gateways to art chapters 1.8 and 1.9
TRANSCRIPT
![Page 1: Gateways to Art Chapters 1.8 and 1.9](https://reader033.vdocuments.site/reader033/viewer/2022061504/55b37753bb61eb01608b45b0/html5/thumbnails/1.jpg)
Chapter 1.8
Emphasis and Focal Point
PART 1FUNDAMENTALS
Copyright © 2011 Thames & Hudson
![Page 2: Gateways to Art Chapters 1.8 and 1.9](https://reader033.vdocuments.site/reader033/viewer/2022061504/55b37753bb61eb01608b45b0/html5/thumbnails/2.jpg)
PART 1FUNDAMENTALS
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Chapter 1.8 Emphasis and Focal Point
Emphasis
The principle of drawing attention to particular content in a work
![Page 3: Gateways to Art Chapters 1.8 and 1.9](https://reader033.vdocuments.site/reader033/viewer/2022061504/55b37753bb61eb01608b45b0/html5/thumbnails/3.jpg)
PART 1FUNDAMENTALS
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Chapter 1.8 Emphasis and Focal Point
Emphasis and Subordination
The opposite of emphasis is subordination Subordination draws our attention away from certain areas of a
work
![Page 4: Gateways to Art Chapters 1.8 and 1.9](https://reader033.vdocuments.site/reader033/viewer/2022061504/55b37753bb61eb01608b45b0/html5/thumbnails/4.jpg)
1.141 Double-chambered vessel with mouse, Recuay, Peru, 4th–8th century. Ceramic, 6” high. Metropolitan Museum of Art, New York
![Page 5: Gateways to Art Chapters 1.8 and 1.9](https://reader033.vdocuments.site/reader033/viewer/2022061504/55b37753bb61eb01608b45b0/html5/thumbnails/5.jpg)
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
![Page 6: Gateways to Art Chapters 1.8 and 1.9](https://reader033.vdocuments.site/reader033/viewer/2022061504/55b37753bb61eb01608b45b0/html5/thumbnails/6.jpg)
1.143 Mark Tobey, Blue Interior, 1959. Tempera on card, 44 x 28”
![Page 7: Gateways to Art Chapters 1.8 and 1.9](https://reader033.vdocuments.site/reader033/viewer/2022061504/55b37753bb61eb01608b45b0/html5/thumbnails/7.jpg)
PART 1FUNDAMENTALS
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Chapter 1.8 Emphasis and Focal Point
Focal Point
A focal point is the specific part of an area of emphasis to which the artist draws our eye
![Page 8: Gateways to Art Chapters 1.8 and 1.9](https://reader033.vdocuments.site/reader033/viewer/2022061504/55b37753bb61eb01608b45b0/html5/thumbnails/8.jpg)
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
![Page 9: Gateways to Art Chapters 1.8 and 1.9](https://reader033.vdocuments.site/reader033/viewer/2022061504/55b37753bb61eb01608b45b0/html5/thumbnails/9.jpg)
1.145 Artemisia Gentileschi, Judith Decapitating Holofernes, c. 1620. Oil on canvas, 6’6⅜” x 5’3¾“. Uffizi Gallery, Florence, Italy
![Page 10: Gateways to Art Chapters 1.8 and 1.9](https://reader033.vdocuments.site/reader033/viewer/2022061504/55b37753bb61eb01608b45b0/html5/thumbnails/10.jpg)
1.145 slide 2: Directional lines in Artemisia Gentileschi's Judith Decapitating Holofernes
![Page 11: Gateways to Art Chapters 1.8 and 1.9](https://reader033.vdocuments.site/reader033/viewer/2022061504/55b37753bb61eb01608b45b0/html5/thumbnails/11.jpg)
PART 1FUNDAMENTALS
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Chapter 1.8 Emphasis and Focal Point
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
![Page 12: Gateways to Art Chapters 1.8 and 1.9](https://reader033.vdocuments.site/reader033/viewer/2022061504/55b37753bb61eb01608b45b0/html5/thumbnails/12.jpg)
PART 1FUNDAMENTALS
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Chapter 1.8 Emphasis and Focal Point
Emphasis and Focal Point in Action:Line
Line is an effective way to focus a viewer’s attention in an artwork
![Page 13: Gateways to Art Chapters 1.8 and 1.9](https://reader033.vdocuments.site/reader033/viewer/2022061504/55b37753bb61eb01608b45b0/html5/thumbnails/13.jpg)
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
