Chiaroscuro Quotes
![He [the artist in general] ought to have 'these powerful organs of expression' - colour and chiaroscuro - entirely at his command, that he may use them in every possible form, as well as that he may do with the most perfect freedom; therefore, whether he wishes to make the subject of a joyous, solemn, or meditative character, by flinging over it the cheerful aspect which the sun bestows, by a proper disposition of shade, or by the appearances that beautify its arising or its setting, a true "General Effect" should never be lost sight of. (John Constable)](https://static.quotesdtb.com/img/quotes_images/51/john-constable-arising-artist-193951.jpg)
It seems that the first consideration of a painter who stands before the white canvas should be to decide what curves and arabesques should cut the surface, what tints and tones should cover it... Following the precepts of Delacroix he would not begin a composition until he had first determined its organization. Guided by tradition and by science, he would adjust the composition to his conception, that is to say he would adapt the lines (directions and angles), the chiaroscuro (tones), the colors (tints), to the traits he wished to make dominant.
Paul Signac
I have just had my first lesson in Chinese brush from my friend and artist Teng Kwei. The tree is no more solid in the earth, breaking into lesser solids in the earth, breaking into lesser solids bathed in chiaroscuro. There is pressure and release. Each movement, like tracks in the snow, is recorded and often loved for itself. The Great Dragon is breathing sky, thunder and shadow; wisdom and spirit vitalized. All is in motion now... One step backward into the past and the tree in front of my studio in Seattle is all rhythm, lifting, springing upward.
Mark Tobey
Proportion applies to sculpture as to painting; perspective determines the contour; chiaroscuro gives relief through the disposition of lights and shadows in their relationship with the background; color gives the appearance of life.. .The colorists, the men who unite all the phases of painting, have to establish, at once and from the beginning, everything that is proper and essential to their art. They have to mass things in with color, even as the sculptor does with clay, marble or stone; their sketch, like that of the sculptor, must also render proportion, perspective effect, and color.
Eugène Delacroix
[I] launched a new offensive against the fortress of painting. First, white thinned out in linseed oil as a general base. Second, color the entire surface lightly by applying very large areas of different colors that swim into one other and that must remain free of any effect of chiaroscuro. Third, a drawing, independent of and substituting for the unformulated tonal values. Then, at the end, some bass notes to ward off flabbiness, not too dark, but colored bass notes. This is the style that connects drawing and the realm of color, a saving transfer of my fundamental graphic talent into the domain of painting.
Paul Klee
For the painter, for whom painting is a vital activity and a way of life - not merely a profession - such attitudes as we find in the histories are deadly. For him the only benefit, at least the deepest and most important benefit, which he can get from the study of the Masters comes from his capacity to see the painting in a thoroughly contemporary way. I mean in the present tense - the tense after all in which it was painted. Not for instance as an early this or a late that, nor as a good example of chiaroscuro or some other aesthetic or technical quality but as an immediately important human statement completely relevant to his life at the moment and convincing for that reason. If a work does not strike the painter in this way all further analysis of it will be futile.
Patrick Swift
