The light that the painter wants us to see first is the inscription right above the paint, the single-light source. It falls different in each portrait in it, in propose, I think, because the painter wanted to attract our attention in different ways, letting us see the paint in the way as he want to show us. The first profile we see, thanks to the single-light source, is the king of Babylon (in the middle) and all the objects around him, for emphasise the theme of the paint (narrative of an episode of the Bible). After them you can see the light falling down to the lady with the red dress in the right of the painting. And at the end you can see the people in the left back of the painting, put in the background by the single-light source. Here below there's the last portrait that you can barely see in the painting, because of the position of the subject from the light. 

In my opinion in this painting of Hendrick her Brugghen there is an order of events in which the artist wants us to perceive the painting:

1) The guy in the right playing is flute and the girl in the left come first to our eyes because are the most illuminated and they look in the same direction, as if the artist want to say to us something to look at. 

2) The guy in the middle, kind hidden behind the two first subjects is not too lighted from the single-light source, but it's seems talking with the two guys, in front of him, like he advices them to look at something. 

A highly focused light source creates sharp highlights, intense shadows and a sense both of drama and intimacy, same as Caravaggio did first. 

The guy in the middle, fixes his gaze upon us. An audience of men, women and children are alert around him to watch the experiment he is conducting. 

Not being fooled by the moon, in the right side of the painting, we can understand that the main light comes from the table, illuminating the different expressions of the subjects in there. The most brighter figures illuminated by the single-light source are the girls in the left side of the scientist, and their reaction about the experiment is extreme. The little one is curious of how the experiment will end and the sister in her arms is very scared for the fate of the bird. The polished surface of the table reflects the light and the objects on it and surrounding it. Where the light does not reach colour and form disappear altogether into blackness. Light and dark are the subjects of Wright’s dramatic painting.

The artist uses contrasts of light and shade (known as chiaroscuro) to heighten the drama. A strong light from the left falls on the faces of Christ and the disciple on the right. The same light illuminates the details and realistic still life laid out on the crisp white tablecloth and is both reflected in and refracted through the carafe of water and wine glass. The tangibility of these objects draws us into the scene, and because the food and drink seem so real to us, so does the miracle.The composition of this painting plays a key role: the back view of the disciple on the left and Saint James’s arms, shown in extreme foreshortening, act like tram lines focusing our attention on Christ’s serene face. He and the disciples form an inward-facing triangle. 

I really been inspired by Caravaggio and his game with light and shade (Chiaroscuro), photography talking, I love the contrast and the composition that he made with the ambient and the subjects of his painting. 

                       A Lady with a Squirrel and a Starling (Anne Lovell?) - Hans Holbein the younger

We can see the three-dimensionality of this painting from the grey and black shades around the shoulders of the woman, which emphasises the geometry of the fur cap and the curve of the shawl. This shadow and the three-quarter turn of the sitter’s torso also separate her from the plain background, its intense colour contrasting with her monochrome clothing too.

OVERALL COLOUR SCHEME​​​​​​​

As I read in the article https://www.artsy.net/article/artsy-editorial-6-art-historical-poses we should know 6 art-historical poses:

1- COMPOSITE​​​​​​​

A figure in composite pose usually appears in profile with feet, legs, hips and head turned to the side but the torso facing forward. Used the first time by the ancient Egyptians.

2- CONTRAPPOSTO

                          

                               

Where the standing human figure is poised such that the weight rests on one leg, freeing the other leg, which is bent at the knee. With the weight shift, the hips, shoulders, and head tilt, activating the body in a dynamic twist.

Here below a picture that I shoot in the gallery that could possible have the same pose:

3- ADLOCUTIO

If you stand in contrapposto, lift your right arm, and raise your index finger, you’ve made it. In art history, this commanding stance is reserved mostly for leaders, especially those addressing their troops during battle.

4- PUDICA

In the original, the figure recoils, rushing to cover her pubis with one hand and grabbing her garment with the other. This pudica pose quickly became standard iconography for women in art, drawing attention to their sexuality.

5 - ODALISQUE

Following the pudica pose, the figure covers her sex with one hand while sleeping atop some drapery in a picturesque landscape. The erotic display, designed to please its male viewers, was only admissible because it featured a goddess, rather than a “real” woman.

6-  SERPENTINE

Serpentine poses are arresting, sensuous, and almost always unnatural. (Few would twist their body in opposite directions by choice.) Showing bodies that express emotional drama.

Reproducing the all this poses in photography will be a challenge because the model/models will possible be in motion or if not will seem probably too unnatural. Recreating a art-historical composition pose will be so beautiful, like Tim Walker did in some of his photo:

or Ruven Afanador :