Chiaroscuro Quotes

On this page you will find all the quotes on the topic "Chiaroscuro". There are currently 16 quotes in our collection about Chiaroscuro. Discover the TOP 10 sayings about Chiaroscuro!
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  • The music began, passages of immense technical complexity fluidly bridging Caravaggio’s chiaroscuro with Renoir’s impressionism. The gloom and shadows of claustrophobic chambers contrasting with the vibrant radiance of a wide-open landscape. The realism of humanity down to its dirty nails and rotten wounds combined with the fleeting sanguinity of the moment.

    Dirty   Humanity   Shadow  
    Ella Leya (2015). “Orphan Sky”, p.131, Sourcebooks, Inc.
  • Our mind is the canvas on which the artists lay their colour; their pigments are our emotions; their chiaroscuro the light of joy, the shadow of sadness. The masterpiece is of ourselves, as we are of the masterpiece.

    Andrew Forbes, David Henley, Okakura Kakuzo “The Illustrated Book of Tea”
  • Grandeur of effect is produced by two different ways which seem entirely opposed to each other. One is by reducing the colors to little more than chiaroscuro... and the other, by making the colors very distinct and forcible... but still, the presiding principle of both those manners is simplicity.

    Color   Two   Simplicity  
  • I must remember to forgive myself. Because there's an awful lot of gray to work with. No one can live in the light all the time."-A Great and Terrible Beauty

    Light   Forgiving   Awful  
  • Although the noise of the chattering clientele is much more significant than the topics of their chatter, it does finally constitute that type of social and indistinct expression that we refer to as rhubarb. The very particular volume in which people tell each other their news seems to generate all by itself that acoustic chiaroscuro, a sounding murk, in which every communication seems to lose its edges, truth projects the shadow of a lie, and a statement seems to resemble its opposite.

    Joseph Roth (2002). “What I Saw: Reports from Berlin 1920-1933”, p.141, W. W. Norton & Company
  • The amount of chiaroscuro an idea harbors is the only index of its profundity.

    Emile M. Cioran (1975). “A short history of decay”, Viking Books
  • He [the artist] ought to have 'these powerful organs of expression' - colour and chiaroscuro - entirely at his command, that he may use them in every possible form, as well as that he may do with the most perfect freedom; therefore, whether he wishes to make the subject of a joyous, solemn, or meditative character, by flinging over it the cheerful aspect which the sun bestows, by a proper disposition of shade, or by the appearances that beautify its arising or its setting, a true "General Effect" should never be lost sight of.

  • No one can live in the light all the time.

    Libba Bray (2010). “A Great and Terrible Beauty”, p.249, Simon and Schuster
  • In each of us lie good and bad, light and dark, art and pain, choice and regret, cruelty and sacrifice. We’re each of us our own chiaroscuro, our own bit of illusion fighting to emerge into something solid, something real. We’ve got to forgive ourselves that. I must remember to forgive myself. Because there is a lot of grey to work with. No one can live in the light all the time.

    Art   Pain   Regret  
    Libba Bray (2010). “A Great and Terrible Beauty”, p.249, Simon and Schuster
  • In each of us lie good and bad, light and dark, art and pain, choice and regret, cruelty and sacrifice... No one can live in the light all the time.

    Art   Pain   Regret  
    Libba Bray (2010). “A Great and Terrible Beauty”, p.249, Simon and Schuster
  • There are those hearts, reader, that never mend again once they are broken. Or if they do mend, they heal themselves in a crooked and lopsided way, as if sewn together by a careless craftsman. Such was the fate of Chiaroscuro. His heart was broken. Picking up the spoon and placing it on his head, speaking of revenge, these things helped him to put his heart together again. But it was, alas, put together wrong.

    Revenge   Heart   Fate  
    Kate DiCamillo (2009). “The Tale of Despereaux: Being the Story of a Mouse, a Princess, Some Soup, and a Spool of Thread”, p.116, Candlewick Press
  • The passionate reactions of people to a painting, the exclamation, 'Oh, this is wonderful,' may, even if meant in a positive way, entirely destroy the chiaroscuro, the mystical hidden weaving of fantasy which the artist needs.

    Artist   People   May  
    Marie-Louise von Franz (2017). “The Interpretation of Fairy Tales: Revised Edition”, p.106, Shambhala Publications
  • A modeled form is less striking than one which is not. Modeling prevents shock and limits movement to the visual depth. Without modeling or chiaroscuro depth is limitless: movement can stretch to infinity.

    Depth   Movement   Limits  
  • All painting worth its name, unless one is talking about black and white, must include the idea of color as one of its necessary supports, in the same way that it includes chiaroscuro, proportion, and perspective.

  • The importance of colour is as nothing compared with that of form, chiaroscuro and arrangement. They are the true and enduring bases of pictorial art.

    Art   Chiaroscuro   Form  
  • There are hearts, reader, that never mend again once they are broken. Or if they do mend, they heal themselves in a crooked and lopsided way, as if sewn together by a careless craftsman.

    Heart   Broken   Together  
    Kate DiCamillo (2009). “The Tale of Despereaux: Being the Story of a Mouse, a Princess, Some Soup, and a Spool of Thread”, p.116, Candlewick Press
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