Chiaroscuro Collection (page 7)

Dead Christ (oil on canvas)
899031 Dead Christ (oil on canvas) by Italian School, (17th century); Musee des Beaux-Arts, Nantes, France; (add.info.: Ecole napolitaine. PE6714)

Pope Leo X (black chalk on paper)
449304 Pope Leo X (black chalk on paper) by Raphael (Raffaello Sanzio of Urbino) (1483-1520); The Devonshire Collections, Chatsworth; (add.info.: Pope Leo X (11 December 1475 - 1 December 1521)

The Mocked Christ (oil on canvas)
BRN160665 The Mocked Christ (oil on canvas) by Greco, El (Domenico Theotocopuli) (1541-1614); The Barnes Foundation, Philadelphia, Pennsylvania, USA; © Barnes Foundation

The Tiburtine Sibyl showing Emperor Augustus the Virgin and Christ Child, ca. 1530-40. ca. 1530-40. Creator: Anon
The Tiburtine Sibyl showing Emperor Augustus the Virgin and Christ Child, ca. 1530-40

The Tirburtine Sibyl telling the Emperor Augustus of the coming in Christ, after Parmig... 1530-40. Creator: Anon
The Tirburtine Sibyl telling the Emperor Augustus of the coming in Christ, after Parmigianino, 1530-40

Detail of "The Assumption of Mary", 1745-48 (fresco)
3928826 Detail of "The Assumption of Mary", 1745-48 (fresco) by Bortoloni, Mattia (1695-1750), Biella, Felice (1702-86) & Bibiena, Giuseppe Galli (1696-1757); Sanctuary of Vicoforte, Cuneo

The Bubble (photogravure)
3618397 The Bubble (photogravure) by Brigman, Anne W. (1869-1950); Minneapolis Institute of Arts, MN, USA; © Minneapolis Institute of Art; © Minneapolis Institute of Art

Lantern and Fireplace, 1932 (wood engraving)
1069217 Lantern and Fireplace, 1932 (wood engraving) by Gag, Wanda (1893-1946); 26.7x21 cm; Dallas Museum of Art, Texas, USA; gift of Robert Janssen

Detail of "The Assumption of Mary", 1745-48 (fresco)
3928825 Detail of "The Assumption of Mary", 1745-48 (fresco) by Bortoloni, Mattia (1695-1750), Biella, Felice (1702-86) & Bibiena, Giuseppe Galli (1696-1757); Sanctuary of Vicoforte, Cuneo

Abraham Lives the Three Angels, c. 1694 (oil on canvas)
5974671 Abraham Lives the Three Angels, c.1694 (oil on canvas) by Guidobono, Bartolomeo (1654-1709); 225x164 cm; Luisa Ricciarini

Shepherd with a Flute, c. 1525 (oil on canvas)
3545825 Shepherd with a Flute, c.1525 (oil on canvas) by Savoldo, Giovanni Girolamo (c.1480-p.1548); 97x77.9 cm; J. Paul Getty Museum, Los Angeles, USA

A Frieze of Figures Standing in a Landscape, c. 1910 (oil on canvas) [LDUCS-5264]
UCL281382 A Frieze of Figures Standing in a Landscape, c.1910 (oil on canvas) [LDUCS-5264] by McNaught, Elsie (active 1910-20); 101.6x132.1 cm; UCL Art Museum, University College London

Detail of "The Assumption of Mary", 1745-48 (fresco)
3928824 Detail of "The Assumption of Mary", 1745-48 (fresco) by Bortoloni, Mattia (1695-1750), Biella, Felice (1702-86) & Bibiena, Giuseppe Galli (1696-1757); Sanctuary of Vicoforte, Cuneo

Detail of "The Assumption of Mary", 1745-48 (fresco)
3928822 Detail of "The Assumption of Mary", 1745-48 (fresco) by Bortoloni, Mattia (1695-1750), Biella, Felice (1702-86) & Bibiena, Giuseppe Galli (1696-1757); Sanctuary of Vicoforte, Cuneo

Rebecca Salsbury Strand, 1922 (gelatin silver print)
2970961 Rebecca Salsbury Strand, 1922 (gelatin silver print) by Stieglitz, Alfred (1864-1946); The Art Institute of Chicago, IL

