The depiction ofnight in paintings is common inWestern art. Paintings that feature a night scene as thetheme may bereligious orhistory paintings,genre scenes,portraits,landscapes, or other subject types. Some artworks involve religious orfantasy topics using the quality of dim night light to create mysterious atmospheres. The source of illumination in a night scene—whether it is the moon or anartificial light source—may be depicted directly, or it may be implied by the character and coloration of the light that reflects from the subjects depicted. They are sometimes callednocturnes,[3] or night-pieces, such asRembrandt'sThe Night Watch, or the German RomanticCaspar David Friedrich'sTwo Men Contemplating the Moon of 1819.
In America,James Abbott McNeill Whistler titled works as nocturnes to identify those paintings with a "dreamy, pensive mood" by applying the musical term,[4] and likewise also titled (and retitled) works using other music expressions, such as a "symphony", "harmony", "study" or "arrangement", to emphasize the tonal qualities and the composition and to de-emphasize the narrative content.[5] The use of the term "nocturne" can be associated with theTonalist movement of the American of the late 19th century and early 20th century which is "characterized by soft, diffused light, muted tones and hazy outlined objects, all of which imbue the works with a strong sense of mood."[6] Along with winter scenes, nocturnes were a common Tonalist theme.[7]Frederic Remington used the term as well for his nocturne scenes of theAmerican Old West.[8][9]
Beginning in the earlyRenaissance, artists such asGiotto,Bosch,Uccello and others told stories with their painted works, sometimes evoking religious themes and sometimes depicting battles, myths, stories and scenes from history, using night-time as the setting. By the 16th and 17th centuries, painters of the late Renaissance,Mannerists, and painters from theBaroque era includingEl Greco,Titian,Giorgione,Caravaggio,Frans Hals,Rembrandt,Velázquez,Jusepe de Ribera often portrayed people and scenes in night-time settings, illustrating stories and depictions of real life.
Eighteenth-centuryRococo paintersAntoine Watteau,François Boucher,Jean-Honoré Fragonard, and others used the night-time theme to illustrate scenes of the imagination, often with dramatic literary connotations, including scenes of secret liaisons and romantic relationships reminiscent of the popular 1782 bookLes Liaisons dangereuses byPierre Choderlos de Laclos.Jean-Baptiste-Siméon Chardin,Jean-Baptiste Greuze, used the themes of nighttime to depict illustrations of ordinary life. Poet and painterWilliam Blake and painterHenry Fuseli used the night-time in their work as the setting for many of their most imaginative visions. The most dramatic use of the night-time can be seen in the 1793 painting byJacques-Louis David, calledThe Death of Marat, portraying the French revolutionary leaderJean-Paul Marat after his murder byCharlotte Corday.
The night in paintings of the 19th century was used to convey a complex of diverse meanings. A mystical, religious, and sublime reverence for nature is seen inCaspar David Friedrich,Thomas Cole,Frederick Church,Albert Bierstadt,Albert Pinkham Ryder and others, while the powerful and dramaticromanticism ofFrancisco Goya,Théodore Géricault, andEugène Delacroix served as visual reportage of current events, and in the case of Géricault revealed a scandal.Gustave Courbet, who withHonoré Daumier,Jules Breton,Jean-François Millet, and others created theRealist school, portrayed ordinary people hard at work, traveling, or engrossed in their everyday lives, at night and during the day. TheImpressionists andPost-Impressionists of the late 19th century used the night-time theme to express a multitude of emotional and aesthetic insights seen most dramatically in the paintings ofEdgar Degas,Paul Cézanne,Vincent van Gogh and others.
Black and grey shades often symbolizegloom,fear, mystery,superstitions,evil, death,secret,sorrow. The light source in most religious paintings symbolizehope, guidance ordivinity.
