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Updated: May 22, 2025
But to him natural facts were but so much material, to be treated as he pleased for the carrying out of his purpose. He was a colorist and a chiaroscurist; and he had a great deal more interest in light and in landscape than most of the painters of his time.
But for my own part, with what poor gift and skill is in me, I belong wholly to the chiaroscurist school; and shall teach you therefore chiefly that which I am best able to teach: and the rather, that it is only in this school that you can follow out the study either of natural history or landscape. He must lay his lion asleep in St.
III. Whether in formal or aerial chiaroscuro, it is optional with the student to make the local colour of objects a part of his shadow, or to consider the high lights of every colour as white. For instance, a chiaroscurist of Lionardo's school, drawing a leopard, would take no notice whatever of the spots, but only give the shadows which expressed the anatomy.
"It er means One moment, dear; I think I hear your father calling." She ran downstairs and consulted the dictionary. "A chiaroscurist," she told her little boy when she returned to the bedroom, "is a painter who cares for and studies light and shade rather than colour. Now go to sleep. You're too young to bother about such things." This child's mother was an ardent Ruskinian.
On the opposite wall at the Wallace collection is The Parable of the Unmerciful Servant, a fine example of Rembrandt the chiaroscurist, straightforward, but touched with that mystery so rare in painting, but which, under certain conditions, was as natural to Rembrandt as drawing. It is not always present in his work.
Next, this anonymous painter must have been a singularly refined and poetical artist, a master of brilliant colour, and an accomplished chiaroscurist. Truly a deus ex machina! Next you have to find a vacancy for such a phenomenon in the already crowded lists of Bellini's pupils and followers, as if there were not more names than enough already to fully account for every Bellinesque production.
They occur frequently, both in my inaugural lectures, and in "Aratra Pentelici," in which I have pointed out the essential connection between the schools of sculpture and those of chiaroscuro. I have always spoken of the Greek, or essentially sculpture-loving schools, as chiaroscurist; always of the Gothic, or colour-loving schools, as non-chiaroscurist.
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