Учебно-методическое пособие для студентов специальности «Дизайн»
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Text 6 Italian 13 th -century and 14 th -century fresco painters and mosaicists revived the Classical practice of creating an illusion of pictorial light. In the mosaics at S Maria in Trastevere, Rome, Pietro Cavallini introduced tonal modelling and rejected outlines that tended to interfere with the illusion of light. In the Arena Chapel frescoes, Padua, Giotto showed how to imitate diffuse overhead illu- mination by indicating shadows cast by overhanging roofs, how to distinguish flat surfaces from curved surfaces by the absence or presence of gradients, and how to distinguish the orientation of flat surfaces by three tones: lightest for horizontal surfaces, medium for frontal vertical surfaces, darkest for receding vertical surfaces. This interest in the illusion of natural light continued to develop through- out the Italian Renaissance, Gentile da Fabriano distinguished natural, artifi- cial and supernatural light sources in the predella panels of the “Adoration of the Magi” (1423) and integrated gold leaf and sgraffito techniques with tonal modelling to create the illusion of light. Masaccio represented bright, focused light coming from specific directions in the “Virgin and Child with Angels” (1426) by depicting cast shadows on the throne of the Virgin. Leonardo da Vinci showed how the subtle indirect light of a loggia could lend softness and relief to faces in the portrait of “Mona Lisa” (1503–1508). Raphael represented dramatic effects of night light in the “Deliverance of St Peter” (1512–1513). In the Netherlands, Jan and Hubert van Eyck and the Master of Flemalle were particularly accomplished at distinguishing the play of light on surfaces of differing textures and sheen, at imitating the reflections of light on mirrors and metallic surfaces and at representing the lustrous quality of coloured gems. They frequently represented daylight and artificial light in the same paintings. Hugo van der Goes represented cross-lighting on the fictive statues on the outside of the Portinari Altarpiece (1476). 123 The representation of natural light became a focus of 17 th -century painting, and painters began to show preferences for different types of lighting. Ver- meer is praised for his great skill in representing bright daylight and diffused interior light; in the “Woman with a Water Pitcher” (1660), he used small white, grey and ochre dots to suggest the scintillation of light on lustrous sur- faces. Rembrandt is renowned for his dramatic and expressive light, created by bold contrasts held together with colour built up in complex layers with glazes that allow light to permeate his flesh tones and reflect back from the white un- derpainting. Poussin revealed his interest in the scientific optics of light in paintings of the Seven Sacraments executed for Cassiano dal Pozzo and Paul Freart de Chantelou. In the 18 th century Rococo artists tended to prefer evenly illuminated scenes in bright daylight, or colourful sunrises and sunsets. Giambattista Tie- polo’s light-filled celestial visions, created with high-value pastels and broken colours, decorated the walls and ceilings of churches and palaces. In the early 19 th century Corot and the Barbizon school took to painting out of doors (en plein air) in order to capture the shifting quality of natural light. J. M. W. Turner equated light with colour and tried to create a natural symbol- ism based on the role of colour in nature; he created paintings based on the an- tithesis of light and dark with a dominant tonality, as in the “Slave Ship” (1840), in which he introduced spectacular expressive effects of light and col- our. Such sublime natural light effects as sunsets and storms particularly inter- ested German Romantic painters (e.g. Caspar David Friedrich's “Polar Sea”, 1824; and Philip Otto Runge’s “Morning”, 1809), while, later in the century, the American landscape painters known as the Luminists captured subtle nu- ances of sunlight and moonlight, creating moods of stillness and tranquillity. The Impressionists devoted attention to the momentary effects of light and atmosphere, executing small landscapes and scenes of middle-class leisure ac- tivities with pure colours and juxtaposed brushstrokes. Moving away from black and earth tones, they produced effects of sunlight without strong value contrasts by exploiting effects of hue contrast, as in Renoir’s “Ball at the Moi- ifin de la Galette” (1876). By the early 20 th century the size of the patches or strokes of colour repre- senting the effects of light or shadow grew as the scale of the works increased. Important scientific studies on the nature of light as a form of electromagnetic radiation by Max Planck and Albert Einstein coincided with such develop- ments as Orphism and Futurism, in which light became symbolic of the energy and dynamism of the modern world. In the 1960s Op artists explored chro- matic and achromatic contrast effects that produced the illusion of both lumi- nous areas, and even movement, in painting. Light became a medium in its 124 own right, used, for example, by Laszlo Moholy Nagy in “Light-Space Modu- lator” (1930), in the experiments of the Groupe de Recherche d'Art Visuel, in Dan Flavin's arrangements of neon tubes and fluorescent light fixtures and in Charles Ross's work with prisms. Multi media images include light through reflective surfaces such as mirrors, water and highly polished steel. Laser light is used to make a three-dimensional image in the hologram. Bell J. C. Light // The Dictionary of Art / еd. by J. Turner. Vol. 19: Grove’s Dictionar- ies Inc. New York, 1996. P. 353–355. жүктеу/скачать 0,79 Mb. Достарыңызбен бөлісу:
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