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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.
Brimming with illustrations, this stunningly original book presents the role of light in art throughout history. 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.
Massimo Mariani holds a degree in painting from the Accademia di Brera (Milan, Italy) and has exhibited in numerous galleries in Italy. He has published books on diverse topics, such as cinema, art, the representation of femininity, poetry, and Freud and the subconscious, and has written articles about the art world for Grafica & Disegno. His most recent publication is What Images Really Tell Us, a volume about visual rhetoric in advertising and graphic design.
<p><strong><span style="font-family: Arial, Helvetica, sans-serif; font-size: 11px;">INTRODUCTION</span></strong></p>
<p><span style="font-family: Arial, Helvetica, sans-serif; font-size: 11px;"><strong>THE SCHOLARS OF LIGHT. </strong>Plato and Aristotle. / Lucretius. / The Enneads of Plotinus. / Al-Kindi. / Alhazen. / Avicenna and Averroes. / Grosseteste's Theory. / Liber de Intelligentiis. / Bacon. / Convex Lenses. / The Evolution of the Camera Obscura. / Francesco Maurolico. / The scientific revolution and the debate on the nature of light in the 17th century. / René Descartes. / Isaac Newton. / Thomas Young. / Wolfgang von Goethe. / Chevreul's Chromo-Luminist Theory.</span></p>
<p><span style="font-family: Arial, Helvetica, sans-serif; font-size: 11px;"><strong>THE LUMINOUS VISIBLE OR THE CONFLICT BETWEEN LIGHT AND MATTER. </strong>Traces of Light.</span></p>
<p><span style="font-family: Arial, Helvetica, sans-serif; font-size: 11px;"><strong>LIGHT IN ART. </strong>Light becomes visible as an incident ray. / A Lesson from Maestro Merisi. / The Luminist Consequences of the Baroque.</span></p>
<p><span style="font-family: Arial, Helvetica, sans-serif; font-size: 11px;"><strong>THE LUMINOUS IN NEO-IMPRESSIONISM AND DIVISIONISM.</strong></span></p>
<p><span style="font-family: Arial, Helvetica, sans-serif; font-size: 11px;"><strong>A PLAY OF LIGHT</strong></span></p>
<p><span style="font-family: Arial, Helvetica, sans-serif; font-size: 11px;"><strong>CONCLUSION</strong></span></p>
<p><strong><span style="font-family: Arial, Helvetica, sans-serif; font-size: 11px;">BIBLIOGRAPHY</span></strong></p>