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Abstract

VI SUMMARY Since the primeval thoughts, in order to depict the light used as a symbol of inner enlightenment and holiness; the background surface of the paintings, having a subject of religion, in the surface of the paintings, the halos on the heads of Christ, Mary, angels and saints in religious paintings (in paintings having religious subjects) were being painted with golden-giiding or coated with gold. In this technique, which was mostly used in Gothic paintings, the gold and the golden-gilding symbolized the holy light. Human figures and other objects were painted as surfaces and depicted in symbolic forms. A new age began in art with Giotto. By using ligth-shadow (clair-obscure) perfectly, Giotto realizes depth illusion over surface. In this case the light is not the religious one on the painting. Moreover, it adds a volume-mass effect to object in form. Massaccio has added air and light perspektives to art along with line perspektive. It is known that Pierro della Franceska was the first to use light as a means of balance (in art). In order to reinforce the plastic effect of forms Leonardo has used light-shadow with a technique which he called Sfamatu. During classical period light-shadow was handled as an important factor in compositions. Furthermore, it was used to reflect the substantial structure of the objects. Light was distributed over the surface uniformly and universally. A new understanding of light domains art by the coming Baroque style. In classical style while the most available light which shows the unchanging structure of the object was being searched, the world was being treated with the light determined by this thought. But BaroqueVII style handles the world with a light which changes and which seems to shines suddenly (unexpectedly) and fade away at once (quickly). Light doesn't spread on the whole surface but, it comes out itself as a motif where it is wanted to be stressed. After Classical and Baroque styles, the Impressionists came into scene with brand new thoughts on light issue. Until then, painters were using the studio light by idealising it. But the Impressionists wanted to transfer the real daylight on to their canvasses by going out to open air and nature. They became the pioneers of the modern age and the 20th century art by their inventions and the works they have painted (paintings they have done). The daylight's effects on our environment, its power of crating and changing the colours has been the subject matter of a number ofresearches since old ages. Light-movement relation has gained an importance since the beginning of the 20th century. Light and colour vibrations or colourful light vibrations or light movement alone is one of the main motifs of the today's ART.