![Page 14: Gateways to Art Chapters 1.8 and 1.9](https://reader033.vdocuments.site/reader033/viewer/2022061504/55b37753bb61eb01608b45b0/html5/thumbnails/14.jpg)
1.146 slide 2: Detail of The Emperor Babur Overseeing his Gardeners, showing directional lines
![Page 15: Gateways to Art Chapters 1.8 and 1.9](https://reader033.vdocuments.site/reader033/viewer/2022061504/55b37753bb61eb01608b45b0/html5/thumbnails/15.jpg)
PART 1FUNDAMENTALS
Chapter 1.8 Emphasis and Focal Point
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
The Emperor Babur Overseeing his Gardeners
The gardener/artist Babur is pointing to a feature that channels water in four directions
The strong diagonal of the channel draws our attention to the water as it runs toward us
The central cross-shaped confluence of the waters becomes the focal point of the composition
In this work, water is the focal point conceptually as well as visually
![Page 16: Gateways to Art Chapters 1.8 and 1.9](https://reader033.vdocuments.site/reader033/viewer/2022061504/55b37753bb61eb01608b45b0/html5/thumbnails/16.jpg)
PART 1FUNDAMENTALS
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Chapter 1.8 Emphasis and Focal Point
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
![Page 17: Gateways to Art Chapters 1.8 and 1.9](https://reader033.vdocuments.site/reader033/viewer/2022061504/55b37753bb61eb01608b45b0/html5/thumbnails/17.jpg)
1.147 Francisco de Zurbarán, The Funeral of St. Bonaventure, 1629. Oil on canvas, 8' 2” x 7' 4”. Musée du Louvre, Paris, France
![Page 18: Gateways to Art Chapters 1.8 and 1.9](https://reader033.vdocuments.site/reader033/viewer/2022061504/55b37753bb61eb01608b45b0/html5/thumbnails/18.jpg)
PART 1FUNDAMENTALS
Chapter 1.8 Emphasis and Focal Point
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Francisco de Zurbarán, The Funeral of St. Bonaventure
Most of the lightest values in the painting are reserved for the clothing adorning the dead body of St. Bonaventure
These create a central focal point that stands out in contrast to the surrounding dark values
The whiteness of his clothing symbolizes Bonaventure's spotless reputation
Enough light value is distributed to the other figures to allow our eyes to be drawn away from the saint’s body, making the composition more interesting
![Page 19: Gateways to Art Chapters 1.8 and 1.9](https://reader033.vdocuments.site/reader033/viewer/2022061504/55b37753bb61eb01608b45b0/html5/thumbnails/19.jpg)
PART 1FUNDAMENTALS
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Chapter 1.8 Emphasis and Focal Point
Emphasis and Focal Point in Action:Placement
The placement of elements within a composition controls rhythm and creates multiple focal points
![Page 20: Gateways to Art Chapters 1.8 and 1.9](https://reader033.vdocuments.site/reader033/viewer/2022061504/55b37753bb61eb01608b45b0/html5/thumbnails/20.jpg)
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
![Page 21: Gateways to Art Chapters 1.8 and 1.9](https://reader033.vdocuments.site/reader033/viewer/2022061504/55b37753bb61eb01608b45b0/html5/thumbnails/21.jpg)
PART 1FUNDAMENTALS
Chapter 1.8 Emphasis and Focal Point
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Ando Hiroshige, “Riverside Bamboo Market, Kyobashi”
The positions of the moon, the bridge, and the figure in a boat form three separate focal points
Each shape commands our attention and draws more of our focus to the right side of the work
The varying distances between the placements of the three focal points also create rhythm that adds visual interest
![Page 22: Gateways to Art Chapters 1.8 and 1.9](https://reader033.vdocuments.site/reader033/viewer/2022061504/55b37753bb61eb01608b45b0/html5/thumbnails/22.jpg)
Chapter 1.9
Pattern and Rhythm
PART 1FUNDAMENTALS
Copyright © 2011 Thames & Hudson
![Page 23: Gateways to Art Chapters 1.8 and 1.9](https://reader033.vdocuments.site/reader033/viewer/2022061504/55b37753bb61eb01608b45b0/html5/thumbnails/23.jpg)
