h works as Blinding of Samson, could not have come about but for Tintoretto. So extraordinarily close in its approach to him, in the rhythm of the line, in the composition, and above all in the use of light and shade with a view to getting as strikingly contrasted silhouettes as possible. As well as Rembrandts Supper at Emmaus, that bears Rembrandts adoption of Tintorettos methods of chiaroscuro. (Rembrandt Harmenszoon van Rijn. Rembrandt: selected paintings. London: The Phaidon Press, 1952.) Rembrandts work has also been said to have been inspired by the art of Caravaggio. There is no doubt that Caravaggios forceful naturalism is derived from Tintoretto and the same is true of his treatment of light and shade. There is one important difference, Caravaggio favored what is called a "cellar-light" with its most unmitigated and violent oppositions of tone, glaring patches of light next to large masses of unbroken shadow, whereas Tintoretto and after him Rembrandt, largely depend on the effect of reflected light playing across shadows. It is clear to see that while Rembrandt may have drawn some influence from Caravaggio, his work is closer to that of Tintoretto. (Rembrandt Harmenszoon van Rijn. Rembrandt: selected paintings.)Another artist who, although German by birth, was a member of the Roman school of art that was of vital importance to the development of European art, and who must be considered in discussion of Rembrandts treatment of chiaroscuro, is Adam Elsheimer. This painter painted only landscapes, of very small size and distinguished by an extraordinary softness and tenderness of illumination and richness of atmosphere; and it is quite clear that the art of Elsheimer made a most powerful impression on Rembrandt, directly as well as indirectly through Rembrandts teacher, Pieter Lastman. Take Elsheimers Flight into Egypt, revealing an interest in the study of complicated effects of light. The darkness of night is broken ...