![Taddeo Gaddi, Nativity, circa 1325, Fundación Colección Thyssen-Bornemisza, Pedralbes[10]](/mt/?noimg=&dark=on&url=http%3a%2f%2fen.wikipedia.org%2fwiki%2fFile%3aTaddeo_Gaddi_-_Nativity_-_WGA08390.jpg)
One of the first attempts in depicting night in paintings was byTaddeo Gaddi, an Italian painter and architect.[12]: 67 Gaddi, fascinated by nocturnal lighting, depicted the effect of the light inThe Angelic Announcement to the Shepherds night scene. Thefresco atBasilica of Santa Croce in Florence, Italy features an incandescentangel as it hovers over ashepherd.[11]: 91 Against the night sky the brilliance of the angel's bright glow, likely intended as "verification of the presence of God and as a metaphor for spiritual enlightenment", appears to startle the shepherd. Gaddi's use ofmonochromatic colors in and around the shepherd reveals how the colors are made pale due to the remarkable illumination.[13]: 177, 179 [nb 1]
Giotto di Bondone (1266/7–1337), Taddeo Gaddi's teacher and godfather,[12]: 67 [nb 2] created the fresco ofCrucifixion, one of the multiple frescoes that told the story of Christ's life, for the Arena Chapel. He depicts Christ on a cross, while theVirgin Mary is comforted byJohn. Kneeling at his feet isMary Magdalene, and swirling in the sky above Jesus and the watching crowd's heads are a number of angels. Giotto depicts night and heaven through the use of a deep blue background in the fresco panel and use of stars in the otherwise blue ceiling.[14]: 383 [15] He was able to create depth and dimension through the use of incremental degrees of light and dark shades, the precursor tochiaroscuro. He also used light in a way to represent the divinity of people and angels from the Bible, as he did in other frescoes at Arena Chapel.[14]: 383
The Western tradition began properly in the 15th century, especially with depictions inilluminated manuscripts of the biblical night-time scenes of theAnnunciation to the Shepherds in the Nativity story, and theArrest of Christ andAgony in the Garden in thePassion of Christ.
In the book of miniatures, Très Riches Heures du Duc de Berry, the scene ofChrist in Gethsemane is an apcolyptic one which foretells the death of Christ, through the presence of three comets in the evening sky.[16]
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Niccolò Mauruzi da Tolentino at the Battle of San Romano is one of a three painting series that captures the Battle of San Romano.[17] The passage of time, from dawn to evening, is illustrated in the three paintings with the initial use of pale, pastel shades and increasingly darker tones as the battle progresses.[18]: 84, 90
Influenced by a vision ofSaint Bridget of Sweden (1303–1373),Geertgen tot Sint Jans'sNativity at Night depicts the infant Jesus who "radiated such an ineffable light and splendour, that the sun was not comparable to it, nor did the candle that St. Joseph had put there, give any light at all, the divine light totally annihilating the material light of the candle."[19]: 78 Strengthening the message about the baby Jesus being the light source, Geertgen depicts the child as the only source of illumination for the main scene inside the stable. Aglow are the faces of the angels, St Joseph and Virgin Mary. Although the shepherds' fire on the hill behind and the angel outside the window create a light source, it's dim in comparison to that provided by the infant child. The sharp contrast of the divine light against dark is a tool used to make the scene appear more profound for its viewers.[20]: 232 [21] London's National Gallery describes Geertgen's work as: "one of the most engaging and convincing early treatments of the Nativity as a night scene.[21]
In the still of the night, the only source of light radiates inAnnunciation to the Shepherds comes from an angel who has come to tell the shepherds of the birth of the infant Christ. The light is so brilliant that the Bethlehem shepherds must shield their eyes. Aside from the startling angel, the nocturnal painting is a pleasant, still pastoral scene with a group of angels in the distance.[22]
Dosso Dossi (c. 1490 – 1542)[nb 3], was anItalian Renaissance painter who belonged to theFerrara School of Painting.[12]: 56
Albrecht Altdorfer (c. 1480 – 12 February 1538) was a German painter, engraver and architect of the Renaissance of the so-calledDanube School setting biblical and historical subjects against landscape backgrounds of expressive colours.[23]
Giuseppe Cesari (c. 1568 – 3 July 1640) was an ItalianMannerist painter and instructor toCaravaggio.[citation needed]
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EarlyBaroque artistAdam Elsheimer created night scenes that were highly original. His works departed slightly[citation needed] from other works of the Baroque period were dramatic and abundantly detailed.[24] Baroque paintings featured "exaggerated lighting, intense emotions, release from restraint, and even a kind of artisticsensationalism".[25] Elsheimer's lighting effects in general were very subtle, and very different from those ofCaravaggio. He often uses as many as five different sources of light, and graduates the light relatively gently, with the less well-lit parts of the composition often containing important parts of it.
