The Painter in oil

Effects of Light. - It is important to study the different qualities of light. Take, for
instance, the difference of character on a sunny day and on a gray day. On the former,
fine distinctions of color are less pronounced; they are lost in contrasts of sunlight and
shadow. On a gray day the light is diffused; contrast is less, but the finer distinctions are
more marked. For the study of the subtleties of color choose a gray day. So, too, is the
difference marked between the general light of out-doors and the more concentrated
light of the house. The pitch is different. Outside, even in a dark day, the general
character of light is clearer, more full, than in-doors.
There is nothing possible under the open sky like the strong contrasts you get from a
single window in an otherwise unlighted room.
Compare, for instance, the character of the light and shade as shown in the
illustrations on pages 156 and 159. The one if the diffused, out-of-door light, the other
that from a studio window. The character of the subject has nothing to do with this
quality. The head would have less of sharpness and contrast in the open air, and more
reflected light. Other differences to be studied as to quality of light in the manner of its
contrast, and also for its color quality, are to be seen in moonlight or nightlight as
compared with daylight.
Artificial light, such as lamp- and candle-light, gives marked effect also, which may be
compared with daylight both as it is out-of-doors and in its more concentrated effects in
the studio. Compare the picture of the “Woman Sewing by Lamplight,” by Millet, with
the “Canal” and the “Bohemian Woman” given above. The effects of gas and electric light
also should be studied. Their characteristics both of contrast and, particularly, of color
are worth your attention as a student, inasmuch as the essence of some pictures lies in
these qualities.
Another matter of great importance to the student, and one which the same three
illustrations just referred to me serves to show, is the effect on objects of the position of
the point of entrance of the light with reference to them to them and to the observer. The
simplest light is the side-light from a single widow. This gives broad, sharp masses of
light and shade, and makes the study of drawing and painting more simple.
With the observer in the same relative position to the subject, as the light swings
round towards a point back of him the contrasts becomes less, the relations more subtle
and difficult of recognition, and naturally the study of them more difficult. In this
position of light the values become “close.” To make the object seen at all, it is necessary
that the finest distinctions shall be observed.
Portrait painters have always been fond a top light, which gives a direct concentrated
light descending on the sitter, very similar in character to the side-light, but more
favorable to the expression and drawing of the face.
Cross Lights. - The most confusing and difficult of study and representation are the
“cross lights.” If there are several windows or other points for the admission of light and
the sitter or object painted is between them, the light comes from all sides, so that the
rays cross each other and there is no single scheme of light and shade. The rays from one
side modify the shadows cast from the other side, and a perplexing and involved
arrangement of values is the result. This is a favorite technical with painters, and its
solution is splendid training; but the student who can successfully solve it is not far from
the end of his “student days.”