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Understanding Chiaroscuro and Other Techniques for Dramatic Art Displays
Chiaroscuro is the term that refers to the interplay of light and shadow, although when I first heard it, I thought it referred to one of those Brazilian steak restaurants where they bring the meat to your table. (That's a churrascaria, by the way.)
It comes from the Italian words "chiaro," meaning bright, and "oscuro," meaning dark, and it's the method that painters use to create depth, drama, and emotional intensity. Rather than just having flat, 2-dimensional paintings, artists use shadows to give their flat canvases a more realistic look.
The technique was perfected during the Renaissance and Baroque periods of art when artists used the bold contrast between the illuminated areas of a subject and the deep shadows surrounding it.
I wanted to look at several different masterpieces that exemplify the idea of chiaroscuro and will look amazing on your Samsung Frame TV. From the intensity of Artemisia Gentileschi's "Judith Slaying Holofernes" to Johannes Vermeer's quieter "The Astronomer," each of these paintings shows a unique perspective on how painters can shine a light on their subject to convey emotion and atmosphere and to tell a compelling story.
Artemisia Gentileschi's "Judith Slaying Holofernes" is a stellar example of the dramatic use of chiaroscuro. Painted between 1612 and 13 (she did a second version in 1621), it demonstrates Gentileschi's mastery of light and shadow, resulting in a scene that is not only visually striking but emotionally intense.
Gentileschi (1593 – 1656) is considered one of the first women to achieve recognition as a painter during the Baroque period, and she produced works of remarkable power and technical skill. She was a professional by the age of 15, notable because this was during a time when women didn't have many opportunities to pursue artistic training or find professional work. But she became the first woman to join the Accademia di Arte del Disegno in Florence. Many of her paintings feature women from myths, allegories, and the Bible.
The painting is based on a "deuterocanonical" book of the Bible, Judith, which means it "pertains to a second canon." There are certain extra books that are included in the Bible of the Catholic Church and other Orthodox churches. The story of Judith was a popular one in the Renaissance and Baroque periods, as several artists did a version of this story, including Caravaggio, in 1599. There is a strong chance that Caravaggio's version influenced Gentileschi to paint hers, as he was a friend of Gentileschi's father , who was responsible for his daughter's art education.
In the Book of Judith, the story is told of the assassination of the Assyrian general, Holofernes, by the Israeli heroine, Judith. Gentileschi's painting draws upon the most climactic part of the story, where she and her maidservant Abra behead Holofernes. Early feminist critics hailed the painting as an example of the "Power of Women" theme, a medieval and Renaissance artistic and literary theme.
The use of chiaroscuro in "Judith Slaying Holofernes" is dramatic — the scene is illuminated by a single, unseen light source that casts deep shadows, heightening the drama of the moment. The dark shadows force our eyes to the lighted areas: Holofernes' terror, Judith and Abra's fight to hold Holofernes down, and the strength in their arms as they complete their violent task.
The painting is not just a technical masterpiece but a deeply personal and symbolic work. In Gentileschi's own life, she was sexually assaulted by the painter Agostino Tassi in 1611. Her own experiences and challenges fueled her depictions of strong, determined women, and the realism of the blood and the struggle of the assassination underscores the emotional impact of the scene.
Speaking of Michelangelo Merisi da Caravaggio, his "Saint Jerome Writing" (also known as "Saint Jerome in his Study") is an excellent example of the Italian master's innovative use of chiaroscuro. Completed in 1608, the work demonstrates Caravaggio's ability to create a sense of drama through light and shadow.
In "Saint Jerome Writing," Caravaggio (1571 – 1610) focuses attention on the saint's face and hands, emphasizing his concentration and the act of writing. possibly translating the Vulgate, a late-4th century Latin translation of the Bible. The contrast between light and dark draws you into the quiet, contemplative atmosphere of the scene. Just like "Judith Slaying Holofernes," the light source is unseen but is coming from somewhere overhead.
The light shines on Jerome's own head, the halo, his hand holding the pen, and the skull sitting on his desk. The skull serves as a reminder of mortality, even as the scene underscores the themes of dedication and the importance of spiritual work. A strong statement, considering Jerome was commissioned to revise the Vetus Latina Gospels in 382 AD; he was a Christian priest, theologian, historian, and translator, who dedicated his life to the church.
Caravaggio was known for his dramatic and emotionally charged paintings, and "Saint Jerome Writing" is a reflection of his own life and artistic philosophy. (Caravaggio's, not Saint Jerome's.) The artist's use of light and shadow continues to influence artists to this day.
Johannes Vermeer's "The Astronomer" uses light and shadow to create a sense of quiet drama and contemplation. Vermeer completed the painting around 1668, and it showcases his ability to create an atmosphere of tranquility and intimacy through subtle lighting.
Vermeer (1632 – 1675) was a Dutch Baroque painter known for his attention to detail. You may know him from the famous "Girl With a Pearl Earring." His life was fairly quiet compared to some of his artistic colleagues (see above), but his paintings are known for their beauty and emotion.