Michelangelo Merisi da Caravaggio was an Italian artist active between 1593 and 1610. His paintings, which combine a realistic observation of the human state, both physical and emotional, with a dramatic use of lighting, had a formative influence on theBaroqueschool of painting.[14]: 298–299 [26] Caravaggio's novelty was a radicalnaturalism that combined close physical observation with a dramatic, even theatrical, use ofchiaroscuro. This came to be known asTenebrism, the shift from light to dark with little intermediate value.[14]: 299 [27]
Georges de La Tour was a French Baroque painter who painted mostly religiouschiaroscuro scenes lit by candlelight, which were more developed than his artistic predecessors, yet lacked dramatic effects of Caravaggio. He created some of the most arresting works in this genre, portraying a wide range of scenes by candlelight from card games to New Testament narratives.[28]
TheDutch Golden Age painterAert van der Neer was alandscape painter, specializing in small night scenes lit only by moonlight and fires, and snowy winter landscapes, both often looking down a canal or river.
Anthony van Dyck (22 March 1599 – 9 December 1641) was aFlemish Baroque artist and leadingcourt painter in England.
In northern Europe,Dutch Golden Age painting produced some nocturnes, thoughRembrandt's (1606–1669) only real work in the genre is hisRest on the Flight into Egypt (1647, National Gallery of Ireland), which is set within a nocturnal landscape.[29] His large group portrait,The Militia Company of Captain Frans Banning Cocq (1642), is popularly known asThe Night Watch, although it is not a night scene.[30]
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Joseph Mallord William Turner (23 April 1775 – 19 December 1851) was an EnglishRomanticlandscape painter,[31] who is commonly known as "the painter of light".[32]
Claude-Joseph Vernet (14 August 1714 – 3 December 1789) was a French painter whose landscapes, including those of moonlights were popular with English aristocrats. HisThe Port of Rochefort (1763, Musée national de la Marine) is particularly notable; in the piece Vernet is able to achieve, according to art historianMichael Levey, one of his most 'crystalline and atmospherically sensitive skies'.[33]
Joseph Wright of Derby (3 September 1734 – 29 August 1797) was an English landscape and portrait painter who is notable for his use ofChiaroscuro effect, which emphasises the contrast of light and dark, and for his paintings of candle-lit subjects. Wright is seen at his best in his candlelit subjects. TheThree Gentlemen observing the 'Gladiator' (1765).A Philosopher Lecturing on the Orrery shows an early mechanism for demonstrating the movement of the planets around the sun.An Experiment on a Bird in the Air Pump (1768) shows people gathered round observing an early experiment into the nature of air and its ability to support life.
These factual paintings are considered to have metaphorical meaning too, the bursting into light of the phosphorus in front of a praying figure signifying the problematic transition from faith to scientific understanding and enlightenment, and the various expressions on the figures around the bird in the air pump indicating concern over the possible inhumanity of the coming age of science.[34]
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Théodore Géricault (26 September 1791 – 26 January 1824) was an influential French artist and one of the pioneers of theRomantic movement.
Atkinson Grimshaw (6 September 1836 – 13 October 1893) was a Victorian-era artist[35]: 173 known for his city night-scenes and landscapes.[36][37] His careful painting and skill in lighting effects meant that he captured both the appearance and the mood of a scene in minute detail. His "paintings of dampened gas-lit streets and misty waterfronts conveyed an eerie warmth as well as alienation in the urban scene."[38]: 99
On Hampstead Hill is considered one of Grimshaw's finest works, exemplifying his skill with a variety of light sources, in capturing the mood of the passing of twilight into night. In his later career his urban scenes under twilight or yellow streetlighting were popular with his middle-class patrons.[39]: 154
In the 1880s, Grimshaw maintained a London studio inChelsea, not far from the studio ofJames Abbott McNeill Whistler. After visiting Grimshaw, Whistler remarked that "I considered myself the inventor of Nocturnes until I saw Grimmy's moonlit pictures."[40]: 112 Unlike Whistler'sImpressionistic night scenes Grimshaw worked in a realistic vein: "sharply focused, almost photographic," his pictures innovated in applying the tradition of rural moonlight images to the Victorian city, recording "the rain and mist, the puddles and smoky fog of late Victorian industrial England with great poetry."[40]: 112–113
Petrus van Schendel (1806–1870) was a Dutch Romantic painter,[41] etcher and draughtsman. Van Schendel specialised in nocturnal Dutch market scenes, exploring the effects the soft light had upon his subjects, as a result he was namedMonsieur Chandelle by the French. Van Schendel was inspired by these famous forebears, but brought a unique nineteenth century mood to his night scenes. He eloquently captured the mysterious world of city markets illuminated by lamps and moonlight before the dawn.
