Blog Post #4

Benois Madonna, Leonardo da Vinci, 1478, Oil on Canvas,  19.5 in x 13 in

Chiaroscuro, derived from the Italian word for "light-dark," is the use of light and dark to create the effect of three-dimensional surfaces. In the eyes of many, this technique was started be Leonardo da Vinci, who then inspired younger artists to follow suit. In this work, this technique, based on tone more than color, is clearly on display. Mary's dress varies in shades: From a black, to a pale blue, to even white. Thus, the scene almost seems like it has left its frame and become three-dimensional. Yet, this is only possible because of the aforementioned color contrasts, a brilliant new technique that would inspire generations of artists to come.

David with the Head of Goliath, Caravaggio, c.1610,  Oil on canvas, 49 in × 40 in    

Tenebrism, derived from the Italian word "tenebroso" (literal translation: murky), is a heightened form of chiaroscuro in which there are violent contrasts between light and dark, so much so that the dark contrasts tend to become the dominating force in the work. In this work, which depicts the biblical scene of David as he is victorious over Goliath, tenebrism is on full display. The work is completely black. Yet, out of this seemingly never-ending blackness comes light on the young victorious David and the head of his defeated adversary. This stark contrast is a prime example of tenebrism.

The Night Cafe, Vincent van Gogh, 1888, Oil on Canvas, 28.5 in x 36.3 in

 Complimentary colors are pairs of colors that are directly opposite each other on the color wheel. Colors such as red and green and violet and yellow are complimentary colors and, in this work, the use of these colors are on full display.The walls of the room are red but this is complimented by its opposite on the color wheel as the top of the table and the ceiling are both green. The same applies for the yellow lights which are complimented by the purple table on the left. Complimentary colors, though an elusive concept, are very elegant when they are used as effectively as they are here.

Composition with One Gray Stripe, Bart van der Leck, 1958, Oil on Canvas,  43.3 in x  41.3 in

Primary colors are colors that cannot be formed from mixtures of other colors. The main primary colors are red, blue, and yellow. In this work, all three primary colors are fully on display. With that said, primary colors are not the only colors pictured. In fact, black is pictured, which is a color that cannot truly be formed from other colors but is not a primary color, a very interesting development.

Quilt: Log Cabin Pattern, Pineapple variation, Pennsylvania Dutch,  c. 1875,  Wool and Cotton,  88 in x 88 in

Pattern is, by its very definition, a repetition of any thing. Whether it is a repetition of colors, lines, or shapes, all of them constitute as a pattern. This quilt, sewn by the Pennsylvania Dutch, is a great example of pattern. This quilt repeats the same pattern many times, using the same shapes, orientation, and colors each time it is used. Thus, this quilt has a clear pattern.

Wheat Field with Cypresses, Vincent van Gogh, 1889, Thick Oil on Canvas, 29 in x 37 in 

Impasto is, in its very nature, thickly textured paint that is almost three-dimensional in its appearance. This technique often leaves brush strokes which aid in the thick texture of the paint. In this work, the impasto for van Gogh serves a unique and distinct purpose: to give movement to the scene. If van Gogh were to make this merely oil on canvas, the work would have stagnated. However, the impasto gives the work breath and makes it seem as if the clouds are moving before the viewers very eyes. This could only be accomplished through impasto and it is executed masterfully.