Artwork
A Man in a White Domino Seen from Behind
A Man in a White Domino Seen from Behind is an oil painting by the Early Baroque Italian artist Luca Carlevarijs. It dates from 1705 and is held in the collection of the Victoria and Albert Museum.
About this work
The use of chiaroscuro, a technique that uses strong contrasts between light and dark, adds depth and volume to the figure.
This painting shows a man from behind, wearing a white domino costume with red trim on the sleeves and a black hat. He is standing in front of a brown background.
The man's posture suggests he is about to move or gesture, and the folds of his costume are depicted in detail. The painting's style is characteristic of the early 18th century, with loose brushstrokes and a focus on texture.
The use of chiaroscuro, a technique that uses strong contrasts between light and dark, adds depth and volume to the figure. To learn more about this technique and how it was used in art, explore the concept of chiaroscuro.
Overview
A Man in a White Domino Seen from Behind is a 1705 oil painting by Luca Carlevarijs, an Italian artist known for his Venetian cityscapes.
Subject & Meaning
The painting depicts a figure in a white domino costume with red-trimmed sleeves and a black hat, shown from behind against a brown background. The subject's posture implies movement or action, and the detailed folds of the costume suggest a focus on texture and everyday life.
Technique & Style
The work showcases Carlevarijs's use of loose brushstrokes and chiaroscuro, a technique that employs strong light and dark contrasts to create depth and volume. This style is characteristic of early 18th-century painting.
Context
Carlevarijs was a pioneer of Venetian cityscapes, a genre later developed by artists such as Canaletto and Francesco Guardi. This painting reflects his contribution to the early Baroque period in Italy.
Artist & collection
Artist
Luca Carlevarijs or Carlevaris (20 January 1663 – 12 February 1730) was an Italian painter and engraver working mainly in Venice.
