The contrast between light and dark (chiaroscuro) is one of the most
expressive and important means of composition. All contrast effects are
relative. A line appears long or short according to its relation to a shorter or
a longer line. In a pictorial composition a large, dark form' becomes more
significant if a small, bright form counteracts it. A grey tone appears light or
dark depending on whether it is compared with a darker or a lighter tone. If
composition is to be based on a certain contrast, this relativity plays an
important role. The two contrasting elements must be chosen so that they
result in a definite expression.
The contrast between light and dark is the ideal medium for rendering light
and shade and three- dimensional forms. Compositions depending mainly
on effects of light and dark are never begun in outline, because the extent
and the harmony of patches and masses are determined by the intensity
of the force of light and dark. The qualitative effect of light and dark patches
and masses greatly differs from that of outlines. Dark forms against a light
background, and light forms against a dark background, can be effective.
But in a picture a light and a dark scheme can be placed in opposition. In
the light scheme dark tones, and in the dark scheme light tones, can be
conspicuous. Such a combination is called a 'reversal'.
The analytical study of the light-dark (chiaroscuro) values, and their
possibilities of composition and expression in old and new masterpieces,
reveals the use and importance of chiaroscuro in painting. The
temperamental nature of an artist determines whether he uses
chiaroscuro constructively in a clear, orderly manner, renders it purely
optically as light and shade, or adopts it as a highly sensitive means of
expression. Giotto, for instance, employed chiaroscuro as a constructive,
as it were architectural, element in his paintings. In this type of analysis
the entire picture area is studied thoroughly. Instead of objective forms
only tone values in a simplified rendering are to be produced (Fig 1).
Fig 1 Light-dark analysis of a picture by Goya (Mocznay, Berlin, 1930)
