PART 1

FUNDAMENTALS

Chapter 1.8
Focal Point and Emphasis

Copyright © 2015 Thames & Hudson

 Chapter 1.8 Focal Point and Emphasis
PART 1
FUNDAMENTALS

Introduction
 A focal point is a specific place
of visual emphasis
 Emphasis is the principle by which
an artist draws attention to
particular content; subordination
is the opposite
 Emphasis and focal point usually
accentuate concepts, themes, or
ideas the artist wants to express
Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
 Chapter 1.8 Focal Point and Emphasis
PART 1
FUNDAMENTALS

Focal Point
 Focal point is a tool artists use
to give specific emphasis to an
important symbol, event, or
distinguishing feature in a work
 It is the place in an area of
emphasis that draws our eye

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
 Chapter 1.8 Focal Point and Emphasis
PART 1
FUNDAMENTALS

Interactive Exercises:

Focal Point

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
 Artwork: Dieric Bouts, The
Coronation of the Virgin Mary

1.8.1 Dieric Bouts (the Elder), The Coronation of the Virgin Mary, 1455/60. Tempera on oak panel, approximately 32⅞" × 33½".
Akademie der Bildenden Künste, Vienna, Austria
 Chapter 1.8 Focal Point and Emphasis
PART 1
FUNDAMENTALS

Dieric Bouts,
The Coronation of the
Virgin Mary
 Bouts renders the Holy Trinity with
reverence, but focuses attention on
the centrally placed Virgin Mary
 Her face is framed by the crown and
dove above and folded hands below;
all eyes are oriented toward her
Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Artwork: Marc Chagall,
The Fall of Icarus

1.8.2 Marc Chagall, The Fall of Icarus, 1975. Oil on canvas, 6'11⅞" × 6'6".
Musée National d’Art Moderne, Centre Georges Pompidou, Paris, France
 Chapter 1.8 Focal Point and Emphasis
PART 1
FUNDAMENTALS

Marc Chagall,
The Fall of Icarus
 The story of Icarus is from Greek
mythology
 Icarus is the focal point, set apart
by his position and color
 The contrast between the brightly
colored wings and the dull, pale-
gray sky draws attention to the
flailing boy
Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
 Artwork: Artemisia Gentileschi,
Judith Decapitating Holofernes

1.8.3 Artemisia Gentileschi,

Judith Decapitating Holofernes,
c. 1620. Oil on canvas,
6'6⅜" × 5'3¾". Uffizi Gallery,
Florence, Italy
 Directional lines in Gentileschi's
Judith Decapitating Holofernes

1.8.3 Directional lines in

Artemisia Gentileschi, Judith
Decapitating Holofernes,
c. 1620. Oil on canvas,
6'6⅜" × 5'3¾". Uffizi Gallery,
Florence, Italy
 Chapter 1.8 Focal Point and Emphasis
PART 1
FUNDAMENTALS

Gateway to Art:

Gentileschi: Using
Focal Point for Dramatic
Emphasis
 Directional line and contrasting
values emphasize the climax of
the story
 Strong single focal point: where
blood spurts from Holofernes’ neck
as Judith delivers the fatal blow
Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
 Chapter 1.8 Focal Point and Emphasis
PART 1
FUNDAMENTALS

Emphasis
 An entire work, a broad area
within a work of art, multiple areas,
and even specific points can be
emphasized
 Broad emphasis can also occur
when there are multiple elements
within a work, but no one element
dominates
Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
 Artwork: Vija Celmins,
Untitled (Ocean)

1.8.4 Vija Celmins, Untitled (Ocean), 1977. Graphite on acrylic ground on paper, 10 x 12⅞". San Francisco Museum of Modern Art
 Chapter 1.8 Focal Point and Emphasis
PART 1
FUNDAMENTALS

Vija Celmins,
Untitled (Ocean)
 Celmins intentionally created a
composition that does not have
a dominant area of emphasis
 Has an overall field of undulating
value changes with no singular
point that the eye is drawn to

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
 Portal Artwork: Tunic

3.4.6 Tunic, c. 1500. Interlocked

tapestry of cotton and wool,
35⅞ × 30⅛". Dumbarton Oaks
Research Library and Collections,
Washington, D.C.
 Artwork: Martin Puryear,
C.F.A.O

