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يحقق الضوء في اللوحة العديد من الأهداف، من … يحقق الضوء في اللوحة العديد من الأهداف، منها تجميلية وجمالية: ومن ناحية أخرى هو عامل رئيسي في التمثيل الفني للعمل، حيث أن وجوده يحدد رؤية الصورة المسقطة، حيث يؤثر بالفعل على قيم معينة مثل: اللون والملمس والحجم؛ من ناحية أخرى للضوء قيمة جمالية كبيرة، حيث أن الجمع بينه وبين الظل وبعض تأثيرات الإضاءة واللون يمكن أن يحددوا تركيبة العمل والصورة التي يريد الفنان إظهارها. وبالإضافة إلى أنه يمكن أن يكون للضوء عنصر رمزي، وبخاصة في الدين، حيث غالبًا ما يرتبط هذا العنصر بالألوهية. ينتج عن تأثير الضوء في العين البشرية انطباعات بصرية، لذا فإن وجوده لا غنى عنه لاجتذاب الفن. في الوقت نفسه، يوجد الضوء في أسلوب متأصل في اللوحة، لأنه ضروري لتكوين الصورة: اللعب بالأضوء والظل هم أساس الرسم، وفي تفاعلهم مع اللون، فهي تشكل الجانب الرئيسي للوحة، مع تأثير مباشر على عوامل مثل النماذج والتضاريس. لقد تطور التمثيل الفني للضوء عبر تاريخ الرسم ولتنفيذه أنشئت تقنيات مختلفة على مر الزمن، مثل التظليل أو تقليل الإضاءة أو التلاشي أو القتامة. من ناحية أخرى، كان الضوء عاملاً محددًا بشكل خاص في فترات وأساليب مختلفة، مثل عصر النهضة أو الباروكي أو الانطباعيين أو الحوشية. ويُطلق على أكبر قدر من الاهتمام بالتعبير عن الضوء في الرسم اسم «اللمعان»، وهو مصطلح يُطبق بشكل عام على أنماط مختلفة مثل ظلام الباروكية والانطباعية، بالإضافة إلى الحركات المختلفة في نهاية القرن التاسع عشر وبداية القرن العشرين مثل: اللمعان الأمريكي والبلجيكي وتلبالنسيانو.: اللمعان الأمريكي والبلجيكي وتلبالنسيانو.
, La luz en la pintura cumple varios objetiv … La luz en la pintura cumple varios objetivos, tanto plásticos como estéticos: por un lado, es un factor fundamental en la representación técnica de la obra, por cuanto su presencia determina la visión de la imagen proyectada, ya que afecta a determinados valores como el color, la textura y el volumen; por otro lado, la luz tiene un gran valor estético, ya que su combinación con la sombra y con determinados efectos lumínicos y de color puede determinar la composición de la obra y la imagen que quiere proyectar el artista. Asimismo, la luz puede tener un componente simbólico, especialmente en religión, donde a menudo se ha asociado este elemento con la divinidad. La incidencia de la luz en el ojo humano produce las impresiones visuales, por lo que su presencia es indispensable para la captación del arte. Al tiempo, la luz se encuentra de forma intrínseca en la pintura, por cuanto es indispensable para la composición de la imagen: los juegos de luces y sombras son la base del dibujo y, en su interacción con el color, suponen el aspecto primordial de la pintura, con una influencia directa en factores como el modelado y el relieve. La representación técnica de la luz ha evolucionado a lo largo de la historia de la pintura y para su plasmación se han creado a lo largo del tiempo diversas técnicas, como el sombreado, el claroscuro, el esfumado o el tenebrismo. Por otro lado, la luz ha sido un factor especialmente determinante en diversos períodos y estilos, como el Renacimiento, el Barroco, el impresionismo o el fauvismo. El mayor énfasis otorgado a la plasmación de la luz en la pintura se denomina «luminismo», término aplicado generalmente a diversos estilos como el tenebrismo barroco y el impresionismo, así como a diversos movimientos de finales del siglo XIX y comienzos del siglo XX como el luminismo americano, el belga y el valenciano. La luz es la pieza fundamental del arte observacional, al mismo tiempo que la clave para controlar la composición y la narración. Es uno de los aspectos más importantes del arte visual. Richard Yot importantes del arte visual. Richard Yot
, Light in painting fulfills several objecti … Light in painting fulfills several objectives, both plastic and aesthetic: on the one hand, it is a fundamental factor in the technical representation of the work, since its presence determines the vision of the projected image, as it affects certain values such as color, texture and volume; on the other hand, light has a great aesthetic value, since its combination with shadow and with certain lighting and color effects can determine the composition of the work and the image that the artist wants to project. Also, light can have a symbolic component, especially in religion, where this element has often been associated with divinity. The incidence of light on the human eye produces visual impressions, so its presence is indispensable for the capture of art. At the same time, light is intrinsically found in painting, since it is indispensable for the composition of the image: the play of light and shadow is the basis of drawing and, in its interaction with color, is the primordial aspect of painting, with a direct influence on factors such as