Rembrandt's own interest in effects of darkness shifted in his mature works. He relied less on the sharp contrasts of light and dark that marked the Italian influences of the earlier generation, a factor found in his mid-seventeenth-century etchings. In that medium he shared many similarities with his contemporary in Italy, Giovanni Benedetto Castiglione, whose work in printmaking led him to invent the monotype. Outside the Low Countries, artists such as Georges de La Tour and Trophime Bigot in France and Joseph Wright of Derby in England, carried on with such strong, but graduated, candlelight chiaroscuro. Watteau used a gentle chiaroscuro in the leafy backgrounds of his fêtes galantes, and this was continued in paintings by many French artists, notably Fragonard. At the end of the century Fuseli and others used a heavier chiaroscuro for romantic effect, as did Delacroix and others in the nineteenth century. The French use of the term, clair-obscur, was introduced by the seventeenth-century art-critic Roger de Piles in the course of a famous argument ("Débat sur le coloris"), on the relative merits of drawing and colour in painting (his "Dialogues sur le coloris", 1673, was a key contribution to the "Débat"). In English, the Italian term has been used since at least the late seventeenth century. The term is less frequently used of art after the late nineteenth century, although the Expressionist and other modern movements make great use of the effect. Especially since the strong twentieth-century rise in the reputation of Caravaggio, in non-specialist use the term is mainly used for strong chiaroscuro effects such as his, or Rembrandt's. As the Tate puts it: "Chiaroscuro is generally only remarked upon when it is a particularly prominent feature of the work, usually when the artist is using extreme contrasts of light and shade". Photography and cinema also have adopted the term. For the history of the term, see René Verbraeken, "Clair-obscur, histoire d’un mot" (Nogent-le-Roi, 1979). "Chiaroscuro" also is used in cinematography to indicate extreme low key and high-contrast lighting to create distinct areas of light and darkness in films, especially in black and white films.