1.8.5 Martin Puryear,

C.F.A.O., 2006–7. Painted
and unpainted pine and
found wheelbarrow,
8'4¾" × 6'5½" × 5'1".
MoMA, New York
 Chapter 1.8 Focal Point and Emphasis
PART 1
FUNDAMENTALS

Martin Puryear,
C.F.A.O
 The wheelbarrow and pine structure
contrast with the large area of
emphasis: the white, mask-like shape
in the center
 Mask mimics the designs of the Fang
tribe of Gabon
 Intended to recall French colonialism
in West Africa
Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
 Artwork: Jacob Lawrence,
“John Brown…”

1.8.6 Jacob Lawrence, “John Brown Remained a Full Winter in Canada, Drilling Negroes for His Coming Raid on Harpers Ferry
(no.17)”, from The Life of John Brown (22 prints), 1977. Gouache and tempera on paper, 20 × 14"
 Chapter 1.8 Focal Point and Emphasis
PART 1
FUNDAMENTALS

Jacob Lawrence,
“John Brown […]”
 Each figure attracts enough attention
so that none stands out
 Solemn poses are an homage to the
Civil War-era abolitionist John Brown
 Composition is balanced with
separate areas of emphasis; implies
equality among the men
Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
 Chapter 1.8 Focal Point and Emphasis
PART 1
FUNDAMENTALS

Subordination
 The use of emphasis to draw the
viewer’s attention away from a
particular part of a composition
is referred to as subordination
 Can also involve deliberately
reducing the impact of certain
details

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
 Chapter 1.8 Focal Point and Emphasis
PART 1
FUNDAMENTALS

Interactive Exercises:

Emphasis and
Subordination

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Artwork: Pieter Bruegel the Elder,
Landscape with the Fall of Icarus

1.8.7 Pieter Bruegel the Elder, Landscape with the Fall of Icarus, c. 1555–58. Oil on canvas, mounted on wood, 29 × 44⅛".
Musées Royaux des Beaux-Arts de Belgique, Brussels, Belgium
 Chapter 1.8 Focal Point and Emphasis
PART 1

Pieter Bruegel the Elder,

FUNDAMENTALS

Landscape with the Fall

of Icarus
 Bruegel diverts our attention so
that we barely notice Icarus
plunging to his doom
 Emphasis is drawn to other areas,
such as the plowman in the
foreground
Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
 Chapter 1.8 Focal Point and Emphasis
PART 1
FUNDAMENTALS

Focal Point and

Emphasis in Action
 Artists use direction, dramatic
contrasts, and placement
relationships to organize elements
in a work and draw our attention to
areas of emphasis and focal points

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
 Chapter 1.8 Focal Point and Emphasis
PART 1
FUNDAMENTALS

Interactive Exercises:

Drawing Attention

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
 Chapter 1.8 Focal Point and Emphasis
PART 1
FUNDAMENTALS

Contrast
 Artists look to create effects of
contrast by positioning elements
that are very different next to one
another
 For example, areas of varied value,
color, or size

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Artwork: Francisco de Zurbarán
The Funeral of St. Bonaventure

1.8.8 Francisco de Zurbarán, The Funeral of St. Bonaventure, 1629. Oil on canvas, 8'2" × 7'4".
Musée du Louvre, Paris, France
 Chapter 1.8 Focal Point and Emphasis
PART 1
FUNDAMENTALS

Francisco de Zurbarán, The

Funeral of St. Bonaventure
 The whiteness of St. Bonaventure’s
clothing contrasts with the dark
values of the background
 Creates a central focal point
 Enough light value is distributed to
other figures, making the
composition more interesting
Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
 Chapter 1.8 Focal Point and Emphasis
PART 1
FUNDAMENTALS

Line
 Line is an effective way to focus
our attention in an artwork

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
 Artwork: The Emperor Babur
Overseeing His Gardeners

1.8.9 The Emperor Babur

Overseeing His Gardeners, India,
Mughal period, c. 1590. Tempera
and gouache on paper, 8¾ × 5⅝".
Victoria and Albert Museum,
London, England
 Detail of The Emperor Babur
Overseeing His Gardeners

