A first indication at light’s influence on spatial understanding and emotional response – maybe even before any psychoanalytical research regarding the matter – is observed in chiaroscuro paintings.
Rembrandt’s dramatic interplay of light and shadow draws the subjects of his four paintings into the foreground. Materiality, although expressed through oil paint only, becomes crucial for reading reflexion, or diffusion of light.
[Line weights visualising reflexion in the analysis of Ecce Homo]
Depending on its direction, the resulting shadows make form easy to distinguish , or alter it altogether.
[Analysis of Anna & the Blind Tobit]
[Analysis of Ecce Homo]
[Analysis of The Lamentation over the Dead Christ]
[Analysis of The Woman taken in Adultery]