modeling and relief. The technical representation of light has evolved throughout the history of painting, and various techniques have been created over time to capture it, such as shading, chiaroscuro, sfumato, or tenebrism. On the other hand, light has been a particularly determining factor in various periods and styles, such as Renaissance, Baroque, Impressionism, or Fauvism. The greater emphasis given to the expression of light in painting is called "luminism", a term generally applied to various styles such as Baroque tenebrism and impressionism, as well as to various movements of the late 19th century and early 20th century such as American, Belgian, and Valencian luminism. Light is the fundamental building block of observational art, as well as the key to controlling composition and storytelling. It is one of the most important aspects of visual art. — Richard Yotrtant aspects of visual art. — Richard Yot
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Mountain landscape with river , by Caspar David Friedrich, Staatliche Museen, Kassel
, Wicker in the Morning , by Claude Monet, Museum of Fine Arts, Boston
, Haystack at sunset , by Claude Monet, private collection
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Light is the fundamental building block of observational art, as well as the key to controlling composition and storytelling. It is one of the most important aspects of visual art.
, Light is the most joyful of things: it is the symbol of all that is good and wholesome. In all religions it signifies eternal salvation.
, Can the painter imitate the brightness of … Can the painter imitate the brightness of midday that dazzles the eye? No; then let him not do so. If ever an event should be treated at noon, let the sun be hidden among clouds, trees, mountains and buildings, and let that star be pointed out by means of some rays that escape those obstacles. Let it be considered then that the bodies do not give shadows, or little, and that the colors, by the excessive vivacity of the light, appear less vivid than in the hours when the light is more attenuated.e hours when the light is more attenuated.
, All that of being a painter consists in di … All that of being a painter consists in distinguishing the light of each day of the week, more than in distinguishing colors. Who does not distinguish red from blue and yellow? But there are very few who distinguish the light of Sunday from that of Friday or Wednesday.f Sunday from that of Friday or Wednesday.
, The attraction that light exerts on the artist goes beyond its practical function as an element that defines volumes and spaces. Light is also an element that carries in itself a very special magic and attraction.
, [God] never appears as any image or figure, but shows himself in his simplicity, formed by light without form, incomprehensible, ineffable.
, Look at the light and consider its beauty. Blink and look at it again: what you now see of the light was not there before and what was there before no longer exists.
, As it invades the room, the light is diffu … As it invades the room, the light is diffused irregularly over the various surfaces. The mirror shimmers with tremulous, silvery light and offers a clearer image than that of the large, dull canvases hanging above it. A sliver of light escapes from the half-closed window that opens in the last section, forming a well of luminosity around the lamp hook at the back of the ceiling. And then, in the background plane, a new light source is included that illuminates the figure in the doorway; from it emerges, thin as a beam, a ray that swiftly crosses the floor of the room under the mirror. The illusion of space and volume thus becomes irresistibly palpable.volume thus becomes irresistibly palpable.
, His discovery consists precisely in having … His discovery consists precisely in having realized that full light discolors tones, that the sun reflected by objects tends, by dint of clarity, to resize them in that luminous unity that fuses the seven prismatic rays into a single colorless brightness, which is light.ngle colorless brightness, which is light.
, The reddening of the clouds, together with … The reddening of the clouds, together with the reddening of the sun, makes everything that takes light from them redden; and the part of the bodies which is not seen that reddening remains of the color of the air, and whoever sees such bodies seems to him that they are of two colors; and from this you cannot escape since, showing the cause of such shadows and lights, you must make the shadows and lights participants of the said causes, otherwise your work is vain and false.es, otherwise your work is vain and false.