James Abbott McNeill Whistler (11 July 1834 – 17 July 1903) was an American-born, British-based artist.[44]: 50
"Nocturne" was a term that was normally applied to certain types of musical compositions before Whistler,inspired by the language of music, began using the word within the titles of many of his works,[45] such asNocturne in Blue and Silver (1871), in the collection of theTate Gallery, London, United Kingdom.[46]
Whistler's ill-advised journey in 1866 toValparaíso, Chile,[44]: 141 resulted in Whistler's first three nocturnal paintings—which he termed "moonlights" and later re-titled as "nocturnes"—night scenes of the harbor painted with a blue or light green palette. Later in London, he painted several more nocturnes over the next ten years, many of theRiver Thames and ofCremorne Gardens, a pleasure park famous for its frequentfireworks displays, which presented a novel challenge to paint. In his maritime nocturnes, Whistler used highly thinned paint as a ground with lightly flicked color to suggest ships, lights, and shore line.[14]: 368 [47]: 30 Some of the Thames paintings also show compositional and thematic similarities with the Japanese prints ofHiroshige.[44]: 187
In 1877 Whistler sued theart criticJohn Ruskin for libel after the critic condemned his paintingNocturne in Black and Gold: The Falling Rocket. Ruskin accused Whistler of "asking two hundredguineas for throwing a pot of paint in the public's face."[48] Whistler won the suit, but was awarded onefarthing for damages.[49] The cost of the case bankrupted him. It has been suggestedJohn Ruskin had hadCADASIL and the visual disturbances this condition caused him might have been a factor in his irritation at this particular painting.[50] Whistler published his account of the trial in the pamphlet Whistler v. Ruskin: Art and Art Critics, included in his laterThe Gentle Art of Making Enemies (1890).
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Frederic Remington (1861–1909) is so identified for his nocturne scenes of theAmerican Old West[51] that they were celebrated in 2003–2004 with an exhibition,Frederic Remington: The Color of Night, co-organized and shown in turn by theNational Gallery of Art,Washington, D.C., and theGilcrease Museum,Tulsa, Oklahoma.[52] The exhibition also generated a colorful book of the same title and travelled to theDenver Art Museum inDenver, Colorado. Remington painted many of his nocturnes in the last years of his life, when he was transitioning from a career as anillustrator to that of a fine artist and had chosenImpressionism as the style in which he worked at the time. One example of his work isThe Stampede (also known asThe Stampede by Lightning, 1908).
The paintings pictured in the gallery below are in order of date completed, left to right:
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Other artists who also created nocturne scenes are:
The Night Watch orThe Shooting Company of Frans Banning Cocq by Dutch painterRembrandt van Rijn is one of the most famous paintings in the world.[citation needed] One of its key elements is the effective use of light and shadow (chiaroscuro).[58]: 61, 65 Made in 1642, it depicts the eponymouscompany moving out, led by CaptainFrans Banning Cocq (dressed in black, with a red sash) and his lieutenant,Willem van Ruytenburch (dressed in yellow, with a white sash).[citation needed] With effective use of sunlight and shade, Rembrandt leads the eye to the three most important characters among the crowd, the two gentlemen in the centre (from whom the painting gets its original title), and the small girl in the centre left background.[58]: 65
For much of its existence, the painting was coated with a dark varnish which gave the incorrect impression that it depicted a night scene, leading to the name by which it is now commonly known. The heavy varnish was only discovered in the 1940s and restoration began after 1975.[59]: 224–225
The Third of May 1808 by Spanish painterFrancisco Goya commemorates Spanish resistance toNapoleon's armies during the occupation of 1808 in thePeninsular War.[60]: 109 The painting's content, presentation, and emotional force secure its status as a groundbreaking, archetypal image of the horrors of war. Although it draws on many sources from both high and popular art,The Third of May 1808 marks a clear break from convention. Diverging from the traditions of Christian art and traditional depictions of war, it has no distinct precedent, and is acknowledged as one of the first paintings of the modern era.[60]: 116–127 According to the art historianKenneth Clark,The Third of May 1808 is "the first great picture which can be called revolutionary in every sense of the word, in style, in subject, and in intention".[61]: 130.
