Elements of art: Light

• Art and design
• Upper Secondary (Key Stage 4)
• Higher Education (degree)

Introduction

Through the work of Vincent van Gogh, the students will learn about light as an element of art. After an interactive introduction to the terms light source, light direction, light-dark contrast and shadow, they will practise what they have learned and make sketches.

Instructions

General learning objectives
- The students will learn about light as an element of art.
- The students will learn to recognise and use the terms light source, light direction, light-dark contrast and shadow when talking about their own art works and other people's.

Materials required
- For the chiaroscuro assignment, the students need a camera or mobile phone.
- For the two sketching assignments, the students need paper and pencils.

Optional variations
- The sketching assignments can be extended by having the students paint, rather than draw. Keep in mind that at least 60 minutes of class time will then be required.
- The lesson can be shortened by doing only the exercises, or by doing the rest of the lesson and leaving out the exercises

LIGHT

When we talk about light as an element of art, we are talking about the effect of light on 2D and 3D forms.

Undergrowth, 1889.

LIGHT SOURCE

Light source: the object that gives off light.

Explain the term light source, or click on the hotspot for a definition.

Then ask the students to identify the light source in the painting Undergrowth.

Natural light is light given off by a natural source, such as the sun, the moon, the stars, fire or lightning. In The Harvest, the source is the sun.

Artificial light is light from an artificial source.  In The Potato Eaters, the source is the oil lamp.

If necessary, explain the difference between natural and artificial light.
Then ask the class in which painting Vincent used each kind of light. The answers are in the hotspots.

• The Harvers, 1888
  
• The Potato Eaters, 1885
  

Before Vincent began work on The Potato Eaters, he wasn't sure whether to paint the family in daylight or in the evening. He decided to paint an evening scene with an oil lamp. Go on to the next slide, which has a question for the class.

What is the effect of the oil lamp?

The light from the oil lamp and the placement of the lamp draw the viewer's attention to the family. The light makes them all seem connected to each other. Around them, there is darkness. But inside the family circle, there is light.

LIGHT DIRECTION

Light direction: the direction from which the light comes.

Explain the term light direction, or click on the hotspot for a definition. Ask the students what direction the light in this painting comes from, and why they think so.

If you, the viewer of the art work, are looking into the light source, you call that backlight. In this case, you're looking into the sun.

Light that comes from behind the viewer and shines on the front of the subject is called frontal light. The frontal light in this painting makes it easy to see all the details, like the letters on Joseph Roulin's cap.

If necessary, explain the terms 'backlight' and 'frontal light'. Then ask in which painting Vincent uses each kind.
Tip: You can draw the light direction on the paintings using the pencil on the bar at the bottom.

• The Sower, 1888
  
• Portrait of Joseph Roulin, 1889, Kröller-Müller Museum, Otterlo
  

What is the main difference in effect between using backlight and using frontal light?

Backlight almost always creates silhouettes. In contrast, frontal light illuminates the subject very clearly. You can hardly see any shadows.

Side light is light that comes from the side. It creates very obvious shadows, like the shadows in the skeleton's eye sockets and on its forehead.

Raking light is light that 'rakes' along the surface of objects. It reveals their texture very clearly.

If necessary, explain the terms side light and raking light. Then ask the class in which painting Vincent used each kind. The answers are in the hotspots.

• Head of a Skeleton with a Burning Cigarette, 1886
  
• Woman Sewing, 1885
  

Can raking light ever be side light?

In fact, raking light is almost always side light. So the answer is yes.

Here, the light comes from all sides. This is called indirect light or diffuse light.

Ask the students where the light in this painting comes from.

Boulevard de Clichy, 1887

Sketch 1: Still life

            

You have five minutes to draw a still life using:
- artificial light
- raking light.

Tip: Too easy? Then draw in Vincent's style, using, dots and dashes.

Give the students five minutes to sketch. Click on the timer to start the countdown.

After five minutes, you can discuss the sketches with the class. Tell them to save their sketches. They'll need them later in the lesson.

LIGHT-DARK CONTRAST

Light-dark contrast: the difference between light and dark areas in a painting.

Explain the term light-dark contrast, or click on the hotspot for a definition. Discuss the various light-dark contrasts in the painting.

Here, Vincent mostly used a weak light-dark contrast. There is not much difference between the light and dark sections.

Here, you can see a strong light-dark contrast. There is a large difference between the light and dark areas: the black shoes, in contrast to the light brown background.

