Activity #4: Write About It!

Saint John in the Desert, tempera on panel work, was created by Italian artist Domenico Veneziano in 1445. In 1547, another Italian artist Titian Venetian, created Saint John the Evangelist on Patmos with oil on panel. To engage viewers’ attention to the critical components of their work, both artists employed four common principles of design: unity and variety, emphasis and subordination, balance and rhythm (Getlein, 121).

The principle of unity in art refers to as a sense of oneness or visual harmony while variety is everything else; the difference disturbing that unity by creating interest (122). In Veneziano’s painting, unity is observed by the general theme of the painting and the subtle but continuous shifts in value. The nakedness of the saint blends with the openness (or nakedness) of the mountains and the use of naturally earthy tones are also consistent with the saint’s flesh. Variety is displayed into this natural milieu by the use of the primary color red. Here, this warm color is the most distinct of all, claiming the viewer’s attention. Titian too employs color to signify variety in his work but unlike Veneziano, he uses hints and values of red as well as light and action to signify interest. This notation is can also be explained using the design principle of emphasis and subordination. These concepts coexist and thrive by the effect of each other. Emphasis is the focal point, or a clearly defined area to which one’s eye is attracted and in Veneziano’s work, is John’s red cloak (134). Subordination refers to other areas purposely made less visually interesting so the emphasis remains vibrant and overt (134). This is evidenced in Titian’s art by the dark contrast of the mound John stands on as well as the cool submissive blue of the sky.

Visually speaking, balance refers to the equal distribution of weight along its central axis (124) and can be defined as symmetrical or asymmetrical (125,129). Symmetrical balance is described as evenness in shape, size, and placement on both sides of an imaginary vertical line in the center of a painting while asymmetrical balance confers the opposite, unevenness (129). The placement of angels and holy characters in the upper left of Titian’s painting signify asymmetry. In addition, the bulk of John’s bright red outer garb, his physical position in the painting and the gaze of the eagle are directed leftward. Veneziano’s work is also descriptive of asymmetrical balance and this is shown by the tendency of the mountains and the bushes to lean to the left of painting; thus creating an unequivocal fullness or weight on that side.

Lastly, rhythm is expressed throughout both works. Rhythm is based on repetition and is often used to direct the view to different places within an artwork (141). Titian painting exudes a soft circular rhythm and is expressed by the roundness and softness of the clouds, the skies, and John’s billowing robes. Conversely, the sharp and jagged slopes of Veneziano’s mountains are repeated throughout the painting, guiding our eyes on an l-shaped path left to right and then to the rugged terrain below. As displayed in their work, Veneziano and Titian effectively utilized the principles of design.