Chiaroscuro

It's obscured, right? So that's a deeper understanding of what those terms mean.

So as this tradition goes on, the idea of Sumado and Chiaroscuro advances as a late Titian painting, the entombment of Christ.

And we can see that the figures are kind of bleeding into the background and the background's flowing into them.

That's Sumado idea.

Anyway, apologize for my pronunciation, chiaroscuro and sfumato.

And what they are are painting techniques.

Chiaroscuro is the use of strong contrast between light and dark.

So think about bold, uh, shadows and then bright light, sharp edges, very dramatic.

This is light.

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There is little doubt he was in the habit of attending the courts of Assize with his father, who was engaged there professionally and had amused himself by sketching the Councillor in his wig, but from some cause had not time to finish it.

The sketches of his early boyhood showed considerable skill and power in light and shade and the treatment of drapery, and are thus prophetic of that command of Chiaroscuro, which distinguished the picture of his maturity.

His delight in strong lights and shadows was very conspicuous throughout his life.

He could never pass a blacksmith shop or any striking lights in the streets without staying to study them, and the influence of this early passion of his is seen in a large number of his paintings where remarkable fire, candlelight, and atmospheric effects are rendered with singular power and truth.

then they'd go and poke in remnant boxes on the ends of counters in the big department stores and unearth bits of trimming and of lace with which godmother who was clever with her needle and full of ideas showed mary alice how to put quite transforming touches on her clothes They visited art galleries, and Godmother knew things about the pictures that made them all fascinating.

Instead of saying, "'Interesting composition, that!' or, "'This man was celebrated for his Chiaroscuro,' Godmother was full of human stories of the struggles of the painters and their faithfulness to ideals, and she could stand in front of a canvas by almost any master, and talk to Mary Alice about the painter and the conditions of his life and love.

and longing when he painted this picture in a way that made mary alice feel as if she'd like to shake the people who walked by with only an uninterested glance as if she'd like to bring them back and prod them into life and cry don't you see how can you pass so carelessly what cost so much in toil and tears godmother had that kind of a viewpoint about everything it seemed when they went to the theatre she could tell mary alice before the curtain went up and between the acts such things about the actors and the playwright and the manager as made the play trebly interesting On the east side they visited some of the settlements, and prowled, as Grandmother loved to call it, around the teeming slums, as Godmother loved to call it, around the teeming slums, and Godmother knew such touching stories of the old world conditions from which these myriads of foreign folk had escaped, and of the pathos of their trust in the new world, as kept Mary Alice's eyes bright and wet almost every minute.

One beautiful sunny afternoon they rode up on top of a Fifth Avenue motor-bus to Ninetieth Street, and Godmother pointed out the houses of many multi-millionaires.

Welcome to this week's series, The Craft of Painting.

Chiaroscuro is a dramatic contrast between light and darkness within an image.

Instead of lighting everything evenly, the artist allows some parts of the subject to emerge into the light, while other parts disappear into the shadow.

This contrast creates depth, it creates structure, and it guides the viewer's eye exactly where the artist wants attention to go.

It's so almost chiaroscuro.

Yes.

Chiaroscuro.

And M- Millais asks himself the question- You know, what would the childhood of Christ actually have been like? This is a subject that's been covered endlessly in paintings, you know, through the Baroque period of art in Italy, and it becomes more and more elaborate over the centuries of art-making.

And Millais says, "Actually, if we're to get back to the basics, they wouldn't have had a glamorous place.