Light in Art: From Antiquity to the 19th Century
Discover the collections through the prism of light. Oil lamps, stained glass, paintings: from antiquity to the 19th century, artworks illuminate you with their presence.
ReadPsyché et l'Amour (1650) by Simon VouetMusée des Beaux-Arts de Lyon
History of Light
Without light, we can't see colors. Under natural light, every object reflects one color and absorbs another. When white light passes through a prism, it reflects all the colors of the rainbow.
This also applies to painting. Initially, artists used natural light to see what they were painting. Gradually, they began to depict light within their own canvases.
Pied - Lampe à huile (Epoque romaine - date estimée) by anonymeMusée des Beaux-Arts de Lyon
How Did People Light Their Homes 2,000 Years Ago?
Oil lamps were everyday objects in Antiquity. We think of Aladdin's lamp when we see the elongated spout and handle. Some lamps also depict plants, animals, or other objects.
Lampe à huile (1100) by AnonymeMusée des Beaux-Arts de Lyon
The oldest lamps date from the Paleolithic period (between 1 million years and 8000 BCE) and were made of bronze, stone, or clay.
Coq- Lampe à huile (-0750) by anonymeMusée des Beaux-Arts de Lyon
How do oil lamps work?
To fill the oil lamp's reservoir, animal or vegetable fat is poured in. Then, a wick must be inserted through the spout and lit. In prehistoric times, these were used for cave paintings.
Sainte Catherine et un saint évangéliste (1406) by Filippo LippiMusée des Beaux-Arts de Lyon
Light in Reflection
Originally, this painting by Filippo Lippi was lit by candlelight in a church. The flickering flames made the background shimmer and brought the figures to life.
In the painting, a light source caresses the left cheek of Saint Catherine and the palm of her hand, as well as that of the apostle. During the Renaissance, artists understood that to create depth, they had to work with shadow and light.
How to create a gold painting?
The artist prepares the wooden panel with gesso, a coating used to prepare a surface for paint adhesion, then adds ochre clay which allows gold leaf to adhere. A very fine brush is used to apply the gold leaf.
Divine Light with Filippo Lippi's painting, Saint Catherine and an Evangelist Saint, 1406-1469.
Roi de l'arbre de Jessé (1100) by anonymeMusée des Beaux-Arts de Lyon
Color Enhanced by Light
Eugène Grasset's stained-glass window was commissioned by Abbot Suger for the Basilica Cathedral of Saint-Denis. It depicts a king in a tree. This is the Tree of Jesse, which evokes the ancestry of Jesus.
Abbot Suger initiated a philosophical and spiritual movement that corresponded to his era: God reveals himself through light. The stained-glass window guides the faithful on a spiritual journey.
In this work, sapphire blue dominates. This color was obtained by mixing ancient blue glass with colorless glass.
Saint George Killing the Dragon (1889) by Lucien Bégule et Eugène GrassetMusée des Beaux-Arts de Lyon
Light and Matter
Beyond pictorial considerations, light is also present within works like stained-glass windows. In the 19th century, the palette of glass expanded with industrial development. With technical advancements, artists managed to vary diffraction effects.
The basic element of glass is sand, or more precisely, molten silica. With water and cullet, the mixture is heated in a furnace at an average of 1550°C. This is one of the highest temperatures in industry.
With ripple, opaque, or opalescent glass, the works seem to come alive. The stained-glass windows animate with the fluctuations of light and seasons.
A Thousand Shimmers: Saint George Killing the Dragon, 1889 and King from the Tree of Jesse, 1145.
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Design: Musée des Beaux-Arts de Lyon
HD gigapixel photos: © Gilles Alonso
Photos: © MBA Lyon - Alain Basset
