Light in Paintings

Inspired by the National Gallery’s “Beyond Caravaggio” 

Last month I visited the National Gallery in London to see “Beyond Caravaggio”. I was delighted but more inspired to see the paintings of Michelangelo Merisi da Caravaggio and specifically the “Chiaroscuro Style”. Being a lighting designer, it made me realise how lighting was explored and used as a primary element in oil paintings back in the 15th century and thereafter.

Leonardo da Vinci was the first artist to use this technique, demonstrated in his painting “Lady from the Court of Milan”. Caravaggio, also an Italian painter, whose art combines a realistic observation of the human state – physical and emotional – with a dramatic use of lighting, began to use the chiaroscuro style in his paintings in the 16th century and went on to be very popular. After this, it became a primary technique for many painters such as: Adam de Coster, George de La Tour, Matthias Stom and Gerrit van Honthorst.

The “Chiaroscuro Style” is an oil painting technique that originated during the Renaissance. Chiaroscuro is an Italian term referencing the contrast of light (chiar) and dark (oscuro) to model three-dimensional forms – and the results are often dramatic. Light is used as a main source of illumination in the paintings, representing a “Holy figure” that lights up the whole scene, or a simple source of “Candlelight” or “Fire”. The artists’ emphasis on light is intentional – they play with the shadows to make the effect spectacular. Light also gives a direction to create the details and features, and gives the artworks a “three-dimensional” appearance – you really feel like you could step inside them.

The painting below – by Caravaggio – portrays the moment when the resurrected but incognito Jesus discloses himself to two of his disciples in Emmaus, only to soon disappear from their sight. It’s a fine example of the influence of light and the “drama” it can add.

The Supper at Emmaus, By Caravaggio – 1601 

In the two paintings below, light appears to come from the left. The artists have used harsh and dramatic light to enhance and isolate the characters, and highlight their emotional tension. 

Old Woman and a Boy by Candlelight, By Matthias Stom – 1620s

Christ before the High Priest, by Gerrit van Honthorst – circa 1617

The first painting by Dutch painter Matthias Stom, depicts an old woman and a young boy against a dark background. The woman, who stands closer to the viewer, holds the candle in her left hand and shields the flame with her right hand – the boy is stood behind her and both are looking at the candle. Stom has intelligently hidden the light source, but achieves the effect of an extensive gradation of light and darkness.

In the other painting by Gerrit van Honthorst, the burning candle is at the centre of the composition along with the arm and raised finger of the High Priest. The light source is visible here and used dramatically – highlighting the silence and intensity of the scene.

The artists discussed have cleverly used light sources in their paintings in various ways (visible and invisible), to create high contrast between lit and unlit areas in the composition – the artworks are full of drama and the viewer (me especially) is totally mesmerised. 

Words by Amruta Haval, Intermediate Lighting Designer