The most well known of all European paintings are interiors and a portrait. The portrait of course, is the Mona Lisa but, right after her, popular recognition jumps to DaVinci’s Last Supper, a classic interior painting relying on linear perspective for its sense of space (example 1). Then, there is the most famous interior by Velazquez and the intimate interiors by Vermeer (examples 2 and 3). The directional light glowing from side window is a tradition started by Caravaggio (example 4). Shortly after his dramatic chiaroscuro use of the side window light, Velazquez used it as you see in his example. This side window source of illumination would be routine for Dutch artists of 17th Century. The mood is set as the figure pensively gazes toward the window. (See example of Pieter de Hooch , #5). This tradition of providing a melancholy moment of contemplation continues until today. Edward Hopper would use the model frequently (see example 6). The window’s light sets the mood of the interior space, defines the figures and content and, allows us to find mystery in the shadowed areas. From daVinci to Velazquez to De Hooch we see the artist introduce a distant illuminated rectangular space which helps to increase the sense of space and complicate the drama. In my step by step examples below you will see figures arranged to catch that falling light and thereby animate the interior space. I use a descending angled light, much like Caravaggio did.
example1. DaVinci with diagram courtesy of Martin Kemp.
example2. Velazquez.
example3.Vermeer.
example4. Caravaggio.
example5. De Hooch.
example6. Edward Hopper.
In the 17th through 19th centuries artists travelled to Rome to paint the ruins and ancient vistas. They were inevitably drawn to the massive, haunted antique spaces of ancient Rome. Here is an example from Marius Granet (example 6). This is a travel study painting. Small in scale usually oil on paper or millboard. There are no figures because this interior was meant as a study not a finished exhibition work.
example 6, Granet in Rome.
The idea of contemplating an interior space without figures would appeal to artists in the 20th century. Here is an example by Georgia O’Keeffe. We enter the distorted perspective space and are drawn toward the goal of the window much as we were drawn into the painting by Granet. (Example 7)
example 7. O’Keeffe.
example 7a. I have a distorted photo of a Roman Interior which relies on the single window structure as the O’Keeffe above:
Observe that I borrow the palette of Granet because I am borrowing his ancient Roman subject matter. My subject is an interior in the Roman city of Herculaneum which was buried along with Pompeii by the eruption of Vesuvius. My surface is 18×18 aluminum. I initially smear a bath of gamboge yellow and Vermillion on to the surface then immediately overlay some dark areas in a mix of iron oxide and ultramarine blue. (Example 8 and example 9)
example 8. step 1.
example 9. step 2.
In Step 2 I use the rectangle within the rectangle model as used by the past masters I sampled above. In Step 3, I apply the angles of linear perspective all converging to a single vanishing point just as Vermeer and daVinci did. I also introduce the sources of revealed and implied light. Like Granet and O’Keeffe I use a diffused overhead light falling from the center of the ceiling. I also use three (three for compositional reasons) differently sized and shaped sky-light sources, which are seen here as light blue. In Step 4, I begin texturing the wall areas with variable amounts of light and color. This enhances the sense of place and allows the viewer to guess about the life that once moved through these spaces. In Step 5, I have further animated the space with the introduction of two figures both in semi shadow and light. The highlights define the figures. They are no more or less detailed than the building’s space which helps keep a sense of loose painterly gestures throughout.
example 10.step 3.
example 11.step 4.
example 12. step 5.
Finally, I want to better illustrate the use of gesture to define the interior space and figures and therefore, I have two detail examples of the figures from the above painting in examples 13 and 14.
example 13, detail 1.
example 14. detail 2.
Luz A. Guzman
Very well illustrated, I have been really learning with your posts. Thanks a lot. Now to apply the principles on canvas!
Fredric Neuwirth
In example #12 how did you add light? By removing paint? Adding color or both?
The appeal is the light, the mysterious figures, the color or the total.