LIGHT and SHADOWby@leonardodavinci


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Chap. CLXXV.—The Course of Study to be pursued. The student who is desirous of making great proficiency in the art of imitating the works of Nature, should not only learn the shape of figures or other objects, and be able to delineate them with truth and precision, but he must also accompany them with their proper lights and shadows, according to the situation in which those objects appear. Chap. CLXXVI.—Which of the two is the most useful Knowledge, the Outlines of Figures, or that of Light and Shadow. The knowledge of the outline is of most consequence, and yet may be acquired to great certainty by dint of study; as the outlines of the different parts of the human figure, particularly those which do not bend, are invariably the same. But the knowledge of the situation, quality, and quantity of shadows, being infinite, requires the most extensive study. Chap. CLXXVII.—Which is the most important, the Shadows or Outlines in Painting. It requires much more observation and study to arrive at perfection in the shadowing of a picture, than in merely drawing the lines of it. The proof of this is, that the lines may be traced upon a veil or a flat glass placed between the eye and the object to be imitated. But that cannot be of any use in shadowing, on account of the infinite gradation of shades, and the blending of them, which does not allow of any precise termination; and most frequently they are confused, as will be demonstrated in another place. Chap. CLXXVIII.—What is a Painter’s first Aim, and Object. The first object of a painter is to make a simple flat surface appear like a relievo, and some of its parts detached from the ground; he who excels all others in that part of the art, deserves the greatest praise. This perfection of the art depends on the correct distribution of lights and shades, called Chiaro-scuro. If the painter then avoids shadows, he may be said to avoid the glory of the art, and to render his work despicable to real connoisseurs, for the sake of acquiring the esteem of vulgar and ignorant admirers of fine colours, who never have any knowledge of relievo.
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Leonardo Da Vinci

I am the genius behind The Mona Lisa, The Last Supper, and The Vitruvian Man...#nobigdeal

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