It is set in the early hours of the morning following the uprising[59]: 363 and centers on two masses of men: one a rigidly poisedfiring squad, the other a disorganized group of captives held at gun point. Executioners and victims face each other abruptly across a narrow space; according to Kenneth Clark, "by a stroke of genius [Goya] has contrasted the fierce repetition of the soldiers' attitudes and the steely line of their rifles, with the crumbling irregularity of their target."[61]: 127 A square lantern situated on the ground between the two groups throws a dramatic light on the scene. The brightest illumination falls on the huddled victims to the left, whose numbers include a monk or friar in prayer.[62]: 297 The central figure is the brilliantly lit man kneeling amid the bloodied corpses of those already executed, his arms flung wide in either appeal or defiance.[60]: 116
The painting is structurally and thematically tied to traditions ofmartyrdom in Christian art, as exemplified in the dramatic use ofchiaroscuro, and the appeal to life juxtaposed with the inevitability of imminent execution.[60]: 121 However, Goya's painting departs from this tradition. Works that depicted violence, such as those byJusepe de Ribera, feature an artful technique and harmonious composition which anticipate the "crown of martyrdom" for the victim.[60]: 118
The lantern as a source of illumination in art was widely used byBaroque artists, and perfected byCaravaggio.[60]: 119 Traditionally a dramatic light source and the resultant chiaroscuro were used as metaphors for the presence of God. Illumination by torch or candlelight took on religious connotations; but inThe Third of May the lantern manifests no such miracle. Rather, it affords light only so that the firing squad may complete its grim work, and provides a stark illumination so that the viewer may bear witness to wanton violence. The traditional role of light in art as aconduit for the spiritual has been subverted.[60]: 119
The Starry Night, made by Dutch artistVincent van Gogh, depicts his memory of the view outside his sanatorium room window atSaint-Rémy-de-Provence (located in southern France) at night.[63]: 225 Although Van Gogh was not very happy with the painting,[64] art historian Joachim Pissarro citesThe Starry Night as an exemplar of the artist's fascination with thenocturnal.[65] One of Van Gogh's most popular pieces, the painting is widely hailed as hismagnum opus.[63]: 225
Edward Hopper had a lifelong interest in capturing the effect of light on the objects it touched, including the nighttime effect of artificial, man-made light spilling out of windows, doorways and porches.Nighthawks was probably Hopper's most ambitious essay in capturing the night-time effects of man-made light. For one thing, the diner's plate-glass windows cause significant light to spill out onto the sidewalk and the brownstones on the far side of the street. As well, interior light comes from more than a single lightbulb, with the result that multiple shadows are cast, and some spots are brighter than others as a consequence of being lit from more than one angle. Across the street, the line of shadow caused by the upper edge of the diner window is clearly visible towards the top of the painting. These windows, and the ones below them as well, are partly lit by an unseen streetlight, which projects its own mix of light and shadow. As a final note, the bright interior light causes some of the surfaces within the diner to be reflective. This is clearest in the case of the right-hand edge of the rear window, which reflects a vertical yellow band of interior wall, but fainter reflections can also be made out, in the counter-top, of three of the diner's occupants. None of these reflections would be visible in daylight.[citation needed]
In his 1950 paintingThe Empire of Light,René Magritte (1898–1967),[66] explores the illusion of night and day, and theparadox of time and light. On the top half of his canvas Magritte paints a clear blue sky and white clouds that radiate bright daytime; while on the bottom half of his canvas below the sky, he paints a street, sidewalk, trees and houses all steeped in the darkness of night. The darkened trees and darkened houses appear to be in nighttime shadows, in the middle of the night; and the sidewalk streetlight is on to guide the way. Some of the questions implied by these pictures include is it night-time? is it daytime? or is it just a painting?The Empire of Light is one of a series of paintings that René Magritte painted between 1950 and 1954 that explores his surrealist insight into illusion and reality, using night and day as his subject.[67][66]
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