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Leonardo da Vinci’s Chiaroscuro Webexhibits.org Chapters: Home Light, color and vision Color interactions: Simultaneous contrast Luminance and equiluminance Peripheral vision Museum shop About this exhibit www.webexhibits.org/colorart » Leonardo da Vinci’s Chiaroscuro Introduction 15th & 16th cent 19th cent 20th & 21st cent Michelangelo da Vinci’s chiaroscuro Lost shadows font size: a a a Leonardo da Vinci’s Chiaroscuro Even in an era of boundless scientific discovery and technological invention, and of sublime artistic and humanistic achievement, Leonardo da Vinci (1452-1519) stands as a supreme icon in Western consciousness — the very embodiment of the universal Renaissance genius. Self Portrait, c. 1512. Leonardo da Vinci was the first artist to use value consistently across colors, achieving tonal unity in which a figure presents a single, swelling, homogeneously generated volume in contrast to the inevitably fragmented effects of color-modeling. Light, color and form are now related in a way that approximates, and describes, their scientific and naturalistic behavior. Benois Madonna ... http://www.webexhibits.org/colorart/vinci.html · 10.8k |
Lost Shadows Webexhibits.org Chapters: Home Light, color and vision Color interactions: Simultaneous contrast Luminance and equiluminance Peripheral vision Museum shop About this exhibit www.webexhibits.org/colorart » Lost Shadows Introduction 15th & 16th cent 19th cent 20th & 21st cent Michelangelo da Vinci’s chiaroscuro Lost shadows font size: a a a Lost Shadows Historically, it has been a challenge for artists to capture the varying luminance of the outside world on canvas. Our eyes can see enormous ranges in brightness, from the dark shadows to bright sunlight. But pigments have a limited range of reflectance. Medieval paintings appear flat because medieval artists used a limited range of luminance. Over the years, Madonna has traditionally been portrayed with a dark blue cloak with a red lining or undergown. Medieval artists’ inability to show shadows in the dark cloak arose from their difficulty in achieving a range of luminance. Madonna and Child, André Berlinghiero, c. 1230. The strong emotions, angular face and furrowed brows are typical of this Byzantine ... http://www.webexhibits.org/colorart/chiaroscuro.html · 8.8k |
Michelangelo’s Exaggerated Contrast: Cangiantismo Webexhibits.org Chapters: Home Light, color and vision Color interactions: Simultaneous contrast Luminance and equiluminance Peripheral vision Museum shop About this exhibit www.webexhibits.org/colorart » Michelangelo’s Exaggerated Contrast: Cangiantismo Introduction 15th & 16th cent 19th cent 20th & 21st cent Michelangelo da Vinci’s chiaroscuro Lost shadows font size: a a a Michelangelo’s Exaggerated Contrast: Cangiantismo Just a few years after Leonardo da Vinci (1452-1519) achieved tonal unity, Michelangelo Buonarroti (1475-1564) tried a different approach. His colors are brilliant and contrasted, whereas da Vinci’s are subdued and unified. Michelangelo’s contours are crisp and set off against a contrasting background, whereas da Vinci’s blend and avoid silhouette. Doni Holy Family, Michelangelo Buonarroti, c. 1503. Michelangelo mixes his colors with both black and white to maximize the contrast range for all the colors he uses. This means the lighter parts of each color (even the black of Joseph’s tunic) are almost white and unrealistically de- ... http://www.webexhibits.org/colorart/michelangelo.html · 11.1k |
Ideas and Questions for Class Discussion and Accreditation Tasks Webexhibits.org Chapters: Home Light, color and vision Color interactions: Simultaneous contrast Luminance and equiluminance Peripheral vision Museum shop About this exhibit www.webexhibits.org/colorart » Ideas and Questions for Class Discussion and Accreditation Tasks About Credits Citations Teacher's Guide Bibliography Press Overview Getting started Topic A Topic B Topic C Topic D font size: a a a Ideas and Questions for Class Discussion and Accreditation Tasks TOPIC C: LUMINANCE AND EQUILUMINANCE Key understanding In the brain, the brightness (black and white) and the colors of a scene are processed separately. This can create some curious effects, for example, in equiliminant scenes, we lose a sense of position. Another phenomenon is that if the brightness is accurate, the colors can be dramatically altered, affecting the mood of a scene. Possible tasks and questions How do artists influence our vision by using the technique of “equiluminance”? Discuss the question in reference to three works of art. How did Leonardo da Vinci’s chiaroscuro ... http://www.webexhibits.org/colorart/teaching4.html · 8.4k |
Pigments through the Ages - Infrared (IR) light Home Introduction Choose a pigment Browse colors Time periods Make paintings Look closer About www.webexhibits.org/pigments » Infrared (IR) light Infrared (IR) light Jump to pigment Azurite Bone black Cadmium yellow/red Carbon black Carmine Cerulean Blue Chrome orange Chrome yellow Cobalt blue Cobalt green Cobalt violet Cobalt yellow Copper resinate Egyptian blue Emerald green Green earth Indian yellow Indigo Lead white Lead-tin yellow Lemon yellow Lime white Madder Malachite Naples yellow Orpiment Prussian blue Realgar Red lead Red ochre Smalt Titanium white Ultramarine Umber Van Dyke brown Verdigris Vermilion Viridian Yellow ochre Zinc white font size: a a a Techniques Visible & beyond UV IR X-ray Microscopy Spectroscopy 3D modeling Dating Thomography Choose: Visible IRCCD IRR Become an art investigator with your digital camera Pontormo Have you ever wondered how scientists see the underdrawing of a painting? Although most use sophisticated cameras, you can actually modify your own digital camera to reveal a ... http://www.webexhibits.org/pigments/intro/ir.html · 23.9k |
