Schlagwort: light
-
Looking Closer: The Foreshortened Body in Ludovico Carracci’s Lamentation
For this Friday’s Looking Closer, we stay with the same painting I used to explain foreshortening in Technique Tuesday—but this time, we surrender to a single, vertiginous detail: the foreshortened body of Christ in Ludovico Carracci’s The Lamentation (ca. 1582, The Metropolitan Museum of Art). Forget the entire scene for a moment. Let your eye…
-
Technique Tuesday: Monet’s Broken Colour – Painting Light in “Water Lilies”
How Monet’s broken colour turns scattered strokes of paint into shimmering light on water in his Water Lilies series—teaching your eye to mix colour on the canvas.
-
Technique Tuesday: Rembrandt’s Double Mirror – Self‑Portraits in the Uffizi
How Rembrandt uses brushwork, light, and costume to paint two very different self‑portraits in the Uffizi—turning his own face into a lesson in surface, structure, and time.
-
Technique Tuesday: Titian’s Golden Veil – Glazing Flesh in “Venus and Adonis”
How Titian’s layered oil glazes turn Venus’s skin in Venus and Adonis (1550s, The Met) into a luminous, living surface—more like light in flesh than paint on canvas.
-
Looking Closer: Goya’s Flickering Medals on Ferdinand VII’s Shoulder
For this Friday’s Looking Closer, let’s return to Francisco de Goya’s Ferdinand VII (When Prince of Asturias) at The Met—but ignore the famously blank royal face. Instead, slide your gaze down to the prince’s right shoulder, where the dark coat, blue sash, and glittering medals collide. Up close, that courtly finery stops being tidy. The…
-
Technique Tuesday: Raphael’s Invisible Architecture – Perspective in The School of Athens
How Raphael’s School of Athens uses one-point linear perspective as an invisible architecture – turning a crowded gathering of philosophers into a lucid, walk‑in world of stone, light, and converging lines.
-
Looking Closer: Goya’s Velvet Shoulder in the Portrait of Ferdinand VII
For this Friday’s Looking Closer, we won’t begin with monsters or darkness, but with something deceptively polite: a velvet shoulder in Francisco de Goya’s Ferdinand VII (When Prince of Asturias), today in The Metropolitan Museum of Art. Ignore the royal face for a moment. Let your eye slide down to the prince’s right shoulder and…
-
Painter’s Anecdote: Artemisia Gentileschi, Court Scandal, and the Painted Comeback
How a teenage painter at the centre of a Roman court scandal turned trauma into canvases where women quietly seize the spotlight—and refuse to give it back.
-
Francisco de Goya’s Black Paintings: When the Walls Start Listening
Goya’s Black Paintings were never meant for a museum—they were nightmares painted on the walls of his own house. This deep dive explores how an ageing, deaf court painter turned his villa into a theatre of war, witchcraft, disillusion, and radical honesty.
-
Technique Tuesday: Goya’s Velvety Darkness – Glazing in Manuel Osorio Manrique de Zuniga
How Goya’s transparent glazes make a small boy in scarlet and his menagerie glow out of velvety darkness in Manuel Osorio Manrique de Zuniga (1787–88).