Chiaroscuro

Chiaroscuro is an Italian word that has gotten quite a workout in English in the last several decades. The term means "light-dark" and is generally used to refer to strongly contrasted images like those seen in film noir, for example. When reading certain kinds of writing about art, the term is employed in referring to paintings like those of, say, Rembrandt. In that context the meaning is the use of contrasting values to emulate three-dimensional volumes on a two-dimensional surface. Light defines the volumes.

Pierre-Paul Prud'hon, "Female Nude," 1800

The term chiaroscuro can also be used to define a type of drawing. A chiaroscuro drawing is often done on a support toned to a middle value. The drawing is made using a dark material--charcoal, graphite, etc.--and then accented with a much lighter, usually white value. Commonly used as a way to study still life, figures, and other motifs, chiaroscuro can produce strikingly beautiful effects, such as in the study at right. Note that the overall drawing is a mid-value (the paper) with areas of light and dark--a true chiaroscuro drawing. On the other hand, when the final images is primarily dark, like most of  Rembrandt's, a more proper term is probably tenebrism. Today the term is less well-known, but ought to be remembered as distinct.

Michelangelo Merisi, "John the Baptist, "1604

Tenebrism in painting became popular in the 17th century after the work of Michelangelo Merisi da Caravaggio. Much of the master's later work featured very dark but lively backgrounds from which the subject emerges, flesh tones almost glowing. In the example, left, the overall value pattern is quite dark. Followers of Caravaggio, known as Caravaggisti, adopted the drama and in part set off the Baroque era.

One of the arrows in the quiver of any realist painter is the need to show volume, to make the image emulate three dimensions. Practice with chiaroscuro drawing is an excellent idea. First, making a study of an idea using chiaroscuro provides opportunities to learn the structure of a face or figure. Second, drawn compositionsal studies are useful for comparison before laying down paint. Third, such drawings are often finished pieces in their own right. And of course, manipulation of contrasts and value can add significant emotion.

"Mugshot," graphite and chalk on tan paper, 2018

In my own practice, chiaroscuro has become more and more important. As an example, the graphite drawing on the right was inspired by a news item showing this mugshot. The individual's gaze and attitude seemed angry and brutal, and I wanted to emphasize those ideas with sharply contrasting values. This is on an 8x10 page of one of my sketchbooks.