Rembrandt's use of light and dark aren't stark in contrast. Instead, in works like Supper at Emmaus, The Return of the Prodigal Son, and Self-Portrait, we are in a position to see how the master uses light and dark in a far more harmonious balance than his predecessors. In these paintings, light and dark are brought into harmony, softly merged and used to generate a sense of calm and contemplation. In other words, Rembrandt uses light and dark to equate to an aural quality ? that of quietude.
The lack of formality in Rembrandt's self-portrait as well as other portraits painted by him show that Rembrandt was from the Caravaggio sort once it came to rejecting the traditional modes of painting. In his works, Rembrandt "applied all that he knew of the dynamics and also the psychology of light, the visual suggestion of time, and also the art of pose and facial expression" (De La Croix and Tansey 748). We can see this most clearly in Syndics on the Cloth Guild. In this work, the syndics are about to go over the books of the company. However, it seems an individual has entered the room and they have all paused to think about the person. Every man's reaction appears frozen in time, as if interrupted suddenly, and Rembrandt has rendered each man's expression inside a way that suggests the personality of each individual and their possible relationship with this newcomer to the room.
In Card Sharps we have a perfect illustration of genre painting depicting events of everyday life and favorite people. Inside the picture we see a couple of youths in feather-caps playing cards. There's a backgammon board on the table and behind the "victim" stands the partner in the other player, signaling him with regards to the cards in the victim's hand. The cheater responds to this signal by pulling a card tucked behind his back. The work isn't only painted in brilliant colors, but it's a perfect example in the chiarascuro lighting used by Caravaggio. 3 particular significance contrasts standout within the work. 1 could be the face of the victim, bright white wedged in between his black coat and cap. Another will be the face from the cheater, his white silhouette painted in front in the black cape of the informer. The third value contrast which gives a chiarascuro effect could be the big white swatch painted on the wall behind the cheater as well as the informer, even though the sleep of the wall is painted in a darker color to give shadow contrast for the "lit" portion of the wall.
Upon a visit towards Fragonard room at the Frick, we see how the Fragonard room is constructed to demonstrate the Rococo type both in painting and furnishings. Four on the canvases within the room were commissioned by Mme. Du Barry, the mistress of Louis XV (Fragonard Room 1). The paintings were rejected in favor of people of Joseph-Marie Vien, so Fragonard hung them in his cousin's house. We see within the paintings of this era that women, sexuality, and romantic love were really essential facets in the Rococo period.
Caravaggio's life is recognized to us as a lot from police records as any other sort of record. He associated with lowlifes and outcasts in general preferring their company to that of high society. He rejected the Classical masters and religion in his works, secularizing religion and also the classics in his paintings by transforming them into human events.
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