Michelangelo, Libyan Sybil (Sistine Chapel) 1508-12
The prototype of the cangiantismo mode is applying a hue shift between red and yellow. It is evidently demonstrated in the drapery of the original painting above. Since mixing different hues was unconventional, the artists invented the cangiantismo method in order to overcome limitations of Cennini's up modeling system. In addition, it contributes to greater range in value from low to high. The context of applying the caniantismo mode, especially in this painting for Michelangelo, was to accentuate this heroic figure and distinguish his or her appearance by using this color system. This therefore emphsaizes that color was used for setting a certain composition and signifying a subject among others, which may be discussed in the color-line debate.
Michelangelo, Doni Tondo Holy Family, 1504
In addition to the previous cangiantismo mode of hue-shifting from red to yellow, Michelangelo used another hue shift from gray purple to black. Michelangelo takes advantange of adding variations in hue for different draperies. Furthermore, Renaissance artists incorporated the caniantismo method for revealing the supernatural world in a realistic drawing.
Michelangelo Bounarroti, Jonah,1511, Fresco, Sistine Chapel, Vatican
This painting indicates a dramatic application of the cangiantismo mode. It is more common for artists to use hue shift between two colors that are closer in a hue range such as red to yellow. However, Michelangelo attempted to achieve a hue shift of two complimentary colors from red to green. This may be considered as discovering a dynamic value change by layering different colors of oil glazes. It is also to bring attention to the figure and to create an unearthy impression of an event in the past.