I do not know exactly why, but a black & white photograph of a women represents a form of art work to me. There is something about the way the light highlights her curves which in turn, focuses your eyes up and down the sensual outline of her body. You take away the color(s), then your are left with the bare, pure, primordial shape which to me is simply wonderful! It is almost as if the woman is indeed, truly naked.
These here are certainly no exception. There are two series for your viewing pleasure. Gentlemen, begin clicking your mouse!!
The shadow effects you refer to are well-known in the art world, where they're called "curascuro". That is, the subtle use of light and dark highlighting to bring out certain features. You can also see this technique used in great black and white films (e.g., The Maltese Falcon) or in the photographs of Ansel Adams.
Of course, the most well known example of the use of curascuro was in Michelangelo's paintings on the ceiling of St. Peter's Basilica. Art connoisseurs have marveled at Michelangelo's use of this technique - until, they cleaned up the paintings with special solvents and found that the curascuro effects were due to centuries of grime building up on the murals. Underneath were brightly colored paintings, so bright that they almost looked like cartoons.
So maybe black and white, such as the great photo above, isn't such a bad way to go. You have a good "eye".
As always, nice side knowledge, brudda. First time I have heard Michelangelo ever compared to a cartoon!
I have a book of black and white photos by Ralph Gibson that have many in this manner, and the term used for this style is "chiaroscuro". Whatever it is, I love it.
No, "chiaroscuro" is the proper spelling - so much for my Italian.
The cleaning of Michelangelo's murals on St. Peter's Basilica was commissioned by some Japanese film makers, and then documented in a PBS NOVA. One of the more embarrassing moments for some of the art historians, was when they were contrasting the three-dimensional chiaroscuro effects of Michelangelo's ceiling paintings with his classic David sculpture. Their idea was that Michelangelo was consciously attempting to mimic the three-dimensional sculpture with his two-dimensional light/dark shadowing in the painting. Of course, this explanation blew up when the brightly colored undercoat was revealed. Nothing like an experiment to ruin a perfectly good theory.
However, it certainly shows the power of Michelangelo's work that it could be all smudged up, and still look great. It must resonate at a primordial level of our consciousness, much like that great black-and-white photo that leads this thread.
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