The painting is a flat surface, the effect of stereoscopy we would sense the difference between two objects, which it really allows us the distance between our eyes. The diversity of values, if these are the same color, marks the distances with such contrasts that sometimes we need, as I said before, to alleviate them. But it happens that some plans, although at different distances, have the same temptation, the same brightness, the same saturation and nevertheless, not being determined by the linear perspective. In nudes or landscapes, this is the case for areas consisting of the same matter that we confuse due to the identity of ecclesia. However, in reality, they occupy different, advanced or withdrawn plans, which do not escape unnoticed our relief vision, but it becomes insensibly in the case of plane visual perception. We would therefore be incompletely informed if it did not suggest our difference. And here is a subterfuge: to signal the difference with a brush feature.
At Tintoretto and Millet this contour reminds us the location; Rubens uses it as a colorful contrast. The presence of this element that does not exist in nature and television, offers a new argument to Dr. Cleper, say that painting is not a copy, but the will that causes us to evoke. In addition, this element sometimes occurs when other means is already in the game to express space. Thus, Cezanne, predicting "color-color", surrounds the silhouettes of bathing women, with an intense blue when light is on the light (profiled carnage in the sky). Often, this trait is discontinuous (Pierre Jerome), to the extent that the desire to bind, avoid drying, makes room for separate. Dufy, so eager to render the sensation that the air circulates, asterms, however, perfectly uniform. He avoids, however, dryness and causes the fusion through a go-to-go of the eye.
This is because he is careful to stop the color at the edge of these contours, but it sometimes makes it out or retreat. Apparent naiveness, in which some believed that there is a reminiscence of epinal images, but in reality is a Savanta subtlety. Without knowing the procedure, we can think of a shadow caused by a lateral auxiliary projector. Differences must be emphasized or attenuated without cessation. For some effects, either we will seek hard impacts, either, most often, we will moderate to round up avoiding softness, confusion, loss of relief and space. Thinking or not in Chardin, we meet the problem of the painting atmosphere here. If we want the air to cross the objects, to envelop them, to make them sit, we must emphasize the removal by the weakness of contrasts.
Do not only have a linear perspective, "said Maroger." In the forefront, the opposite of spectral, large shadows, large lights, powerful opacities alongside Adina transparencies. In the distance, the differences are barely marked, very neighboring values At the bottom of the sky. This is expressed due to the material means used by the painters of the past: the mediums, opalescence and the choice between the colors approaching and those who remove (so warm tones in the foreground, cold tones for the Arierplan). Because the eye follows Lin And is trained by their movement, this, even if it is apparently of flat areas, it must be marked by each brush or pencil trait. Or one or the other can be parallel to the general direction of the colored surface or be Transversal on it. In the latter case, instead of receiving a firm incitation, the eye is in the situation of Sova.
It is a way to make the Fund or model. Thus, through the light, he will see them without a shadow. "Leonardo da Vinci, treated about the shadow and light, manuscript at the Institute of France). Brush (Le Blaireutage) makes the variety of expression and this is one of the reasons for that is not accepted. You will place the most colorful parts between lights and shadows. Each part of the surface is partially affected by the color of the object in front of it. Among the bodies of the same size and at a distance of equal distance, the brightest one will see the eye. close and bigger.
The brighter body, the more Adina will be the shadows of the body that it illuminates. If the eye is placed between the bright body and the bodies illuminated by it In a work that would be worthwhile, Francis IlarburgCr Yes, in connection with these contrasts, a lesson of great interest: "The edge of an object suffers, in contact with a more open fund, different reactions of which the most Importance is the contrast to, sometimes, the phenomenon of "blindness" is sometimes added. Let's take a Pintecos jelly: if it is detached on a medios brightness fund by contrasting values, its margins from light and shade appear darker: if we want to " We have some observations to do. So, because working to "go" and paint in shape, we have to see in the shade as the largest place is not on the marginal line, even if it seems to us, but inside the shadow , in AP Running the passage from light to the shadow. When the fund is particularly clear and bright, a visual contrast is added, the edge being parked by the strong light of the fund, or stirred by excess light: This effect requires a special execution as we will see Further; On the other hand, this blindness is added to this phenomenon. After the decision with which the brush of a profile (Tizian, etc. can be identified.
A copist executed, on the contrary, through small coughs because he follows the point model. In the field of landscape, we meet the phenomenon of "blindness" in contact with the open value of heaven and its brightness; It is the case where the walls of the shaded houses are cut in the sky as any other figures present in the CONTER-TOUR: trees, styles, etc. "
* Note: Havel, Marc -The painting technique, Meridian Publishing House, 1980