1.3.3: Emphasis and Subordination
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)Emphasis and Subordination
Emphasis is an area of primary visual importance and subordination is essentially an area that contains opposite qualities so that the area of emphasis has something against which it can stand out.
Emphasis is usually created by using one or more of the three following strategies:
- Isolation — putting an object off by itself, away from the rest of the work
- Placement — putting an object in a key area where it is easily noticed. This can be done by such strategies as framing a particular object or using directional forces to point to it.
- Contrast — using opposite qualities from the surrounding environment to make an area or object stand out as noticeably different from the rest. This can be a contrast of value (light vs dark), color (warm vs cool), texture (rough vs smooth), size (small vs large), etc.
An artwork may have one point of emphasis, several points of emphasis, or no point of emphasis at all.
In terms of the visual Elements of Art, what stands out the most Francisco de Goya’s painting The Third of May, 1808 (below)? Most viewers will recognize the main point of emphasis as being the figure in the white shirt with his arms raised upwards. The figure stands out because the majority of the painting in dark in tone (subordination), while his shirt is bright white. This is a good example of the use of value contrast to create emphasis. A candle lantern at the feet of the executioners acts as a spotlight, and his dramatic stance reinforces his relative isolation from the rest of the crowd. All the figures on the right are pointing their guns directly at him, providing a great example of placement through the use of directional forces to emphasize him. The artist wants us to see that figure, consider his situation, put ourselves in his shoes, so to speak, to feel something of what he might be feeling in this dramatic moment.
In terms of the idea, Goya’s narrative painting gives witness to the summary execution of Spanish resistance fighters by Napoleon’s armies on the night of May 3, 1808. He poses the figure in the white shirt to imply a crucifixion, a Christ-like figure about to be sacrificed, as he faces his own death and his compatriots surrounding him either clutch their faces in disbelief or stand stoically with him, looking their executioners in the eyes. While the carnage takes place in front of us, the church stands dark and silent in the distance. The genius of Goya is his ability to direct the narrative content by the emphasis he places in his composition.
A second example showing emphasis is seen in The Fall of Icarus, by Pieter Brueghel the Elder (or one of his circle). There is a multitude of activity recorded in this painting, and there are several points of interest. In a classroom setting one student might say the large boat is the main point of emphasis because it is fairly weighty by being dark valued and its sails sweep outward with very strong and unique curved shapes. Another student might simply say the whole foreground is the most interesting because it is the most detailed area of the work. While that may be true, it is recommended to focus in the most intensely emphasized parts. So looking more closely, we come to recognize the farmer in the red shirt, the only use of the color of red in a painting that is otherwise cool in tone with the many blues, browns, and whites. That farmer is also the largest figure in the painting, even shown from a point of view that makes him larger than the horse. Arguably then, the farmer, is the main point of emphasis. While this is not necessarily a right or wrong answer, what is important here is being able to see such features and describe them using the key terms and concepts of the Elements and Principles. Considering the artist's message — humorously and yet also tragically, a smaller figure, Icarus, appears to be drowning in the sea while the normal duties of life carry on for others — a man reaps what he sows.
When considering the point or points of emphasis in a work of art, also consider how such emphases connect to the possible underlying message of the work.
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