What to Talk About When Interpretating a Piece of Art

Final Updated on May 27, 2021

This article has been written for high school art students who are working upon a critical report of art, sketchbook annotation or an essay-based artist study. It contains a list of questions to guide students through the procedure of analyzing visual fabric of any kind, including drawing, painting, mixed media, graphic design, sculpture, printmaking, architecture, photography, textiles, fashion and so on (the word 'artwork' in this article is all-encompassing). The questions include a wide range of specialist art terms, prompting students to utilize subject-specific vocabulary in their responses. It combines advice from art analysis textbooks also as from high school art teachers who have outset-hand feel education these concepts to students.

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International GCSE artist analysis example: The paradigm above shows part of an A* IGSCE Art and Design sketchbook page analysing the work of Jim Dine, by Rhea Maheshwari, ACG Parnell College.

Why practise we study art?

Almost all high school fine art students carry out critical analysis of creative person work, in conjunction with creating practical work. Looking critically at the piece of work of others allows students to empathize compositional devices and then explore these in their own art. This is i of the best means for students to learn.

Instructors who assign formal analyses desire yous to look—and look advisedly. Call back of the object every bit a series of decisions that an artist made. Your job is to figure out and describe, explain, and interpret those decisions and why the artist may have fabricated them. – The Writing Center, Academy of Northward Carolina at Chapel Hill¹⁰

Fine art assay tips

• 'I like this' or 'I don't like this' without whatsoever further caption or justification is not analysis. Personal opinions must exist supported with explanation, evidence or justification.
• 'Assay of artwork' does not mean 'description of artwork'. To gain high marks, students must move beyond stating the obvious and add together perceptive, personal insight. Students should demonstrate higher lodge thinking – the ability to analyse, evaluate and synthesize information and ideas. For example, if colour has been used to create strong contrasts in certain areas of an artwork, students might follow this observation with a thoughtful assumption about why this is the case – perhaps a deliberate attempt by the artist to draw attention to a focal point, helping to convey thematic ideas.

Although clarification is an important part of a formal analysis, description is not enough on its own. Yous must introduce and contextualize your descriptions of the formal elements of the piece of work and so the reader understands how each element influences the work'south overall effect on the viewer. – Sylvan Barnet, A Short Guide to Writing Most Art²

• Cover a range of different visual elements and pattern principles. It is common for students to become experts at writing about one or 2 elements of limerick, while neglecting everything else – for example, only focusing upon the use of color in every artwork studied. This results in a narrow, repetitive and incomplete assay of the artwork. Students should ensure that they encompass a wide range of art elements and pattern principles, too as accost context and meaning, where required. The questions below are designed to ensure that students encompass a broad range of relevant topics within their analysis.
• Write alongside the artwork discussed. In nearly all cases, written assay should be presented aslope the work discussed, and so that information technology is clear which artwork comments refer to. This makes it easier for examiners to follow and evaluate the writing.
• Back up writing with visual analysis. Information technology is almost always helpful for loftier school students to back up written cloth with sketches, drawings and diagrams that assist the student understand and analyse the slice of art. This might include composition sketches; diagrams showing the principal structure of an artwork; detailed enlargements of small-scale sections; experiments imitating use of media or technique; or illustrations overlaid with arrows showing leading lines and then on. Visual investigation of this sort plays an important office in many artist studies.

Making sketches or drawings from works of art is the traditional, centuries-quondam way that artists have learned from each other. In doing this, you will engage with a work and an artist'southward approach fifty-fifty if you lot previously knew nothing about it. If possible do this whenever you tin can, not from a postcard, the internet or a picture in a book, but from the actual work itself. This is useful because it forces you to await closely at the piece of work and to consider elements you might not have noticed before. – Susie Hodge, How to Expect at Art⁷

Finally, when writing about art, students should communicate with clarity; demonstrate subject-specific knowledge; use right terminology; generate personal responses; and reference all content and ideas sourced from others. This is explained in more item in our article nearly high school sketchbooks.

What should students write about?

Although each aspect of composition is treated separately in the questions beneath, students should consider the relationship betwixt visual elements (line, shape, grade, value/tone, colour/hue, texture/surface, space) and how these interact to course design principles (such as unity, variety, emphasis, dominance, balance, symmetry, harmony, motility, dissimilarity, rhythm, pattern, scale, proportion) to communicate meaning.

