Emphasis and Focal Point in Action
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Transcript Emphasis and Focal Point in Action
PART 1
FUNDAMENTALS
Chapter 1.8
Emphasis and Focal Point
Copyright © 2011 Thames & Hudson
Chapter 1.8 Emphasis and Focal Point
PART 1
FUNDAMENTALS
Introduction
Emphasis is the principle by which an artist draws
attention to particular content in a work of art or design
A focal point is a specific place of visual emphasis
An artist can emphasize focal points through the use of
line, implied line, value, color—any of the elements of art
Emphasis and focal point usually accentuate concepts,
themes, or ideas the artist wants to express
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Chapter 1.8 Emphasis and Focal Point
PART 1
FUNDAMENTALS
Emphasis and Subordination
When an artist emphasizes different elements in a work of
art, he or she creates visual relationships and connections
between them
The opposite of emphasis is subordination
Subordination draws our attention away from certain areas of a
work
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
1.141 Double-chambered
vessel with mouse, Recuay,
Peru, 4th–8th century.
Ceramic, 6” high. Metropolitan
Museum of Art, New York
1.142 Jules Olitski, Tin Lizzie
Green, 1964. Acrylic and
oil/wax crayon on canvas,
10’10” x 6’10”. Museum of Fine
Arts, Boston, Massachusetts
1.143 Mark Tobey, Blue
Interior, 1959. Tempera on
card, 44 x 28”
Chapter 1.8 Emphasis and Focal Point
PART 1
FUNDAMENTALS
Focal Point
A focal point is the specific part of an area of emphasis to
which the artist draws our eye
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
1.144 slide 1: Pieter Bruegel the Elder, Landscape with the Fall of Icarus, c. 1555–8. Oil on canvas, mounted on wood, 29 x 44⅛”.
Musées Royaux des Beaux-Arts de Belgique, Brussels, Belgium
1.145 Artemisia Gentileschi,
Judith Decapitating
Holofernes, c. 1620. Oil on
canvas, 6’6⅜” x 5’3¾“. Uffizi
Gallery, Florence, Italy
1.145 slide 2: Directional
lines in Artemisia
Gentileschi's Judith
Decapitating Holofernes
Chapter 1.8 Emphasis and Focal Point
PART 1
FUNDAMENTALS
Emphasis and Focal Point in Action
Artists can use direction, dramatic contrasts, and
placement relationships to organize the elements in a work
and draw our attention to areas of emphasis and focal
points
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Chapter 1.8 Emphasis and Focal Point
PART 1
FUNDAMENTALS
Emphasis and Focal Point in Action:
Line
Line is an effective way to focus a viewer’s attention in an
artwork
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
1.146 slide 1: The Emperor
Babur Overseeing his
Gardeners, India, Mughal
period, c. 1590. Tempera and
gouache on paper, 8¾ x 5⅝”.
Victoria and Albert Museum,
London, England
1.146 slide 2: Detail of The
Emperor Babur Overseeing his
Gardeners, showing directional
lines
Chapter 1.8 Emphasis and Focal Point
PART 1
FUNDAMENTALS
Emphasis and Focal Point in Action:
Contrast
Artists look to create effects of contrast by positioning
elements next to one another that are very different
For example, areas of different value, color, or size
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
1.147 Francisco de Zurbarán,
The Funeral of St.
Bonaventure, 1629. Oil on
canvas, 8' 2” x 7' 4”. Musée du
Louvre, Paris, France
Chapter 1.8 Emphasis and Focal Point
PART 1
FUNDAMENTALS
Emphasis and Focal Point in Action:
Placement
The placement of elements within a composition controls
rhythm and creates multiple focal points
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
1.148 Ando Hiroshige,
“Riverside Bamboo Market,
Kyobashi,” from One Hundred
Famous Views of Edo, 1857.
15 x 10⅜”. James A. Michener
Collection, Honolulu Academy
of Arts, Hawaii
Chapter 1.8 Emphasis and Focal Point
PART 1
FUNDAMENTALS
Conclusion
All the elements and principles of art can serve to create
emphasis
Both actual and implied lines shape our examination of a
work of art by directing the movement of our gaze
Contrasts between different values, colors, or textures can
sometimes be so dramatic and distinct that we cannot help
but feel drawn to that area of a work
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Chapter 1.8 Emphasis and Focal Point
PART 1
FUNDAMENTALS
For two videos that explore emphasis and focal point further, click to watch:
Diego Velázquez: Las Meninas
Click the image above to launch the video
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Chapter 1.8 Emphasis and Focal Point
PART 1
FUNDAMENTALS
Sandro Botticelli: The Birth of Venus
Click the image above to launch the video
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Chapter 1.8 Emphasis and Focal Point
PART 1
FUNDAMENTALS
This concludes the PowerPoint slide set for Chapter 1.8
Gateways to Art: Understanding the Visual Arts
By Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Copyright © 2011 Thames & Hudson
PowerPoints developed by CreativeMyndz Multimedia Studios
Chapter 1.8 Emphasis and Focal Point
PART 1
FUNDAMENTALS
Picture Credits for Chapter 1.8
1.141
Metropolitan Museum of Art, Gift of Nathan Cummings, 1966, 66.30.2. Photo Metropolitan Museum of Art/Art
Resource/Scala, Florence
1.142
Photo © Museum of Fine Arts, Boston. Courtesy Jules Olitski Warehouse LLC. © Estate of Jules Olitski, DACS,
London/VAGA, New York 2011
1.143
© Estate of Mark Tobey, ARS, NY/DACS, London 2011. Courtesy Sotheby’s
1.144
Musées Royaux des Beaux-Arts de Belgique, Brussels
1.145
Galleria degli Uffizi, Florence
1.146
Victoria & Albert Museum, London
1.147
Musée du Louvre, Paris
1.148
James A. Michener Collection, Honolulu Academy of Arts
PowerPoints developed by CreativeMyndz Multimedia Studios