, 2002, p.24, Michael
Joseph Ltd, London, ISBN 0-7181-1301-2
[7] Landau and Parshall, 179-192; Renaissance Impressions:
Chiaroscuro Woodcuts from the Collections of Georg
Baselitz and the Albertina, Vienna, Royal Academy, London, MarchJune 2014, exhibition guide.
[8] Landau and Parshall, 150
[9] Ugo da Carpi after Parmigianino: Diogenes (17.50.1)
| Heilbrunn Timeline of Art History | The Metropolitan
Museum of Art. Metmuseum.org. 2012-02-03. Retrieved 2012-02-18.
[10] Brown, Mark (11 March 2014).
Revolutionary
chiaroscuro woodcuts win rst British exhibition. The
Guardian. Retrieved 11 March 2014.
[11] David Landau & Peter Parshall, The Renaissance Print,
pp. 179-202; 273-81 & passim; Yale, 1996, ISBN 0-30006883-2
[12] Le rubnisme en Europe aux XVIIe et XVIIIe sicles, Volume 16 of Museums at the Crossroads, Michle-Caroline
Heck, University of Michigan, Brepols, 2005
[13] Tate Glossary. Retrieved 30 August 2007.
[14] Verbraeken, Ren (1979). Clair-obscur, histoire dun mot.
Nogent-le-Roi: J. Laget. ISBN 2-85497-021-7.
[15] Victorian Studies Bulletin. Northeast Victorian Studies
Association, v. 9-11, 1985. 1984

References
David Landau & Peter Parshall, The Renaissance
Print, pp. 179202; 273-81 & passim; Yale, 1996,
ISBN 0-300-06883-2

EXTERNAL LINKS

8 External links
Chiaroscuro Woodcut from the Metropolitan Museum of Art Timeline of Art History
Chiaroscuro woodcut from Spencer Museum of Art,
Kansas
(Modelling) chiaroscuro from Evansville University

Text and image sources, contributors, and licenses

9.1

Text

Chiaroscuro Source: https://en.wikipedia.org/wiki/Chiaroscuro?oldid=707551845 Contributors: Danny, Gianfranco, PierreAbbat,

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9.2

Images

File:Baglione.jpg Source: https://upload.wikimedia.org/wikipedia/commons/9/9d/Baglione.jpg License: Public domain Contributors: Web Gallery of Art: <a href='http://www.wga.hu/art/b/baglione/sacred2.jpg' data-x-rel='nofollow'><img alt='Inkscape.svg'
src='https://upload.wikimedia.org/wikipedia/commons/thumb/6/6f/Inkscape.svg/20px-Inkscape.svg.png'
width='20'
height='20'
srcset='https://upload.wikimedia.org/wikipedia/commons/thumb/6/6f/Inkscape.svg/30px-Inkscape.svg.png
1.5x,
https://upload.
wikimedia.org/wikipedia/commons/thumb/6/6f/Inkscape.svg/40px-Inkscape.svg.png 2x' data-le-width='60' data-le-height='60'
/></a> Image <a href='http://www.wga.hu/html/b/baglione/sacred2.html' data-x-rel='nofollow'><img alt='Information icon.svg'
src='https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Information_icon.svg/20px-Information_icon.svg.png' width='20'
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1.5x, https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Information_icon.svg/40px-Information_icon.svg.png 2x' data-lewidth='620' data-le-height='620' /></a> Info about artwork Original artist: Giovanni Baglione
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9.3

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