The Quality of Mystery

Oswald Achenbach, Fishermen

The two light sources in this 19th century work are the moon and a torch held by one of the fishermen. The warm light of the torch helps bring the foreground of the scene forward, while the cool, silver lunar light, filtered through the smoke of a smouldering volcano (Vesuvius perhaps), makes the background recede. 

The artist has chosen to conceal both these light sources, imbuing the painting with an engaging sense of mystery; a quality that seems to have been aimed for in the 19th century but is often neglected in these days of sound bites and instant information.

The equilibrium of a square format helps create a mood of tranquility.

Achenbach (2 February 1827 – 1 February 1905) was a German landscape painter. Born in Düsseldorf, he received his art education from his brother, Andreas Achenbach. His landscapes generally dwell on the rich and glowing effects of color which drew him to the Bay of Naples and the neighborhood of Rome.

Dramatic Lighting

Source: J Russell Jinishian Gallery
Russ Kramer, The Wizard and the Queen
Donald Demers, Sunrise at Sea
Christopher Blossom, Silhouette

Highlights

Terrick Williams,
The Cornish Coast,
16 x 20 inches

The touches of sunlight on the rocks take only a few moments to add (usually last) but go along way towards bringing a scene to life.

See also the dots of lights on the waves in the post below, and imagine the painting without them.

Terrick Williams (20 July 1860 – 20 July 1936) was a British painter and a member of the Royal Academy. During his lifetime, Williams became one of the most successful painters in London.

Happy New Year!

Jeffrey Larson,
16 x 12 inches

Those inexperienced with tonal painting, would probably be afraid to use the very dark tones seen in the figures (the arms and shadows in the blond hair are almost black)  but they are critical to producing, through contrast, the effect of brilliant light reflecting off the foam.

It's a useful exercise to look at the different tones in an image in isolation from each other. You'll be surprisied, maybe even shocked, at how much darker or lighter the isolated tones really are compared to their appearance in the whole image. You can use a piece of opaque paper with a small hole in it, or, with digital images, use the eye-dropper tool in PhotoShop to sample tones and hues.

Midday Light

Neapolitan Children Bathing, 1879, 267 x 413 cm

Very dark, short shadows give the feeling of bright midday sun.

I had incorrectly attributed this work to the Spanish impressionist Sorolla, but it is actually by the American impressionist John Singer Sargent.

June Carey - American

Sonoma Surf, 18 x 24 inches


Sundown at Sea Ranch, 16 x 20 inches

Many artists favour early morning or late afternoon light because it's more evocative and subtle.

June Carey has wonderfully captured the light effects and atmosphere of her locations.

Ralph Feyl - American, contemporary

12 x 16 inches


Gullrock, 8 x 10 inches


Late Afternoon Light, 20 x 24 inches