Representing Light – Post #3

Following the posts #1 and #2 of the “representing lighting” series, for this third post, I would like to show some drawings from the past, which are also representing light in a scene.  The selected works are a wood cut print, a pencil drawing and an aquatint print. All 3 are monochrome representations of light. In this post, I’m introducing another manner used by artists to represent and give emphasis to the light and the atmosphere created by the light.

We start with the work of Lyonel Charles Feininger (1871-1956) named “Street Lantern” from 1928. This piece is a woodcut work which is a relief technique used in print making, in which the artist carves the image leaving the printing part level with the surface and removing the non-printing parts. This is a technique, which is used by many artists, not only to produce monochrome images, but also coloured ones. Here the analysis:

> painting elements: the image is about a street scene, where to the centre-left a large lantern is positioned. The lantern illuminates the surrounding buildings and a small human figure stands on the lower left corner.

> how’s the light in the scene: the lighting represented suggests a very strong brightness, emanated from the lantern. The lines coming from the lantern underline the drama created by the artist. Possibly a critic to the strong street lanterns of the time…

> what’s the character of light: the light coming from the lantern is the main topic in this work, apparently illuminating the whole corner of the scene, highlighting the facades of the buildings at the back of the image.

> dominant colours: as mentioned previously, the work is monochrome. Nevertheless, the bright surfaces (excluded from the woodcut) suggest that the artist wanted to induce the feeling of a “lot of light”… Here, perhaps because of the technique used, there are no shaded tones. It’s either black or white, or rather, dark or bright.

> interesting bit: the size of the lantern in comparison to the human figure is what gives the idea that the light is the main theme in this work. The cubic art, a recurrent theme in Feininger’s work, can be seen here too, as the lines defining the houses and streets are in planes which are hard to be identified. Through the direction of the strokes which represent the light coming out of the lantern, the impression of a strong light source is reinforced.

The next drawing is from Edward Hopper (1882-1967) and is named “Night Shadows” from 1921.

In this drawing Hopper depicts a street corner and gives emphasis to contrast to suggest a dramatic scene, probably late in the night.  The elements are as follows:

> painting elements: the drawing suggests a street corner or crossing with a building, possibly a shop with windows and the entrance at the corner and other spaces in the upper floors.

> how’s the light in the scene: the light source here cannot be seen and is merely suggested by the contrast between very bright and very dark areas in the drawing and the directionality of the light, reinforced by the drawing lines and the shadow behind the human figure. The image also indicates a very strong and direct street light as can be interpreted by the dark line crossing the image, representing the shadow of a long street light pole. It could also be a spot light highlighting a street pole…

> what’s the character of light: this drawing is all about the light source and it’s position in the image, reinforced by the strong shadows and suggested directionality in the representation.

> dominant colours: again here, the drawing is monochromatic, but the pencil strokes create a sort of gradient from bright to dark, easing the reading for the observer, and this is where this work differs from the previous work.

> interesting bit: the scene is quite dramatic as is suggested by the strong contrasts and the “dark corners” of the image. There is only one person in the scene, supposedly a man, suggesting a late hour in the evening. The shop at the corner also seems to be closed, as the windows are dark and there’s no light pouring out of them. Only by contrast of bright and dark and placing one human figure alone, one can have the perception of time.

The third work analysed here is from JamesTurrell (* 1943) and is from 1989.  This work is titled “Munson” and is from the Aquatint series titled “First Light”.  

This methodology exists since a long time and used in the printing process, like in the first work here analysed. In Turrell’s work, it is used to represent light. It’s not lighting in a scene, as studied in this series of articles, but rather light itself and the representation of space through light.

The geometrical shapes in Turrell’s aquatint works seem to come from the projection of light onto two adjacent flat surfaces, two walls forming a corner edge. Here the analysis:

> painting elements: the image shows the inner corner of a space where a white cube (3-dimensional) or a “light” cube is suspended on the walls.

> how’s the light in the scene: the “light” here is the 3d object itself. The brighter surfaces representing the cube and surrounded by the darker walls.

> what’s the character of the light: the light seems to actually be the only element in the scene, creating the impression of a suspended cube.

> dominant colours: here again, the image in the print is monochrome. The large areas of the image (the walls and floor) appear to contain only similar shades of gray, which together, as the brain interprets them, give the impression of a 3-dimensional space. The brighter areas, inserted in the 3d space give the feeling of a white light projection.

> interesting bit: the “light” is an intrinsic part of the image, without it, there’s no image. Is it the apparent projection of light, or is it only the impression of darkness and brightness that gives the impression of a light projection and of a 3d space and object? Also, the light is contained within the object and not emanating from it, as would be expected.

This last work is particularly difficult to analyse, as the image does not represent a life scene, but rather an object. It is in the eyes of the observer to interpret what he/she wants to see.  As Turrell’s works, the aquatint prints also deal with perception and the observer’s interpretation.

For those interested in this research work,we’ll be giving a talk at the IALD Enlighten Asia in March 2019. Join us, if you wish to discuss the topic and listen to the outcome(s) of the research.

Hope you have enjoyed.

See you in the next post

#thelightingtips

Disclaimer: The images shown in this article are for the sole purpose of enhancing the discussion herewith initiated and are therefore used with nonprofit educational purposes.