An ODE to CONTRAST (verse 3)

### Artists have experimented for centuries with visual techniques for contrasting opposites.  However, it is difficult to think of an example which has benefited from so much enthusiastic experimentation as the contrast of something small, pretty and vulnerable with something big, mean and scary:

Let's see if we can tiptoe around some of the murky reasons people enjoy pictures of women in peril and focus instead on the interesting contrast at the heart of this popular genre.

 The pulp magazine covers of the 1930s and 40s merely continued a tradition that stretched back to medieval paintings of St. George & The Dragon (where a helpless virgin was chained to a rock, to be gobbled up by a fierce monster) or silent movies (where a helpless girl was tied to railroad tracks, to be run over by a fierce steam engine).  No mere gun or knife would do; it was the enormity of the disparity that makes these works successful.

As Frazetta shows us, sometimes it heightens the excitement and dread if the pretty girl lacks even a thin layer of clothing to shield her. 

But not every example uses nudity to heighten the contrast.  Some heighten the contrast employing  light vs. shadow, or vertical vs. supine compositions, or male lower class vs. female upper class.

Some artists believe they get more mileage from a threat that is a disembodied shadow, or by throwing a child into the mix:

Putting aside the politics of these scenarios, and regardless of whether the damsel is saved by a knight in shining armor or rescues herself, the contrast between these two extremes seems to capture the imagination. ###

An ODE to CONTRAST (verse 2)

### Saul Steinberg was an artist of insatiable intellectual curiosity.  His imagination overflowed with fresh, orthogonal views of the world and he came up with so many connections and comparisons that he sometimes had to stash long lists of them in imaginary cabinets and closets. 

Sometimes he went beyond words, and diagrammed the meeting of two concepts:

The juxtaposition of these concepts is plenty thought-provoking, and Steinberg's little diagrams add a nice touch of whimsy and mystery.  But I confess a special fondness for Steinberg's pictures where his contrasting concepts have been integrated into the pictures, not just spelled out in words.  Here, Steinberg puts a  mechanical, symmetrical image in bed with a fanciful flourish and leaves us to imagine their love life:

Here, Steinberg compares two realities using a clever graphic device:

 

In my view,  the contrast of these concepts is more successful in images than in words. ###