In the literature there are some language resources known as Rhetorical Figures, these are used to create complex propositions with the language, known as figurative. The conventional way of expressing oneself is direct and simple, but rhetorical figures allow messages to be transmitted through a different structure, creating a complex discourse that can better express ideas, feelings, and even embellish the text.

As the arts always relate to each other, in the case of literature, figures of speech have their influence on the visual arts, representing a part of how the relationship between them complements each other.

However, when the language does not consist of a text, but of images, the visual language and the expressions change, therefore, the way in which the resources are used also. In the visual arts the use of rhetorical figures is known as Visual Rhetoric.

Among the most common forms of visual rhetoric applied in the visual arts are figures such as metaphor and allegory. However, there are several figures of rhetoric that apply to visual language and not only apply to painting or sculpture, since design and advertising are the branches that really exploit these resources as part of their visual language.

Sometimes it may not be easy or it may seem confusing to understand the meaning of the images that use some resource of visual rhetoric, from identifying which figure was used and what the artist wants to tell us through it. That is why we want to share some examples of the most relevant figures.

Allegory

This figure is used to give life or expression to an abstract concept, for example, something intangible like love takes human form in the representations of Venus; the wind is a handsome young man who by blowing creates the ideal figure in the locks of the beautiful woman. Botticelli's work is just one of many and allegories were very common in Renaissance art.

Metaphor

Comparison is the key to the function of this figure. Whether between two ideas, concepts, objects and so on, the metaphor creates a comparison between these visual contents. These do not have to be similar to each other, but they do have to be able to create a relationship of each one. The use of symbols makes this figure easier to understand, since, through known representations, we can identify the meaning of the metaphor, such as when the image of a light bulb becomes the visual representation of an idea.

Simile

The use of this figure creates a substitution of an object through its most representative characteristics, which helps us to identify what we are supposed to see in the work. In this way, the color and shape of the original object - for example - are represented with elements that share those characteristics, then the object is there, but not figuratively, but figuratively.

Hyperbole

This figure is used to highlight an element or characteristic of the selected object. As such, the exaggeration of said element is used so that it stands out above the rest. Said element can be found with an unusual size to highlight, a brighter color or that does not obey its nature, among other options.

Synecdoche

To use this figure, it is necessary that there is a relationship between the objects, since the representation of one should lead us to the other. The relationship between these must be simple, general and to a certain extent universal, in such a way that the message is not complicated for the public. These relationships can be as simple as a bone and a fret pointing us to the concept of a dog; and they can be a bit more specific and obvious, like an artist's palette with traces of oil on it, leading us to the concept of art, whether it's a painting, an artist, or both.

As we mentioned, there are more figures in visual rhetoric, which only reminds us how wide is the range of possibilities and tools that an artist can use. Mastery of the greatest number of tools, beyond mastery of the technique, is one of the reasons why we continue to be surprised by the art and complexity that can be achieved in its creation.