Luminous flux degradation
Introduction
The treatment of light in art is one of the most important topics of artistic techniques")[3] of each of the arts (especially the so-called visual arts); as well as of the theory of art and aesthetics. It has been abundantly treated by the historiography of art.[4].
It is not only limited to the representation of light and its opposite (shadow),[5] but extends to the consideration of the appropriate lighting that works of art should receive in their exhibition (a function that falls within the scope of museums and the artistic curation of art exhibitions) and even to the role of light as an essential part of certain works of art in themselves.[6].
Leonardo Da Vinci describes in maximum detail the application and meaning of light and shadow. "The shadow is a lack of light and only the resistance of opaque bodies that prevent the rays of light. By its nature, the shadow belongs to darkness, while the light, by its nature, belongs to luminosity. The one hides, the other reveals. They are always together on the bodies; and the shadow has more power than the light (...) The shadow is the means by which bodies reveal their forms. (...) Thus darkness is the first link of shadow and light the last. For Therefore, you, painter, must make the shadow as dark as possible near its origin and let the end of the shadow become light, so that it appears as if it had no end.” This is followed by detailed studies of how the strength of light changes according to the angle at which it hits the object. Light is “in its effect like a projection since the light that falls on the right angle reaches the maximum degree of force.”
Paint
Many artists were not afraid to ignore the rules of perspective when painting in a flat form, works such as those of Gauguin, Matisse and Modigliani.
Over the centuries many of the Gothic cathedrals of the West were erected; The painting had a religious character, in the predominant two-dimensional style or represented in the plane, without perspective; with Giotto, the first of the great artists who created three-dimensional perspective and light effects. Another of the recognized artists is Joseph Turner; On one occasion, instead of representing the windows as gray, as was customary, he painted them as if light were shining through them. Turner had demonstrated awareness of what would be the fundamental characteristic of his style: the use of light in all its infinite nuances.[7].