Editing Chiaroscuro (section)

===17th and 18th centuries===
[[File:Peter Paul Rubens - De kruisoprichting.JPG|thumb|right|upright|[[Peter Paul Rubens]]'s ''The Elevation of the Cross'' (1610–1611) is modelled with dynamic chiaroscuro.]]
Tenebrism was especially practiced in [[Spain]] and the Spanish-ruled Kingdom of [[Naples]], by [[Jusepe de Ribera]] and his followers. [[Adam Elsheimer]] (1578–1610), a German artist living in Rome, produced several night scenes lit mainly by fire, and sometimes moonlight. Unlike Caravaggio's, his dark areas contain very subtle detail and interest. The influences of Caravaggio and Elsheimer were strong on [[Peter Paul Rubens]], who exploited their respective approaches to tenebrosity for dramatic effect in paintings such as ''[[The Elevation of the Cross (Rubens)|The Raising of the Cross]]'' (1610–1611). [[Artemisia Gentileschi]] (1593–1656), a Baroque artist who was a follower of Caravaggio, was also an outstanding exponent of tenebrism and chiaroscuro.

A particular genre that developed was the nocturnal scene lit by candlelight, which looked back to earlier northern artists such as Geertgen tot Sint Jans and more immediately, to the innovations of Caravaggio and Elsheimer. This theme played out with many artists from the [[Low Countries]] in the first few decades of the seventeenth century, where it became associated with the [[Utrecht Caravaggisti]] such as [[Gerrit van Honthorst]] and [[Dirck van Baburen]], and with [[Flemish Baroque painter]]s such as [[Jacob Jordaens]]. [[Rembrandt van Rijn]]'s (1606–1669) early works from the 1620s also adopted the single-candle light source. The nocturnal candle-lit scene re-emerged in the [[Dutch Republic]] in the mid-seventeenth century on a smaller scale in the works of [[fijnschilder]]s such as [[Gerrit Dou]] and [[Gottfried Schalken]].

[[File:Gerrit van Honthorst - De koppelaarster.jpg|thumb|left|''The Matchmaker'' by [[Gerrit van Honthorst]], 1625]]
Rembrandt's own interest in effects of darkness shifted in his mature works. He relied less on the sharp contrasts of light and dark that marked the Italian influences of the earlier generation, a factor found in his mid-seventeenth-century etchings. In that medium he shared many similarities with his contemporary in Italy, [[Giovanni Benedetto Castiglione]], whose work in [[printmaking]] led him to invent the [[monotyping|monotype]].

Outside the Low Countries, artists such as [[Georges de La Tour]] and [[Trophime Bigot]] in France and [[Joseph Wright of Derby]] in England, carried on with such strong, but graduated, candlelight chiaroscuro. [[Watteau]] used a gentle chiaroscuro in the leafy backgrounds of his [[fêtes galantes]], and this was continued in paintings by many French artists, notably [[Jean-Honoré Fragonard|Fragonard]]. At the end of the century [[Fuseli]] and others used a heavier chiaroscuro for romantic effect, as did [[Eugène Delacroix|Delacroix]] and others in the nineteenth century.