Detail of "The Assumption of Mary", 1745-48 (fresco)
3928823 Detail of "The Assumption of Mary", 1745-48 (fresco) by Bortoloni, Mattia (1695-1750), Biella, Felice (1702-86) & Bibiena, Giuseppe Galli (1696-1757); Sanctuary of Vicoforte, Cuneo

River landscape by Moonlight, c. 1623-77 (oil on canvas)
7240841 River landscape by Moonlight, c.1623-77 (oil on canvas) by Neer, Aert van der (1603-77); 41.5x53 cm; The Weston Park Foundation, Shropshire

Light and Shadow, 1916 (oil on canvas)
5917540 Light and Shadow, 1916 (oil on canvas) by Sohlberg, Harald Oscar (1869-1935); 60.5x80.5 cm; Private Collection; Photo © O. Vaering

Portrait of Mary Adeline Williams, 1899. Creator: Thomas Eakins
Portrait of Mary Adeline Williams, 1899. Dark portrait of an older light-skinned women with dark hair in a black dress and white collar, her hair pinned up. Her face is in partial shadow

Self-Portrait, 1889. Creator: Eastman Johnson
Self-Portrait, 1889. American painter Eastman Johnson

A Boy Blowing on a Firebrand, 1621 / 22. Creator: Gerrit van Honthorst
A Boy Blowing on a Firebrand, 1621/22

Jacobs Farewell to Benjamin, 1650 / 60. Creator: Unknown
Jacobs Farewell to Benjamin, 1650/60. [In the Old Testament, Benjamin was the last-born of Jacobs thirteen children]. Follower of Rembrandt

The Resurrection, 1619 / 20. Creator: Cecco del Caravaggio
The Resurrection, 1619/20

Young Man in a Turban, c. 1650. Creator: Unknown
Young Man in a Turban, c. 1650. Follower of Rembrandt

Penitent Saint Peter, 1628 / 32. Creator: Jusepe de Ribera
Penitent Saint Peter, 1628/32

Two Geisha Girls, 1894 (oil on canvas)
995620 Two Geisha Girls, 1894 (oil on canvas) by Hornel, Edward Atkinson (1864-1933); The Hunterian, University of Glasgow, Scotland; eHunterian Museum & Art Gallery; Scottish, out of copyright

The Martyrdom of St. Matthew, detail, 1599-1600 (oil on canvas)
BEN107254 The Martyrdom of St. Matthew, detail, 1599-1600 (oil on canvas) by Caravaggio, Michelangelo Merisi da (1571-1610); San Luigi dei Francesi, Rome, Italy; Photo eRaffaello Bencini; Italian

Portrait of the Mennonite Preacher, Cornelius Claesz Anslo and his wife
1272610 Portrait of the Mennonite Preacher, Cornelius Claesz Anslo and his wife, Aaltje Gerritsdr Shouten, 1641 (oil on canvas) by Rembrandt Harmensz

Portrait of Monsieur Nicolle, 1862 (oil on canvas)
1275482 Portrait of Monsieur Nicolle, 1862 (oil on canvas) by Courbet, Gustave (1819-77); 60x49 cm; Private Collection; Photo eChristies Images; French, out of copyright

Saint Paul (oil on canvas)
CH438718 Saint Paul (oil on canvas) by Parrocel, Etienne (Le Romain) (1696-1775); 64.1x48.6 cm; Private Collection; Photo eChristies Images; French, out of copyright

The Lamentation (oil on slate)
CH438372 The Lamentation (oil on slate) by Farinati, Orazio (1559-after 1616); 33x27.9 cm; Private Collection; Photo eChristies Images; Italian, out of copyright

The infant St. John the Baptist (oil on panel)
CH441563 The infant St. John the Baptist (oil on panel) by Vinci, Leonardo da (1452-1519) (manner of); 73x52.7 cm; Private Collection; Photo eChristies Images; Italian, out of copyright

Venus and Cupid (oil on panel)
3061950 Venus and Cupid (oil on panel) by Valckert, Werner Jacobsz van den (1585-1627); 101.4x75.6 cm; Private Collection; Photo eChristies Images; Dutch, out of copyright

Poker, 1896 (woodcut)
715066 Poker, 1896 (woodcut) by Vallotton, Felix Edouard (1865-1925); 17.8x22.2 cm; Private Collection; (add.info.: Le Poker); Photo eChristies Images; Swiss, out of copyright