PART 1FUNDAMENTALS
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Chapter 1.9 Pattern and Rhythm
Pattern
An arrangement of predictably repeated elements
![Page 24: Gateways to Art Chapters 1.8 and 1.9](https://reader033.vdocuments.site/reader033/viewer/2022061504/55b37753bb61eb01608b45b0/html5/thumbnails/24.jpg)
PART 1FUNDAMENTALS
Chapter 1.9 Pattern and Rhythm
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
1.149 Horizontal alternating pattern
![Page 25: Gateways to Art Chapters 1.8 and 1.9](https://reader033.vdocuments.site/reader033/viewer/2022061504/55b37753bb61eb01608b45b0/html5/thumbnails/25.jpg)
1.150 Suzanne Valadon, The Blue Room, 1923. Oil on canvas, 35½ × 45⅝”. Musée National d’Art Moderne,Centre Georges Pompidou, Paris, France
![Page 26: Gateways to Art Chapters 1.8 and 1.9](https://reader033.vdocuments.site/reader033/viewer/2022061504/55b37753bb61eb01608b45b0/html5/thumbnails/26.jpg)
PART 1FUNDAMENTALS
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Chapter 1.9 Pattern and Rhythm
Motif
A design repeated as a unit in a pattern is called a motif
Motifs can represent ideas, images, and themes
![Page 27: Gateways to Art Chapters 1.8 and 1.9](https://reader033.vdocuments.site/reader033/viewer/2022061504/55b37753bb61eb01608b45b0/html5/thumbnails/27.jpg)
1.151 Huqqa base, India, Deccan, last quarter of 17th century. Bidri ware (zinc alloy inlaid with brass), 6⅞ x 6½ in. Metropolitan Museum of Art, New York
![Page 28: Gateways to Art Chapters 1.8 and 1.9](https://reader033.vdocuments.site/reader033/viewer/2022061504/55b37753bb61eb01608b45b0/html5/thumbnails/28.jpg)
1.152 slide 1: Pashmina carpet with millefleur pattern, northern India, Kashmir or Lahore, second half of 17th century. Ashmolean Museum, Oxford
![Page 29: Gateways to Art Chapters 1.8 and 1.9](https://reader033.vdocuments.site/reader033/viewer/2022061504/55b37753bb61eb01608b45b0/html5/thumbnails/29.jpg)
1.152 slide 2: Detail of pashmina carpet with millefleur pattern
![Page 30: Gateways to Art Chapters 1.8 and 1.9](https://reader033.vdocuments.site/reader033/viewer/2022061504/55b37753bb61eb01608b45b0/html5/thumbnails/30.jpg)
1.153a Chuck Close, Self Portrait, 1997. Oil on canvas, 8’6” × 7’. MOMA, New York
![Page 31: Gateways to Art Chapters 1.8 and 1.9](https://reader033.vdocuments.site/reader033/viewer/2022061504/55b37753bb61eb01608b45b0/html5/thumbnails/31.jpg)
1.153b Chuck Close,Self Portrait, detail
![Page 32: Gateways to Art Chapters 1.8 and 1.9](https://reader033.vdocuments.site/reader033/viewer/2022061504/55b37753bb61eb01608b45b0/html5/thumbnails/32.jpg)
1.153c Chuck Close, Self Portrait, detail
![Page 33: Gateways to Art Chapters 1.8 and 1.9](https://reader033.vdocuments.site/reader033/viewer/2022061504/55b37753bb61eb01608b45b0/html5/thumbnails/33.jpg)
PART 1FUNDAMENTALS
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Chapter 1.9 Pattern and Rhythm
Rhythm
Rhythm gives structure to the experience of looking, justas it guides our eyes from one point to another in a workof art
There is rhythm when there are at least two points of reference in an artwork
The intervals between elements provide points of reference for more complex rhythms
![Page 34: Gateways to Art Chapters 1.8 and 1.9](https://reader033.vdocuments.site/reader033/viewer/2022061504/55b37753bb61eb01608b45b0/html5/thumbnails/34.jpg)
1.155 slide 1: Pieter Bruegel, Hunters in the Snow, 1565. Oil on panel, 46 x 63¾ in. Kunsthistorisches Museum, Vienna, Austria
![Page 35: Gateways to Art Chapters 1.8 and 1.9](https://reader033.vdocuments.site/reader033/viewer/2022061504/55b37753bb61eb01608b45b0/html5/thumbnails/35.jpg)
1.155 slide 2: Detail of Pieter Bruegel, Hunters in the Snow
![Page 36: Gateways to Art Chapters 1.8 and 1.9](https://reader033.vdocuments.site/reader033/viewer/2022061504/55b37753bb61eb01608b45b0/html5/thumbnails/36.jpg)
