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- The "unnatural" light of Gothic art is also presented as the bearer of a world of images of great figurative opulence, whose power acts with extraordinary force on the soul of man. (en)
- Can the painter imitate the brightness of midday that dazzles the eye? No; then let him not do so. If ever an event should be treated at noon, let the sun be hidden among clouds, trees, mountains and buildings, and let that star be pointed out by means of some rays that escape those obstacles. Let it be considered then that the bodies do not give shadows, or little, and that the colors, by the excessive vivacity of the light, appear less vivid than in the hours when the light is more attenuated. (en)
- All that of being a painter consists in distinguishing the light of each day of the week, more than in distinguishing colors. Who does not distinguish red from blue and yellow? But there are very few who distinguish the light of Sunday from that of Friday or Wednesday. (en)
- If you do it at noon, keep the window covered in such a way that the sun, illuminating it all day, does not change the situation. (en)
- The reddening of the clouds, together with the reddening of the sun, makes everything that takes light from them redden; and the part of the bodies which is not seen that reddening remains of the color of the air, and whoever sees such bodies seems to him that they are of two colors; and from this you cannot escape since, showing the cause of such shadows and lights, you must make the shadows and lights participants of the said causes, otherwise your work is vain and false. (en)
- If we apply black and white on the same surface and then look at them from a distance, the white will always appear much closer and the black much farther away. So when painters want something to look hollow, like a well, a cistern, a ditch or a cave, they paint it black or brown. But when they want something to appear prominent, such as a girl's breasts, an outstretched hand or a horse's legs, they apply black over the adjoining areas so that they appear to recede and the parts in between appear to come forward. (en)
- The dawn sweetly colors the extremity of the bodies, begins to dissipate the darkness of the night and the air still full of vapors leaves the objects wavering.... But the sun has not yet appeared, therefore the shadows cannot be very sensitive. All the bodies must participate in the freshness of the air and remain in a kind of half-ink. [...] The background of the sky wants to be dark blue... so that the celestial vault stands out better and the origin of light appears: there the sky will be colored of a reddish-red incarnation from a certain height with alternating golden and silver bands, which will diminish in vivacity as they move away from the place from where the light comes out. (en)
- Light is the most joyful of things: it is the symbol of all that is good and wholesome. In all religions it signifies eternal salvation. (en)
- In Vermeer, light is never artificial: it is precise and normal like that of nature, and of an accuracy capable of satisfying the most scrupulous physicist. [...] This accuracy of light in Vermeer is due to the harmony of the coloring. (en)
- [God] never appears as any image or figure, but shows himself in his simplicity, formed by light without form, incomprehensible, ineffable. (en)
- As it invades the room, the light is diffused irregularly over the various surfaces. The mirror shimmers with tremulous, silvery light and offers a clearer image than that of the large, dull canvases hanging above it. A sliver of light escapes from the half-closed window that opens in the last section, forming a well of luminosity around the lamp hook at the back of the ceiling. And then, in the background plane, a new light source is included that illuminates the figure in the doorway; from it emerges, thin as a beam, a ray that swiftly crosses the floor of the room under the mirror. The illusion of space and volume thus becomes irresistibly palpable. (en)
- Light is the fundamental building block of observational art, as well as the key to controlling composition and storytelling. It is one of the most important aspects of visual art. (en)
- His discovery consists precisely in having realized that full light discolors tones, that the sun reflected by objects tends, by dint of clarity, to resize them in that luminous unity that fuses the seven prismatic rays into a single colorless brightness, which is light. (en)
- Look at the light and consider its beauty. Blink and look at it again: what you now see of the light was not there before and what was there before no longer exists. (en)
- From Caravaggio to the last painting by Velázquez – which is the starting point – the history of painting is the great journey to the land of light, of the effective light that illuminates the world in which we live. (en)
- The attraction that light exerts on the artist goes beyond its practical function as an element that defines volumes and spaces. Light is also an element that carries in itself a very special magic and attraction. (en)
- Un breve repaso de las representaciones de fuentes de «luz objetiva» en la obra de Goya, revela una evolución gradual, desde la explotación de efectos tetrales para glorificar a la familia real o un suceso religioso, pasando por una expresión más simbólica de sus preocupaciones ideológicas, hasta culminar en una maestría madura donde la realidad y el símbolo se funden en una síntesis sorprendente. (en)
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