Gal. 48, c. 29b, folio from Sidereus Nuncius, 1610 (pen & ink on paper)
3928777 Gal. 48, c. 29b, folio from Sidereus Nuncius, 1610 (pen & ink on paper) by Galilei, Galileo (1564-1642); 19x12.7 cm; Biblioteca Nazionale Centrale, Florence

Old Man Holding a Candle and a Glass (oil on canvas)
3932151 Old Man Holding a Candle and a Glass (oil on canvas) by Coster, Adam de (c.1586-1643); 85.5x63.5 cm; National Museum, Stockholm

Card Players, 1815 (oil on canvas)
3930907 Card Players, 1815 (oil on canvas) by Laureus, Alexander (1783-1823); 53.5x75 cm; National Museum, Stockholm, Sweden; Finnish, out of copyright

The Virgin in Prayer, 1640-50 (oil on canvas)
3700771 The Virgin in Prayer, 1640-50 (oil on canvas) by Sassoferrato, Il (Giovanni Battista Salvi) (1609-85); 73x57.7 cm; National Gallery, London, UK; Italian, out of copyright

Saint Andrew, 1635-40 (oil on canvas)
3552369 Saint Andrew, 1635-40 (oil on canvas) by Zurbaran, Francisco de (1598-1664); Museum of Fine Arts (Szepmuveszeti) Budapest, Hungary; UIG; Spanish, out of copyright

Under the Lamp, c. 1882 (soft ground etching & aquatint in black on cream wove paper)
3676629 Under the Lamp, c.1882 (soft ground etching & aquatint in black on cream wove paper) by Cassatt, Mary Stevenson (1844-1926); 23.7x32.1 cm; The Art Institute of Chicago, IL, USA; Albert H

An Elderly Man in Prayer, 1660-65 (oil on canvas)
5672977 An Elderly Man in Prayer, 1660-65 (oil on canvas) by Rembrandt Harmensz. van Rijn, (1606-69) (follower of); 87.3 x 72 cm; Cleveland Museum of Art, OH

Saint Jerome, 1646 (oil on canvas)
5614472 Saint Jerome, 1646 (oil on canvas) by Ribera, Jusepe de (lo Spagnoletto) (1591-1652); 146X198 cm; Narodni Galerie, Prague

Girl Reading, c. 1660 (oil on panel)
5863936 Girl Reading, c.1660 (oil on panel) by Hals, Nicolaes (1628-68); 30.8x24 cm; Mauritshuis, The Hague, The Netherlands; Dutch, out of copyright

A woman sewing (oil on canvas)
621556 A woman sewing (oil on canvas) by Sweerts, Michael (1618-64) (attr. to); 41.2x32.7 cm; eThe Devonshire Collections

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Chiaroscuro, a term derived from the Italian words "chiaro" meaning light and "scuro" meaning dark, refers to the technique of using strong contrasts between light and shadow in visual arts. This artistic method has been employed by numerous renowned artists throughout history, such as Diego Velazquez, Raphael, and many others. In Diego Velazquez's painting "Old Woman Cooking Eggs, " created in 1618, chiaroscuro is evident through the dramatic interplay of light and shadow on the subject's face. The contrast highlights her weathered features while adding depth and dimension to the overall composition. Similarly, in his masterpiece "Christ before the High Priest, " painted in 1617, Velazquez skillfully uses chiaroscuro to emphasize Christ's solemn expression amidst a dimly lit setting. The play of light enhances both the emotional intensity of the scene and creates a sense of mystery. Another notable example is Albrecht Dürer's engraving titled "Melencolia I. " Created during the Renaissance period, this artwork showcases intricate details illuminated by contrasting areas of darkness. Chiaroscuro here serves not only as an aesthetic choice but also symbolizes melancholy itself. Moving forward in time to Jan van Kessel II's still life painting "Still Life of Asparagus" from 1699; chiaroscuro plays a significant role in highlighting each individual stalk against a dark background. This technique adds realism to the arrangement while creating an atmosphere that draws attention to every delicate detail. Raphael's monumental work "The Transfiguration of Christ, " completed between 1516-1520, exemplifies how they are be used for narrative purposes. By employing strong contrasts between light and shadow on different figures within this religious scene, Raphael effectively guides viewers' focus towards key elements or characters. Even modern artists have embraced this technique.