1.155 slide 3: Detail of Pieter Bruegel, Hunters in the Snow
![Page 37: Gateways to Art Chapters 1.8 and 1.9](https://reader033.vdocuments.site/reader033/viewer/2022061504/55b37753bb61eb01608b45b0/html5/thumbnails/37.jpg)
![Page 38: Gateways to Art Chapters 1.8 and 1.9](https://reader033.vdocuments.site/reader033/viewer/2022061504/55b37753bb61eb01608b45b0/html5/thumbnails/38.jpg)
1.155 slide 1: Pieter Bruegel, Hunters in the Snow, 1565. Oil on panel, 46 x 63¾ in. Kunsthistorisches Museum, Vienna, Austria
![Page 39: Gateways to Art Chapters 1.8 and 1.9](https://reader033.vdocuments.site/reader033/viewer/2022061504/55b37753bb61eb01608b45b0/html5/thumbnails/39.jpg)
PART 1FUNDAMENTALS
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Chapter 1.9 Pattern and Rhythm
Simple Repetitive Rhythm
A repeating “pulse” of similar elements sets up a visual rhythm that a viewer can anticipate
![Page 40: Gateways to Art Chapters 1.8 and 1.9](https://reader033.vdocuments.site/reader033/viewer/2022061504/55b37753bb61eb01608b45b0/html5/thumbnails/40.jpg)
1.156 Great Mosque of Córdoba, prayer hall of Abd al-Rahman I, 784–6, Córdoba, Spain
![Page 41: Gateways to Art Chapters 1.8 and 1.9](https://reader033.vdocuments.site/reader033/viewer/2022061504/55b37753bb61eb01608b45b0/html5/thumbnails/41.jpg)
PART 1FUNDAMENTALS
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Chapter 1.9 Pattern and Rhythm
Progressive Rhythm
Repetition that regularly increases or decreases in frequency to create a progressive rhythm
![Page 42: Gateways to Art Chapters 1.8 and 1.9](https://reader033.vdocuments.site/reader033/viewer/2022061504/55b37753bb61eb01608b45b0/html5/thumbnails/42.jpg)
Edward Weston, Artichoke Halved, 1930. Silver gelatin print. 7 3/8 x 9 3/8”. Collection Center for Creative Photography, University of Arizona, Tucson.
![Page 43: Gateways to Art Chapters 1.8 and 1.9](https://reader033.vdocuments.site/reader033/viewer/2022061504/55b37753bb61eb01608b45b0/html5/thumbnails/43.jpg)
PART 1FUNDAMENTALS
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Chapter 1.9 Pattern and Rhythm
Alternating Rhythm
Artists intertwine multiple rhythms until theybecome quite complex
![Page 44: Gateways to Art Chapters 1.8 and 1.9](https://reader033.vdocuments.site/reader033/viewer/2022061504/55b37753bb61eb01608b45b0/html5/thumbnails/44.jpg)
1.158 slide 1: Bai-ra-Irrai, originally built c. 1700 and periodically restored, Airai village, Airai State, Republic of Palau
![Page 45: Gateways to Art Chapters 1.8 and 1.9](https://reader033.vdocuments.site/reader033/viewer/2022061504/55b37753bb61eb01608b45b0/html5/thumbnails/45.jpg)
1.158 slide 2: Detail of Bai-ra-Irrai
![Page 46: Gateways to Art Chapters 1.8 and 1.9](https://reader033.vdocuments.site/reader033/viewer/2022061504/55b37753bb61eb01608b45b0/html5/thumbnails/46.jpg)
PART 1FUNDAMENTALS
Chapter 1.9 Pattern and Rhythm
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Bai-ra-Irrai
The imagery above the entry of this bai begins, at the bottom, with the regular rhythms of horizontal lines of fish, but the images above become increasingly irregular as they change to other kinds of shapes
![Page 47: Gateways to Art Chapters 1.8 and 1.9](https://reader033.vdocuments.site/reader033/viewer/2022061504/55b37753bb61eb01608b45b0/html5/thumbnails/47.jpg)
PART 1FUNDAMENTALS
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Chapter 1.9 Pattern and Rhythm
Rhythmic Design Structure
How artists divide visual space into different sections to achieve different kinds of effect
![Page 48: Gateways to Art Chapters 1.8 and 1.9](https://reader033.vdocuments.site/reader033/viewer/2022061504/55b37753bb61eb01608b45b0/html5/thumbnails/48.jpg)
1.160a Rosa Bonheur, Plowing in the Nivernais: The Dressing of the Vines, 1849. Oil on canvas, 4’4¾” x 8’6⅜”.Musée d’Orsay, Paris, France