In one of these paintings, Vincent used a strong light-dark contrast. In the other one, there is mostly a very weak light-dark contrast. Ask the class which is which.

• Montmartre: Windmills and Allotments, 1887
  
• Shoes, 1886

?? stoel gaugain??

This effect is called chiaroscuro, from the Italian words for light (chiaro) and dark (scuro). The light-dark contrasts in this painting are stronger than they normally would be in everyday life. That makes the painting look dramatic.

Explain to the class: This self-portrait also involves a strong light-dark contrast. This is called chiaroscuro.

• Self-Portrait with Felt Hat, 1886-1887
  

You have one minute to take a dramatic photo with chiaroscuro.

Give the class one minute to take photos with a chiaroscuro effect. For example, they could take selfies. Click on the stopwatch to start the countdown. Then discuss the results.

SHADOW

Shadow is formed when the light from a light source is partly or completely blocked by an object. It takes light and an object to make a shadow.

Explain the term shadow, or click on the hotspot for an explanation.

You could ask the class what you call the type of shadow Vincent uses in this painting. (Answer: cast shadow.)

Core shadow: the shadow of an object on the object itself. In other words, the dark side of the object. In this case, we can see core shadows on the beer mugs. In this same painting, we can also see cast shadows.

Cast shadow: the shadow cast by an object onto a different object or surface. In this case, we see Vincent's shadow on the ground.

If necessary, explain the terms cast shadow and core shadow. Ask in which painting Vincent used each kind of shadow.

• Beer Tankards, 1885
  
• The Painter on the Road to Tarascon, 1888. In the Second World War, it was destroyed in an bombing raid.
  

Silhouet

This painting, Landscape at Twilight, is described in a letter from Vincent to his brother Theo: 'two completely dark pear trees against yellowing sky with wheatfields' (letter 891, 24 June 1890).

Click on the icon for a quote from Vincent about this painting.

Landscape at Twilight, 1889.

What do you call the effect described by Vincent?

Silhouet

A silhouette. We saw another silhouette earlier, in The Sower.

Now back to your sketches. Add:

         

- a weak contrast between light   and dark
- a cast shadow

Geef de leerlingen 3 minuten om aan hun schets verder te werken.

Bespreek vervolgens de resultaten.

SUMMARY

Light source:

Light direction:

Light-dark contrast:

Shadow:

• natural, artificial

• backlight, frontal light, side light, raking light, indirect/diffuse light

• weak contrast, strong contrast/chiaroscuro

• core shadow, cast shadow, silhouette
  

If you wish, you can go through the summary of the terms discussed.

EXERCISES

The next few slides are exercises on using these terms in practice.

- What is the light direction?

- What type of shadow do you see here?

Shadow: cast shadow

Shadow: core shadow

Light direction: backlight

Café Table with Absinthe, 1887.

- What is the light source?

- What kind of light-dark contrast does Vincent use?

Light source: natural light. Vincent painted the moon and many stars.

Light-dark contrast: In The Starry Night, you can see a strong contrast between light and dark. The light and dark sections (like the bright stars and dark sky) are right next to each other.

The Starry Night 1889, Museum of Modern Art, New York.

- What is the light source?

- What type of shadow do you see here?

Light source: natural light. The sun is shining on this landscape.

Shadow: You can hardly find any shadows here. There are some small patches of cast shadow under the trees. Vincent sometimes left out the shadows, inspired by Japanese prints.

Field with Irises near Arles, 1888.

- What kind of light-dark contrast did Vincent use?

- Why do you think he made that choice?

   First, read the quote under the envelope icon.

Vincent used chiaroscuro here. That makes the scene a little more dramatic than a weak light-dark contrast.

'You see, I really have wanted to make it so that people get the idea that these folk, who are eating their potatoes by the light of their little lamp, have tilled the earth themselves with these hands they are putting in the dish, and so it speaks of manual labour and — that they have thus honestly earned their food. I wanted it to give the idea of a wholly different way of life from ours — civilized people. So I certainly don’t want everyone just to admire it or approve of it without knowing why.' Vincent wrote this in a letter to his brother Theo on 30 April 1885 (letter 497).

The Potato Eaters, 1885.

Sketch 2: A portrait

       

You have five minutes to make a portrait with:
- natural light
- and a silhouette.

Give the students five minutes for the assignment. Click on the stopwatch to start the countdown.
After five minutes, you can discuss the sketches with the class and finish the lesson.