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Originally Posted by Richard Budig
Greene taught that it isn't likely that the model will affect the background, but it is highly likely that the bckground will affect the model.
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Actually I have to say I believe the figure does have an effect on the background. It has a definite mass and, if you succeed in capturing the sense of movement, the effect of this mass is emphasized. The mass of the figure agitates the air around it. It might seem purely scientific but I think there are ways that the artist reacts emotionally to this and captures it in paint.
One way is to paint the edges of the light side as broken and, in some cases, extending into the background. I think the painting of light auras, which we covered in another thread ("optical red") is part of this. The light from the figure--and energy, too-- radiates into the air.
Another way has to do with our perception of color. The direct light falling on the figure is usually the most dominant light in the composition. The color and temperature of this light determines the color of the ambient light and therefore the color of the shadow. Ambient light and shadow can be found in backgrounds. It's all a matter of perception, and the scientific factor and subjective factor are interconnected.
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These things, plus the fact that background color can and should be found in shadow areas of the figure, add up to a very lively interplay between figure and background. I believe that this interplay creates the feeling of "air" or "space." This should hold true whether the background is abstract or specific (as in Ilaria's description).
Here are two examples. The first is a portrait head (detail) by Sargent. There's a really nice example of a red aura on the lit side of her head, and the shadow color in her face is similar to the color of the ground. The second painting is a still life (detail) by David Leffel. That leaf on the right-hand side just shoots off into space, and the light on the left side of the jug radiates into the air. On the shadow side, the jug and leaves pick up the color of the background. To me, these are two examples of how the artist paints air, and how the figure and ground are mutually influential.