Every bit circuitous as works of art typically are, in that location are really only three general categories of statements 1 can make most them. A statement addresses class, content or context (or their diverse interrelations). – Dr. Robert J. Belton, Art History: A Preliminary Handbook, The Academy of British Columbia⁵

…a formal analysis – the consequence of looking closely – is an analysis of the form that the artist produces; that is, an analysis of the work of art, which is made upward of such things equally line, shape, color, texture, mass, composition. These things requite the stone or canvas its grade, its expression, its content, its meaning. – Sylvan Barnet, A Short Guide to Writing About Art^two

This video by Dr. Beth Harris, Dr. Steven Zucker and Dr. Naraelle Hohensee provides an excellent example of how to analyse a slice of art (it is important to note that this video is an example of 'formal analysis' and doesn't include contextual analysis, which is likewise required by many high school art test boards, in addition to the formal assay illustrated hither):

Composition analysis: a listing of questions

The questions below are designed to facilitate direct engagement with an artwork and to encourage a breadth and depth of understanding of the artwork studied. They are intended to prompt higher order thinking and to help students make it at well-reasoned analysis.

Information technology is not expected that students respond every question (doing then would upshot in responses that are excessively long, repetitious or formulaic); rather, students should focus upon areas that are near helpful and relevant for the artwork studied (for example, some questions are appropriate for analyzing a painting, but non a sculpture). The words provided equally examples are intended to help students think about appropriate vocabulary to utilize when discussing a particular topic. Definitions of more complex words have been provided.

Students should not endeavor to copy out questions and so answer them; rather the questions should exist considered a starting indicate for writing bullet pointed annotation or sentences in paragraph class.

A small sample of the books that informed this article. Some of these were written for fine art history students learning how to write an art analysis; others provide information well-nigh composition. For more details, delight refer to the bibliography below.

CONTENT, CONTEXT AND MEANING

Subject field affair / themes / issues / narratives / stories / ideas

In that location can exist dissimilar, competing, and contradictory interpretations of the same artwork.
An artwork is non necessarily nearly what the artist wanted it to be about. – Terry Barrett, Criticizing Fine art: Agreement the Contemporary⁶

Our interest in the painting grows only when we forget its title and have an interest in the things that it does non mention…" – Françoise Barbe-Gall, How to Look at a Painting⁸

• Does the artwork fall within an established genre (i.due east. historical; mythical; religious; portraiture; mural; still life; fantasy; architectural)?
• Are there any recognisable objects, places or scenes? How are these presented (i.e. idealized; realistic; indistinct; subconscious; distorted; exaggerated; stylized; reflected; reduced to simplified/minimalist form; primitive; abstracted; concealed; suggested; blurred or focused)?
• Have people been included? What tin we tell about them (i.e. identity; historic period; attire; profession; cultural connections; health; family relationships; wealth; mood/expression)? What tin can we learn from their pose (i.e. frontal; contour; partly turned; body language)? Where are they looking (i.e. direct eye contact with viewer; downcast; interested in other subjects within the artwork)? Tin nosotros piece of work out relationships between figures from the fashion they are posed?

What practice the clothing, furnishings, accessories (horses, swords, dogs, clocks, business ledgers and then forth), background, bending of the head or posture of the head and body, direction of the gaze, and facial expression contribute to our sense of the effigy'south social identity (monarch, clergyman, trophy wife) and personality (intense, absurd, inviting)? – Sylvan Barnet, A Short Guide to Writing Virtually Art²

• What props and important details are included (drapery; costumes; adornment; architectural elements; emblems; logos; motifs)? How exercise aspects of setting support the primary subject area? What is the effect of including these items within the arrangement (visual unity; connections between different parts of the artwork; directs attention; surprise; diversity and visual interest; separates / divides / borders; transformation from one object to some other; unexpected juxtaposition)?

