Goethe Steals the Attention

             Painted by Tischbein in 1787, the Portrait of Goethe in the Roman Campagna has an established focal point, directing all of the attention to Johann Wolfgang von Goethe.  The focal point, Goethe himself, is emphasized by contrast and isolation.  Relating to contrast, the cream white smock stands out from the remaining dark elements, focusing the attention to the light form.  In relation to establishing the focal point by isolation, Goethe is the only human in sight among the ruins of ancient Rome.  If there were others lying beside him, he would no longer be the focal point.  In this painting however, he is.  The distance of objects in the painting also emphasizes the focal point.  Notice how Goethe is the largest object in the painting.  Tischbein wouldn’t dare paint him closer to the mountains because the mountains would be too large, stealing the attention away from Goethe.  Instead, the mountain was drawn further away so it would look small and dainty.  This would include the buildings in the background as well.  The focal point is also close to the left side which could potentially draw the viewer’s attention out of the picture.  However, Goethe’s head and eye contact looking to the right side of the painting keeps the attention in the picture.  Tischbein did an excellent job in keeping Goethe as the focal point while keeping the attention in the picture.