Can the success of art be regulated by a single element? What role does contrast play within art? It would seem clearly reductive to assess the success of a piece simply on its use of contrast but its ability to be incorporated both within form and subject makes it particularly interesting and a significant part of any piece. Throughout eras, from baroque to contemporary, juxtaposition and contrast have been important tools used by artists in their work, helping highlight the strength of emotions depicted in a piece or emphasising certain elements over others, and is central to an artist’s ability to convey meaning through their art.
Using juxtaposition, or contrast, refers to placing elements beside each other which seemingly don’t fit. For example – red with green, as opposed to pairing red with orange. Contrast in art goes far beyond simply the use of colours and can include contrasting themes or emotions as well as material form. Form and technical skill are vital for artists incorporating contrast in their work. A major example of this is the use of chiaroscuro. Perhaps most famously employed by 16th century Italian artist, Caravaggio, chiaroscuro refers to the use of extreme juxtaposition of light and dark within a piece. A gorgeous example of this is Artemisia Gentileschi’s Judith Slaying Holofernes (1620). The use of chiaroscuro in this painting helps to emphasise certain elements over others, whilst supporting the dramatic emotions present. Chiaroscuro can make movement and settings more imposing or create suspense by incorporating elements of mystery and hiding.
Contrast in art can also be seen in subjects and content, essentially what the artist chooses to represent and convey within a piece. This can be powerful in making the viewer question and reflect on what they are seeing and creates a much more meaningful exchange between the art and its audience. For example, the work of Ana Mendieta can be interpreted to combine both themes of life and nature as well as emptiness and death simultaneously. Her use of the human subject incorporated within natural settings also creates juxtaposition on this front. Some artists also use form and subject at once when incorporating juxtaposition in their work. A stunning example of this is George Stubbs’s Whistlejacket (c.1762). The flawlessly simple subject of a horse perfectly contrasts with the dramatic size of the piece, creating an imposing aura, rendering the viewer unable to look away. Another example is Barbara Kruger’s media and photography work. Kruger uses form reminiscent of mass advertising, typically void of much meaning, and applies it to images expressing feminist or anti-consumerist messages, amongst others. This superficial form contrasts with the genuine, deeper message she is conveying, adding a level of irony to the work and enhancing the strength of her argument.
Must art include at least some element of contrast? This is the question that follows when evaluating the impact of juxtaposing elements within a piece. The ability of contrast to both be used in form, technique, or subject, as well as its ability to engage an audience makes it a particularly interesting tool within the artist’s arsenal. Art that exists purely for aesthetic purposes doesn’t require contrast in the same way and instead may benefit from a more harmonious mix of elements as opposed to a clash. However, within pieces that aim to convey a wider emotive message, as art often does, contrast can be crucial to ensuring the success of that message. Contrast does not have to be brash–as in Stubbs’ Whistlejacket –but instead can be applied to a piece more subtly. And is hence why it could be argued that most art which aims to convey a message can often find a way to incorporate juxtaposition to increase the dramatic effect of a piece. Of course, one of the defining features of art is also its individuality, the way that each piece can be interpreted and assigned meaning differently by each member of its audience. So, to make the claim that all art must include an element of juxtaposition to be successful would be wrong. Nonetheless, it seems that the generalised argument that contrast is a useful tool in this endeavour is one with great merit.