, If you do it at noon, keep the window covered in such a way that the sun, illuminating it all day, does not change the situation.
, From Caravaggio to the last painting by Velázquez — which is the starting point — the history of painting is the great journey to the land of light, of the effective light that illuminates the world in which we live.
, In Vermeer, light is never artificial: it is precise and normal like that of nature, and of an accuracy capable of satisfying the most scrupulous physicist. [...] This accuracy of light in Vermeer is due to the harmony of the coloring.
, Un breve repaso de las representaciones de … Un breve repaso de las representaciones de fuentes de «luz objetiva» en la obra de Goya, revela una evolución gradual, desde la explotación de efectos tetrales para glorificar a la familia real o un suceso religioso, pasando por una expresión más simbólica de sus preocupaciones ideológicas, hasta culminar en una maestría madura donde la realidad y el símbolo se funden en una síntesis sorprendente.lo se funden en una síntesis sorprendente.
, The dawn sweetly colors the extremity of t … The dawn sweetly colors the extremity of the bodies, begins to dissipate the darkness of the night and the air still full of vapors leaves the objects wavering.... But the sun has not yet appeared, therefore the shadows cannot be very sensitive. All the bodies must participate in the freshness of the air and remain in a kind of half-ink. [...] The background of the sky wants to be dark blue... so that the celestial vault stands out better and the origin of light appears: there the sky will be colored of a reddish-red incarnation from a certain height with alternating golden and silver bands, which will diminish in vivacity as they move away from the place from where the light comes out. the place from where the light comes out.
, If we apply black and white on the same su … If we apply black and white on the same surface and then look at them from a distance, the white will always appear much closer and the black much farther away. So when painters want something to look hollow, like a well, a cistern, a ditch or a cave, they paint it black or brown. But when they want something to appear prominent, such as a girl's breasts, an outstretched hand or a horse's legs, they apply black over the adjoining areas so that they appear to recede and the parts in between appear to come forward.e parts in between appear to come forward.
, The "unnatural" light of Gothic art is also presented as the bearer of a world of images of great figurative opulence, whose power acts with extraordinary force on the soul of man.
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| rdfs:comment |
Light in painting fulfills several objecti … Light in painting fulfills several objectives, both plastic and aesthetic: on the one hand, it is a fundamental factor in the technical representation of the work, since its presence determines the vision of the projected image, as it affects certain values such as color, texture and volume; on the other hand, light has a great aesthetic value, since its combination with shadow and with certain lighting and color effects can determine the composition of the work and the image that the artist wants to project. Also, light can have a symbolic component, especially in religion, where this element has often been associated with divinity.t has often been associated with divinity.
, يحقق الضوء في اللوحة العديد من الأهداف، من … يحقق الضوء في اللوحة العديد من الأهداف، منها تجميلية وجمالية: ومن ناحية أخرى هو عامل رئيسي في التمثيل الفني للعمل، حيث أن وجوده يحدد رؤية الصورة المسقطة، حيث يؤثر بالفعل على قيم معينة مثل: اللون والملمس والحجم؛ من ناحية أخرى للضوء قيمة جمالية كبيرة، حيث أن الجمع بينه وبين الظل وبعض تأثيرات الإضاءة واللون يمكن أن يحددوا تركيبة العمل والصورة التي يريد الفنان إظهارها. وبالإضافة إلى أنه يمكن أن يكون للضوء عنصر رمزي، وبخاصة في الدين، حيث غالبًا ما يرتبط هذا العنصر بالألوهية. حيث غالبًا ما يرتبط هذا العنصر بالألوهية.
, La luz en la pintura cumple varios objetiv … La luz en la pintura cumple varios objetivos, tanto plásticos como estéticos: por un lado, es un factor fundamental en la representación técnica de la obra, por cuanto su presencia determina la visión de la imagen proyectada, ya que afecta a determinados valores como el color, la textura y el volumen; por otro lado, la luz tiene un gran valor estético, ya que su combinación con la sombra y con determinados efectos lumínicos y de color puede determinar la composición de la obra y la imagen que quiere proyectar el artista. Asimismo, la luz puede tener un componente simbólico, especialmente en religión, donde a menudo se ha asociado este elemento con la divinidad.a asociado este elemento con la divinidad.
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| rdfs:label |
Light in painting
, Luz en la pintura
, الضوء في اللوحة
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