Double-chambered vessel with mouse
The mouse attracts our attention because it is so detailed
The spout of the vessel also stands out, not only because of its color but also because of its geometric simplicity
Third and fourth areas of emphasis are found in the decorations on the two chambers of the vessel
These areas connect because they share common shapes, coloration, and texture that draw our attention away from the undecorated-subordinated-areas of the vessel
Jules Olitski, Tin Lizzie Green
Because abstract works can never directly evoke our memories of things or people, they frequently rely on compositional principles, such as emphasis
Olitski frames our attention on the color field in the center of the work with three colored dots on the right, red horizontal strokes on the top and bottom, and a tan-colored stroke on the left
These color shapes support the real focus of this work, which is the blue-green color in the center
Mark Tobey, Blue Interior
When a work does not have areas of emphasis, that changes the way we respond to it
Tobey was interested in creating a meditative response to the landscape of the Pacific Northwest, where he grew up
Because Tobey does not use areas of emphasis, we are free to roam visually in his painting
We can immerse ourselves in the work, as if it were an ocean
Pieter Bruegel the Elder, Landscape with the Fall of Icarus
The story of Icarus is one from Greek mythology
His wax wings melt as he flies too close to the sun
Bruegel diverts our attention so that we barely notice Icarus plunging to his doom
Instead the artist’s main area of emphasis is the plower in the foreground, possibly illustrating the proverb “No plow stands still because a man dies.”
Gentileschi, Judith Decapitating Holofernes Emphasis Used to Create Drama
Through Gentileschi’s use of directional line and contrasting values we are drawn irresistibly to the point where the climax of the story is unfolding
Judith’s arms and those of her maidservant (visually connected to the sword itself) stretch toward the dark values of their victim’s head
The light values of the five bare arms create strong directional lines that lead to the focal point where blood spurts from the violent attack on Holofernes’ neck
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
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
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