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Light in Art
Perception and the Use of Light in the History of Art
Brimming with illustrations, this stunningly original book presents the role of light in art throughout history.
This richly illustrated book takes readers on a tour through the history of art to learn how artists have used light (and its lack of it as shadow) to make a statement about their subject matter or create a specific mood, with examples by masters such as Giotto, Botticelli, Caravaggio, Vermeer, Courbet, Turner, Klimt, and many more, as well as theoretical approaches starting with Plato and Aristotle, moving on to Descartes, Newton, Goethe and Chevreul. Throughout history, artists have played with light, approaching it as both a subject and tool to create the desired atmosphere, convey ideas, and inspire emotions in the viewer. In medieval frescoes, rays of light stood for the presence of the divine, while 17th-century Dutch painters used light to indicate depth and construct an impactful setting. The Impressionists wanted to depict light itself and the way it plays upon the surfaces of objects in the form of color. Photography and film have used light, both natural and artificial, to make things visible in the first place. This volume delves into these and many more topics and constitutes a perfect reference book for artists, students, scholars, and art lovers.
This richly illustrated book takes readers on a tour through the history of art to learn how artists have used light (and its lack of it as shadow) to make a statement about their subject matter or create a specific mood, with examples by masters such as Giotto, Botticelli, Caravaggio, Vermeer, Courbet, Turner, Klimt, and many more, as well as theoretical approaches starting with Plato and Aristotle, moving on to Descartes, Newton, Goethe and Chevreul. Throughout history, artists have played with light, approaching it as both a subject and tool to create the desired atmosphere, convey ideas, and inspire emotions in the viewer. In medieval frescoes, rays of light stood for the presence of the divine, while 17th-century Dutch painters used light to indicate depth and construct an impactful setting. The Impressionists wanted to depict light itself and the way it plays upon the surfaces of objects in the form of color. Photography and film have used light, both natural and artificial, to make things visible in the first place. This volume delves into these and many more topics and constitutes a perfect reference book for artists, students, scholars, and art lovers.
About the author
Massimo Mariani, a graduate in painting at the Accademia di Brera, has exhibited in numerous galleries in Italy and abroad. He is a prolific author with many books published in Italian on such diverse topics as Freud and the subconscious, the representation of the feminine, detective stories and poetry.