1.8.9 Detail of The

Emperor Babur
Overseeing His
Gardeners, showing
directional lines, , India,
Mughal period, c. 1590.
Tempera and gouache
on paper, 8¾ × 5⅝".
Victoria and Albert
Museum, London,
England
 Chapter 1.8 Focal Point and Emphasis
PART 1
FUNDAMENTALS

The Emperor Babur

Overseeing his Gardeners
 Gardens in Mughal India symbolized
paradise
 Water and the four cardinal
directions represent life and eternity
 Water feature is the focal point, both
visually and conceptually

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
 Chapter 1.8 Focal Point and Emphasis
PART 1
FUNDAMENTALS

Placement
 The placement of elements within
a composition controls rhythm and
creates multiple focal points

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
 Artwork: Ando Hiroshige
“Riverside Bamboo Market,
Kyo-bashi”

1.8.10 Ando Hiroshige, “Riverside

Bamboo Market, Kyo-bashi,” from
One Hundred Famous Views of
Edo, 1857. 15 × 10⅜". James A.
Michener Collection, Honolulu
Academy of Arts, Hawaii
 Chapter 1.8 Focal Point and Emphasis
PART 1
FUNDAMENTALS

Ando Hiroshige,
“Riverside Bamboo
Market, Kyo-bashi”
 This artwork has three separate
focal points: the moon, the bridge,
and the figure in a boat
 The varying distances between
these three shapes create rhythm
that adds visual interest
Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
 Portal Artwork: Édouard
Manet, A Bar at the Folies-
Bergère

4.5.11 Édouard Manet,

A Bar at the Folies-Bergère,
1882. Oil on canvas, 37⅞ ×
51¼". Courtauld Gallery,
London, England
 Chapter 1.8 Focal Point and Emphasis
PART 1
FUNDAMENTALS

For two videos that explore focal point and emphasis further, click to watch:

Video:
Sandro Botticelli:
The Birth of Venus

Video:
Diego Velázquez:
Las Meninas

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
 Chapter 1.8 Focal Point and Emphasis
PART 1
FUNDAMENTALS
MoMA Videos
To learn more about the use of emphasis and focal point, watch these videos of MoMA lecturers talking about
artworks from the MoMA’s collection:

MoMA Video

Willem de Kooning,
Woman I

MoMA Video

Kazimir Malevich,
Suprematist Composition:
Airplane Flying

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
 Chapter 1.8 Focal Point and Emphasis
PART 1
FUNDAMENTALS

Chapter 1.8 Copyright

Information
This concludes the PowerPoint slide set for Chapter 1.8

Gateways to Art: Understanding the Visual Arts

Third Edition
By Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Copyright © 2015 Thames & Hudson

PowerPoints developed by CreativeMyndz Multimedia Studios

 Chapter 1.8 Focal Point and Emphasis
PART 1
FUNDAMENTALS

Picture Credits for Chapter 1.8

1.8.1 Erich Lessing/akg-images
1.8.2 Photo Scala, Florence. Chagall ®/© ADAGP, Paris and DACS, London 2018
1.8.3 Galleria degli Uffizi, Florence
1.8.4 San Francisco Museum of Modern Art, Bequest of Alfred M. Esberg. Photo Don Ross. © Vija Celmins.
Courtesy Matthew Marks Gallery
1.8.5 The Museum of Modern Art, New York, Gift of Sid Bass, Leon D. Black, Donald L. Bryant, Jr., Kathy and
Richard S. Fuld, Jr., Agnes Gund, Mimi Haas, Marie-Josée and Henry R. Kravis, Jo Carole and Ronald S.
Lauder, Donald B. Marron and Jerry Speyer on behalf of the Committee on Painting and Sculpture in honor
of John Elderfield, 553.2008. Photo Jonathan Muzikar. Digital image, The Museum of Modern Art, New
York/Scala, Florence. © Martin Puryear, Courtesy Matthew Marks Gallery
1.8.6 Courtesy DC Moore Gallery, New York. © Estate of Jacob Lawrence. ARS, NY and DACS, London 2018
1.8.7 Musées Royaux des Beaux-Arts de Belgique, Brussels
1.8.8 Musée du Louvre, Paris
1.8.9 Victoria & Albert Museum, London
1.8.10 James A. Michener Collection, Honolulu Academy of Arts, Hawaii

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