Sfumato: Difference between revisions
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[[Image:Prophet Daniel Даниил.jpg|thumb|300px|right|Detail of the Prophet Daniel from the Sistine Ceiling showing the use of cangiante.]] |
[[Image:Prophet Daniel Даниил.jpg|thumb|300px|right|Detail of the Prophet Daniel from the Sistine Ceiling showing the use of cangiante.]] |
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'''Sfumato''' is one of the four canonical painting modes of [[Renaissance|the Renaissance]] (the other three being |
'''Sfumato''' is one of the four canonical painting modes of [[Renaissance|the Renaissance]] (the other three being [[Cangiante]], [[Chiaroscuro]], and '''Unione''').<ref>{{cite book|last=Hall|first=Marcia |title=Color and Meaning: Practice and Theory in Renaissance Painting |year=1994 |publisher=Cambridge University Press | isbn = 978-0521457330}}</ref> It refers to a mode of painting in which there are no extreme darks or lights, as the brightness values are grouped more or less tightly together around [[middle gray]]. It corresponds to the concept of 'low-contrast' in [[photography]]. The Italian word '''sfumato''' (pp. of '''fumare''', 'to smoke') captures the idea precisely. The finished product appears as though a veil of smoke had drifted between the subject of the painting and the viewer and had added some brightness to the pure darks and had blocked some of the pure brights of the subject. |
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It is not a difficult technique in practice. It requires competence in brushwork and judgement of value (brightness) but does not necessarily require a high degree of skill. It consists in painting with a translucent dark such as asphaltum and then, while wet, painting back into this dark with an opaque light (e.g., some colour based on [[Lead paint|lead white]] or titanium white). Some of the colour of the dark will now darken the opaque light and, simultaneously, the darks will be lightened. This operation can be repeated if necessary and, by so doing, very subtle blending effects may be achieved. It is not [[ipso facto]] a technique using translucent layers as is sometimes supposed; one will wish to draw a distinction between this technique and the straight-forward translucent painting of [[Titian]]. However the translucency of the darks, repeatedly applied and blended into the lights, does lend an enamelled character to the result which, in the hands of a competent practitioner, can be charming and can yield extremely subtle results. |
It is not a difficult technique in practice. It requires competence in brushwork and judgement of value (brightness) but does not necessarily require a high degree of skill. It consists in painting with a translucent dark such as asphaltum and then, while wet, painting back into this dark with an opaque light (e.g., some colour based on [[Lead paint|lead white]] or titanium white). Some of the colour of the dark will now darken the opaque light and, simultaneously, the darks will be lightened. This operation can be repeated if necessary and, by so doing, very subtle blending effects may be achieved. It is not [[ipso facto]] a technique using translucent layers as is sometimes supposed; one will wish to draw a distinction between this technique and the straight-forward translucent painting of [[Titian]]. However the translucency of the darks, repeatedly applied and blended into the lights, does lend an enamelled character to the result which, in the hands of a competent practitioner, can be charming and can yield extremely subtle results. |
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Revision as of 15:22, 8 November 2009
Sfumato is one of the four canonical painting modes of the Renaissance (the other three being Cangiante, Chiaroscuro, and Unione).[1] It refers to a mode of painting in which there are no extreme darks or lights, as the brightness values are grouped more or less tightly together around middle gray. It corresponds to the concept of 'low-contrast' in photography. The Italian word sfumato (pp. of fumare, 'to smoke') captures the idea precisely. The finished product appears as though a veil of smoke had drifted between the subject of the painting and the viewer and had added some brightness to the pure darks and had blocked some of the pure brights of the subject.
It is not a difficult technique in practice. It requires competence in brushwork and judgement of value (brightness) but does not necessarily require a high degree of skill. It consists in painting with a translucent dark such as asphaltum and then, while wet, painting back into this dark with an opaque light (e.g., some colour based on lead white or titanium white). Some of the colour of the dark will now darken the opaque light and, simultaneously, the darks will be lightened. This operation can be repeated if necessary and, by so doing, very subtle blending effects may be achieved. It is not ipso facto a technique using translucent layers as is sometimes supposed; one will wish to draw a distinction between this technique and the straight-forward translucent painting of Titian. However the translucency of the darks, repeatedly applied and blended into the lights, does lend an enamelled character to the result which, in the hands of a competent practitioner, can be charming and can yield extremely subtle results.
The most prominent practitioner of sfumato was Leonardo da Vinci and his famous painting of the Mona Lisa exhibits all the advantages of the technique. The historical value of this painting consists precisely of the subtle but accurate way in which emotions are expressed. This expression is due in no small part to the gentle shading that sfumato promotes. Leonardo da Vinci described sfumato as "without lines or borders, in the manner of smoke or beyond the focus plane."[2]
See also
Notes
- ^ Hall, Marcia (1994). Color and Meaning: Practice and Theory in Renaissance Painting. Cambridge University Press. ISBN 978-0521457330.
- ^ Earls, Irene (1987). Renaissance Art: A Topical Dictionary. Greenwood Press. p. 263. ISBN 0313246580.
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