How to deal with "light and shadow"

How to use light and shadow successfully is one of the main factors in oil painting and creation. The true sense of the image is often produced by the regular change of bright and dark colors on the picture. Even without color, light and shade can give a painting a sense of authenticity. In other words, if the artist wants to create a spatial illusion in the painting, he must pay attention to the control of the use of light and dark tones.
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Rembrandt, a modernist painter who made proper use of light and shadow and formed a unique artistic style, absorbed Caravaggio's contrast method of light and shade and applied this technique to painting properly. "The Woman" is one of Rembrandt's comparative works, as shown in this painting, the contrast of light and shade is very obvious. He first painted the bottom layer with deep ochre color, and then used the processed middle color to shape the body structure of the image with a broad brush, and then carried out white and transparent mask dyeing according to the needs of the picture. After doing this a few times, the light layer will bulge like a relief. Objects in the dark shadow are indistinguishable by their transparency. The whole picture is covered with a holy light, filled with a poetic mood and a mysterious religious atmosphere.
Paint with light and shadow, with a clear light source. In order to pursue the sense of form, modern painters often weaken the expression of volume to a relatively low degree, but still create the overall atmosphere with light and shade.
The Impressionist painters' understanding of light and shadow broke through the traditional principle of contrast between light and shade, and pursued the color change under specific time and light without restraint. Renoir once placed his models in the shade of the mottled trees, and carefully studied the wonderful changes of light points and leaf shadows in the skin and clothing of people. Therefore, in many of his works, there are always colors in light and shadow. Monet's study of light was even more extraordinary, and he broke down and reconstructed the colors of light and shadow in natural scenery, which is called optical toning. In Monet's work, the shadows are no longer dark colors, but are replaced by some less bright and mixed with white to create a bluish purple.
While Impressionism flattened light and shade, Matisse, one of the founders of Fauvism, abandoned light and shade altogether.
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