There may be a greater feeling of light in a figure sitting in the shadow than in the same figure next to a window.
To the painter, light and air are but degrees of the same idea. If the figure seated in the shadow is well enveloped and relieved by the exact temper of reflected lights, it takes its place in his scheme of brilliant lighting as much as any other part.
The purpose of shadow is first to produce light, second to secure concentration, third to dismiss space not required and incidentally to suggest air and relief by the gradation which every shadow must have.
The idea of _Notan,_ or the Light and Dark combination of Japanese art, differs from this in its intent, which is merely to set forth an agreeable interchange of light, dark and medium toned spaces. To the decorative intentions of the oriental artist natural fact is of small concern and the fact of shade produced by light is dismissed as are many other notions which are non-conformable to his purpose. The great value of this concept, however, should be recognized, and in formulating a scheme of light and shade for any picture its light and dark masses may be so arranged as to suggest much of the beauty which its flat translation by Notan would yield. The practice of laying out the flat light and dark scheme of every picture which is to be finished in full relief is therefore most helpful, and directly in line with Sir Joshua’s habit with the old masters.
It is not sufficient that pictures have lights and darks. The balance here is quite as important as line and measure. The proportion of light to dark depends on the importance required by certain parts of the picture. Effectiveness is given to that end of the scale which is _reserved in small quantity._ The white spot attracts in the _“__Dead Warrior,__”_ the dark spot in the _“__Lion of the Desert.__”_ A comparison of the _“__Night Watch__”_ and the _“__Landscape__”_ by Inness will show that both are constructed on a medium tone on which strong relief is secured by contrasts of light and dark. Isolated spots occur through each contributing an energy opposed to the subtle gradations of the large spaces. The rich depths of the background and the frequent opposition of shadow with light in the landscape are very typical of Inness’ art and we know that the “Night Watch” contains the best thought and richest conclusions of the greatest master of light and shade.