We now must think about the Artist and what he sees.
All sight is based on light¦ but which light? From the egocentric perspective of the Artist, there are several types of light. If an Artist is placed outside in Nature, there is the light that enters the eye directly from the Sun and the light which is reflected off of objects.If an Artist is indoors, there is the light that enters directly through windows and doors, there are artificial light sources, and there is the light which is reflected off of objects.
These are the obvious sources of light. These are not all possible sources, but for the basis of this particular blog, they are sufficient. It is interesting to consider possible differences between paintings that can be created using these light sources : indoors, outdoors, or both.
We generally consider Artists using light that is absorbed and reflected off objects. In traditional Academic painting, objects are chosen and painted in techniques that allow the painting (in a simplistic way) to mimic how light is acting in the Artistâ€™s immediate subjective view. The Artist applies combinations of paint materials that offer various amounts of absorption and reflectivity to alter relative speeds of light as it strikes the painting, thus using the varied chromatic densities in the painting to create a similar but artificial environment.
If the Artists wish to accentuate a reflective quality of an object, say a shiny flower, they will use thick paint that itself will reflect light more quickly. If the Artists wishe to accentuate the soft nature of an object, say skin or shadow, they will use paint thinned or suspended in a medium that will allow light to be absorbed and reflect less quickly.
These are the basic, traditional painting tools from which one can explain much of Art through the 19th Century. I have supplied a good example above.