Art and Optics : David G. Stork: Arnolfini portrait « Previous Next » Jump to author New theories regarding opticality Opinions The hypothesis James Elkins Charles M. Falco and David Graves Susan Grundy Walter Liedtke Philip Pearlstein Sidney Perkowitz Philip Steadman David G. Stork Christopher W. Tyler David Hockney In the press Bibliography van Eyck | Lotto | Caravaggio | Optics | Focal lengths | Oil paint | No documentation | Arnolfini portrait | Talent | Problems tracing | Demonstrations | Technology | Future discussions | Summary Two views of the creation of the Arnolfini portrait I think it helps to bring together a range of evidence to see general trends and distinguish explanations. From my analysis, for the Arnolfini portrait we must choose between two mutualy exclusive cases: CASE 1: that nearly a century before any record of how such a concave mirror might be ground (in a personal notebook of Leonardo's, in a different language, with obscure handwriting, over 1000 miles away) that in the absence of modern demonstrations of hand-creation of a long-focal length concave mirror by blown (and possibly ... http://www.webexhibits.org/hockneyoptics/post/stork8.html · 9.9k |
Art and Optics : Christopher W. Tyler: Construction lines « Previous Next » Jump to author New theories regarding opticality Opinions The hypothesis James Elkins Charles M. Falco and David Graves Susan Grundy Walter Liedtke Philip Pearlstein Sidney Perkowitz Philip Steadman David G. Stork Christopher W. Tyler David Hockney In the press Bibliography Introduction | One point | Construction lines | Construction method | Globes | Canaletto | Summary Use of Construction Lines In this bizarre double scene of St. Julian decapitating his parents in their bed, many construction lines have been inscribed into the surface of the wooden panel. Clearly, in this early Quattrocento painting, Masolino was taking great care with the geometry, but it is highly implausible that he set up the scene in an optical projection. From all parts of the picture, all fourteen construction lines converge accurately to a single vanishing point. Although little recognized by art historians, this painting by Masolino is one of the two earliest in history to exhibit an accurate convergence of a three-dimensional geometry to a single vanishing point. ... http://www.webexhibits.org/hockneyoptics/post/tyler3.html · 8.2k |
Art and Optics : Charles M. Falco and David Graves: More response to Stork « Previous Next » Jump to author New theories regarding opticality Opinions The hypothesis James Elkins Charles M. Falco and David Graves Susan Grundy Walter Liedtke Philip Pearlstein Sidney Perkowitz Philip Steadman David G. Stork Christopher W. Tyler David Hockney In the press Bibliography Introduction | Response to Tyler | Response to Stork | More response to Stork | Summary Initial criticism I searched through other contemporary paintings for depictions of mirrors or even glass spheres that might be consistent with the long focal lengths required by the Hockney/Falco theory, but found none.there is no record that such "burning mirrors" were of sufficient quality or sufficiently long focal lengths to be used as they propose, or that we have little or no pursuasive evidence they were used for any imaging tasks (see below). Pro-optical Here again Stork is completely wrong. Not only is there written evidence that appropriate concave mirrors existed at the time, but also that they were in use for imaging tasks (see, for example, Section 2 of Reference 1). ... http://www.webexhibits.org/hockneyoptics/post/falcograves4.html · 46.3k |
African Art Webexhibits.org Chapters: Home Light, color and vision Color interactions: Simultaneous contrast Luminance and equiluminance Peripheral vision Museum shop About this exhibit www.webexhibits.org/colorart » African Art Introduction Color theory Paints African Art 19th cent 20th & 21st cent African Art What is African Art? Egungun font size: a a a African Art Earth, showing Africa, Europe, and Asia taken from the Apollo 11 spacecraft during its translunar insertion. The spacecraft was about 98,000 nautical miles from Earth when this picture was made. The long, complex history of settlement within Africa, commencing with the emergence of homo sapiens in eastern Africa, has produced cultural diversity unlike that of any other continent. Africa is a vast landmass with a population of about 885 million people who speak more than 1,000 different languages, each linked to particular ethnic groups and communities. One cannot generalize about African art and culture. Egyptian, Sudanese, and Ethiopian art forms, responding to Mediterranean cultures, Christianity, and ... http://www.webexhibits.org/colorart/african1.html · 10.8k |
Applying the Paint and the Technique of Color Modeling Webexhibits.org Chapters: Home Light, color and vision Color interactions: Simultaneous contrast Luminance and equiluminance Peripheral vision Museum shop About this exhibit www.webexhibits.org/colorart » Applying the Paint and the Technique of Color Modeling Introduction Color theory Paints African Art 19th cent 20th & 21st cent Tempera & oil The paints Appearance Optics font size: a a a Applying the Paint and the Technique of Color Modeling The artist’s choice of paint affects both the technique of painting and how well a painting endures over time. Egg tempera Wilton Diptych (detail), Unknown Artist, 1395-99 Egg tempera on wood Egg tempera The Wilson Diptych is a small folding altarpiece, which is presumed to have been commissioned by King Richard II of England for his private devotions. The king is portrayed kneeling in prayer and being presented by three Saints to the Virgin and Child. Although the identity of the artist is unknown, the use of egg tempera is associated with Italy and the style of the work is informed by Sienese art. On the other ... http://www.webexhibits.org/colorart/to3.html · 19.9k |
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