In "The Astronomer," Vermeer uses soft, diffused light coming in from a window to show us the subject's face and hands, which helps to create a sense of calm focus. The natural sunlight adds a sense of naturalness and serenity to the piece, even as the astronomer concentrates on his celestial globe and books.
Vermeer loved to portray scientists, and he painted both "The Astronomer" and, later, "The Geographer." In fact, the canvas for both paintings came from the same bolt of material. It's also believed that the subject of both paintings was Antonie van Leeuwenhoek, the father of microbiology and one of the pioneers of microscopy, making his own lenses to develop his version of microscopes to examine microbes and cellular life.
Vermeer used a camera obscura, an early form of camera, to help him achieve the light and shadow that characterize his paintings. This let him capture the subtleties of natural light, which added to the realism and emotion of his work.
Rembrandt van Rijn's "An Old Man in Military Costume" is an example of his mastery of chiaroscuro. Completed in 1631, this painting demonstrates the Dutch master's ability to create a dramatic effect through light and shadow.
Rembrandt (1606 – 1669) was known for his ability to capture the inner life of his subjects, often highlighting the portion you were supposed to see with the light. And rendering the parts in the shadow, not so much as unseen, as just unimportant.
In this painting, Rembrandt focuses his light on the old man's face, again from an unseen source of illumination, leaving the rest of the scene in deep and not-so-deep shadow. We can see the light streaming in from the upper left — it's always from the upper left, it seems — while his hat is in shadow, as is his collar (called a gorget; it protects the neck from sword thrusts), and his shoulder is completely hidden.
We're supposed to look at the unknown man's face, to see the upturned mustache, the slight graying of his whiskers, and even the individual gray hairs on the man's chin.
The shadow creates a sense of mystery, while the light emphasizes the man's age and wisdom. We're left to contemplate his life and experiences, wondering what this military man has seen and done in his time.
Rembrandt's mastery of chiaroscuro is a testament to his early mastery of light and shadow, especially when you consider that he was only 26 when he painted this masterpiece.
Jacques-Louis David's "The Death of Marat" is a great example of using light to create a sense of tragedy and sadness. Painted in 1973, David's painting is a dramatic and emotionally charged scene that is made all the more so by his strategic use of light. You may also recognize his work, The Death of Socrates, which depicts, well, Socrates' death.
David (1748 – 1825) was a French Neoclassical painter known for his role in the French Revolution: he voted in the National Convention in support of the execution of Louis XVI. And he was known for his artistic sensibilities, fiery emotions, and fierce independence. His work was a great influence on the development of Neoclassicism, art that was inspired by the original classical antiquities of ancient Greece and Rome.
In "The Death of Marat," David uses light to illuminate Marat's body — from the upper left, always the upper left — and create a sense of peace despite the tragedy it portrays. The light makes Marat appear to be a martyr, and the shadows make you focus on his face, right shoulder and left hand clutching the note. It also conveniently illuminates the front of the box where we can see the subject's name, as well as the artist's.
In "The Death of Marat," David uses focused light to illuminate Marat's body, creating a sense of peace and tranquility despite the tragic subject matter. The light makes Marat appear like a martyr, and the shadows add to the drama of the scene, namely the assassination of Jean-Paul Marat by Charlotte Corday.
Marat was a friend of Jacques-Louis David's, and Corday's murder led to her own trial and execution just four days later. David used Marat's assassination as propaganda to glorify Marat. The painting is a significant piece of art history, as well as French history. David skillfully used light to evoke emotion, as well as convey ideological messages, serving as a powerful example of how art can influence public opinion and shape cultural narratives.
Élisabeth Louise Vigée Le Brun's "Self-Portrait with a Straw Hat" — not to be confused with Vincent Van Gogh's "Self-Portrait with a Straw Hat" — is a self-portrait that showcases her ability to create a sense of warmth and approachability through subtle lighting.
Vigée Le Brun was a prominent French portrait painter known for her naturalistic approach to light, as well as her success in a field dominated by male painters. In her self-portrait, she doesn't rely on dark shadows to highlight the lighted areas; rather, she uses light shadows — less light, really — to draw your eye toward the lighted area and then up to her face, which is shaded by her large straw hat. The darkest area is below her palette, but even that isn't so truly dark that you can't see what lies beneath it.
But the sunlight — once again, coming from above and slightly to the left — illuminates her neck, shoulder, and right arm, making her skin leap off the canvas. The effect is to highlight her delicate features and give you a feeling of warmth and approachability. You want to talk to her about art and fashion in a quiet moment for just the two of you. Unlike the dramatic chiaroscuro of Baroque paintings, Vigée Le Brun is more subtle in her approach, creating a gentle and flattering effect.
The mastery of light and shadow is a hallmark of a true painting master. Whether it's Caravaggio and Gentileschi's dramatic and frightening shadows or Vigée Le Brun's subtle naturalism, each artist has demonstrated the profound impact that lighting has on a painting's emotional resonance.
They show us that art is not just about representation, it's about evoking feelings, not just with the subject matter, but in the way we see it. These six artists (and many others) have created timeless masterpieces that still capture us hundreds of years after they were unveiled to the world.
