Chiaroscuro

Chiaroscuro - used to depict volume, characterized by strong contrasts of light and shade usually affecting a whole composition.
My tutor recommended in his report for my assignment 3, that I include more mainstream artists to augment what is there. As an example he suggested I include some examples of chiaroscuro, particularly those of Rembrandt. The drawings by Claire Spencer are also good examples of this technique, as are those below, by Leonardo and Rembrandt.

Study for the Kneeling Leda

The shading above describes a quite linear form of chiaroscuro.

Leda's lower hand looks to me as though it is back to front - perhaps
she was a contortionist. Her lower right arm also looks thicker than the upper part.

- Just to illustrate that Leonardo was, of course, extremely accomplished at drawing hands and arms (above).

The Philosopher in Meditation 1632 - oil on wood 34x38 cm 

Rembrandt - The Philosopher in Meditation 

Here a dark frame curves around the entire foreground and perimeter of the painting. It branches off towards the seated figure from the left and again from the top right, reaching part way down the winding staircase, creating a mysterious void and producing an s-shaped movement within - echoed by partly lit areas of the staircase. This contrasts sharply with the glowing light from the window to the left of the philosopher, bringing him distinctly but softly  into focus. Another glow from the hearth on the lower right illuminates a woman's face and hands. The staircase gradually brightens and becomes clearer as it winds down and round towards the figure.
I found an interesting theory about the possible meaning behind the painting on the following link: http://dimahne.tripod.com/Articles/meditation.html

Claire Spencer - The Charcoal Forest

Recently, I re-discovered an article in an old copy of  The Artist magazine.
I recall saving the article because I found these charcoal drawings, by the artist Claire Spencer, so compelling -  I could literally gaze at them for hours on end. The drawings
were inspired by the Wyre Forest and two books written by 19^th century naturalist/philosopher Henry David Thoreau - The Maine Woods and Walden. They are based on his diary of thoughts and observations of the wilderness and nature, when he lived for a year by Walden Pool in the Maine Woods.

The first thing to strike me about these drawings is their dark brooding, yet alluring presence and strong sense of mystery, intensified by the strongly contrasting values. An amazing variety of mark making brings out wonderfully well the form and textures of foliage and tree bark, revealing the character and atmosphere of the natural woodland - graceful sinewy branches of trees appear to be alive and moving. Some ancient parts of this forest were managed over many centuries for charcoal burning, so charcoal is, I think, a perfectly fitting medium to use for this series. Apart from the way it lends itself so well to the subject, I think the artist has paid a great complement to Thoreau’s writings and to these woods by interpreting them in such a sensitive way.