The tenebrism (in Italian tenebroso ) is a style of Peinture. It has the characteristics of the Caravagisme but the Contraste S of shades and light are more violent one and the effect is darker. It appears about 1610.

Principles

The term is usually applied to the artists as from the 17th century, although the Tintoret and El Greco are catalogued tenebrists whereas the kind whom they practice is the clearly-obscure . El Greco painted three compositions with a boy, a man and a monkey grouped in the darkness around a simple flame.

This art is sometimes described as vulgar because it borrows its subjects from the daily life and the light emerging of darkness as instrument of spirituality which continues in this time of the Counter-Reformation.

Among ténébristes more known, if one can place the Caravage, generally seen as that which returned running this kind (of which the style even more precise Caravagisme is named), it is necessary to return to him its Italian and Dutch follower (the school of Utrecht), and in particular Francisco Ribalta, Jusepe de Ribera and their follower Spanish. It is sometimes applied to Georges of the Tower, which painted many scenes lit by only one candle, also with Rembrandt and Zurbarán.

It is necessary to distinguish in the tenebrism, the esthetic current of the mode of expression which is inspired some:
Thus the term is not often employed for Adam Elsheimer, although he was an important innovator in the night scenes of painting only lit in certain zones which are always full with detail and interest. Posterior and similar compositions were painted by Eugene Delacroix, Joseph Wright of Derby and other artists of the romantic movement, but the term is seldom employed to characterize their work in general.

The difference between the tenebrism and theobscure one perhaps is best expressed by Rudolf Wittkower: With the isolates of light of Caravaggio, it creates neither space nor the atmosphere. The darkness in its images is something of negative, the darkness is where the light is not, and for this reason the light runs up on its figures and objects as on the full and impenetrable forms and does not dissolve them, like that occurs in the work of Titien, Tintoret and Rembrandt.

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