Just began with my studies at Ã¢â‚¬ËœJacob van RuisdaelÃ¢â‚¬â„¢, and reading an article written by Martina Sitt about Ã¢â‚¬Ëœthe lighting of natureÃ¢â‚¬â„¢.
Here are some interesting words:
Ã¢â‚¬Å“Ruisdael was in Holland one of the first painters of the 17th century who began to show the landscape not as a realistic fragment of the world, but as a total image.
At the end of the 17th century the wide, panoramic landscapes gave way for more dramatic, spatial and optical closed scenes, which were compared with stage-designs.Ã¢â‚¬Â
This also fascinates me:
Ã¢â‚¬Å“Ruisdael managed to establish, in a quite early state of the creative process, an already very convincing composition, by dividing the space purposeful with the use of his Ã¢â‚¬Å“lighting directionÃ¢â‚¬Â. We can see that in the way he applies the paint several elements are being highlighted. But the lighting direction of his composition, with a clear division of dense, light parts, really combines all the diverging moments together in one total scene.Ã¢â‚¬Â
Of course this sounds like music in the ear of a lighting designer…:)
This week IÃ¢â‚¬â„¢m planning to go out to the same whereabouts as where this Ã¢â‚¬ËœJacob van RuisdaelÃ¢â‚¬â„¢ used to wonder about and got his inspiration: Ã¢â‚¬Å“The landscapes in the neighbourhood from Ã¢â‚¬ËœHaarlemÃ¢â‚¬â„¢,
a smaller town near Amsterdam.Ã¢â‚¬Â
IÃ¢â‚¬â„¢m planning to bring my camera and make a lot of pictures, see if I can find my own inspiration for a clear premature Ã¢â‚¬Å“lighting directionÃ¢â‚¬ÂÃ¢â‚¬Â¦
(Blog 2-4 of the Ã¢â‚¬ËœLighthouse of BabelÃ¢â‚¬â„¢ project)