If a waiter served you a whole fish and a scoop of chocolate ice cream on the same plate, your surprise might exist caused by the juxtaposition, or the side-by-side contrast, of the two foods. – Vocabulary.com

A motif is an chemical element in a composition or design that can be used repeatedly for decorative, structural, or iconographic purposes. A motif can exist representational or abstract, and information technology can be endowed with symbolic meaning. Motifs can be repeated in multiple artworks and oft recur throughout the life'south work of an private artist. – John A. Parks, Universal Principles of Art¹¹

• Does the artwork communicate an activity, narrative or story (i.eastward. historical event or illustrate a scene from a story)? Has the arrangement been embellished, prepare or contrived?
• Does the artwork explore move? Do you gain a sense that parts of the artwork are virtually to alter, topple or fall (i.e. tension; suspense)? Does the artwork capture objects in motion (i.e. multiple or sequential images; blurred edges; scene frozen mid-action; live functioning art; video art; kinetic art)?
• What kind of abstract elements are shown (i.eastward. bars; shapes; splashes; lines)? Have these been derived from or inspired by realistic forms? Are they the result of spontaneous, accidental creation or careful, deliberate organisation?
• Does the work include the appropriation of piece of work by other artists, such as within a parody or pop art? What consequence does this have (i.due east. copyright concerns)?

Parody: mimicking the appearance and/or mode of something or someone, but with a twist for comic result or critical comment, equally in Sat Night Live's political satires – Dr. Robert J. Belton, Fine art History: A Preliminary Handbook, The University of British Columbia⁵

• Does the subject captivate an instinctual response, such equally items that are informative, shocking or threatening for humans (i.eastward. unsafe places; abnormally positioned items; human being faces; the gaze of people; motion; text)? Heap map tracking has demonstrated that these elements grab our attention, regardless of where they are positioned –James Gurney writes more about this fascinating topic.
• What kind of text has been used (i.e. font size; font weight; font family; stenciled; hand-drawn; computer-generated; printed)? What has influenced this choice of text?
• Do key objects or images have symbolic value or provide a cue to pregnant? How does the artwork convey deeper, conceptual themes (i.e. allegory; iconographic elements; signs; metaphor; irony)?

Allegory is a device whereby abstruse ideas can exist communicated using images of the physical earth. Elements, whether figures or objects, in a painting or sculpture are endowed with symbolic meaning. Their relationships and interactions combine to create more than complex meanings. – John A. Parks, Universal Principles of Art^eleven

An iconography is a particular range or system of types of image used by an creative person or artists to convey particular meanings. For example in Christian religious painting there is an iconography of images such as the lamb which represents Christ, or the dove which represents the Holy Spirit. – Tate.org.united kingdom of great britain and northern ireland

• What tone of vocalization does the artwork accept (i.e. deliberate; honest; autobiographical; obvious; direct; unflinching; confronting; subtle; ambiguous; uncertain; satirical; propagandistic)?
• What is your emotional response to the artwork? What is the overall mood (i.east positive; energetic; excitement; serious; sedate; peaceful; at-home; melancholic; tense; uneasy; uplifting; foreboding; at-home; turbulent)? Which subject matter choices help to communicate this mood (i.east. weather and lighting weather condition; color of objects and scenes)?
• Does the title modify the style y'all translate the work?
• Were there any design constraints relating to the subject matter or theme/s (i.e. a sculpture commissioned to correspond a specific subject, place or idea)?
• Are there thematic connections with your ain project? What can you learn from the way the artist has approached this discipline?

Wider contexts

All art is in role about the world in which information technology emerged. – Terry Barrett, Criticizing Fine art: Agreement the Gimmicky⁶

• Supported by enquiry, can y'all identify when, where and why the work was created and its original intention or purpose (i.eastward. private sale; commissioned for a specific owner; commemorative; educational; promotional; illustrative; decorative; confrontational; useful or practical utility; communication; created in response to a pattern cursory; individual viewing; public viewing)? In what fashion has this background influenced the effect (i.east. availability of tools, materials or time; expectations of the patron / audience)?
• Where is the identify of construction or design site and how does this influence the artwork (i.e. reflects local traditions, adroitness, or customs; complements surrounding designs; designed to accommodate weather conditions / climate; built on historic site)? Was the artwork originally located somewhere unlike?
• Which events and surrounding environments have influenced this work (i.e. natural events; social movements such as feminism; political events, economic situations, celebrated events, religious settings, cultural events)? What result did these have?
• Is the piece of work characteristic of an artistic style, movement or time period? Has information technology been influenced by trends, fashions or ideologies? How tin you tell?
• Can you make any relevant connections or comparisons with other artworks? Have other artists explored a similar subject in a like manner? Did this occur before or after this artwork was created?
• Can you make any relevant connections to other fields of study or expression (i.e. geography, mathematics, literature, film, music, history or science)?
• Which key biographical details about the artist are relevant in understanding this artwork (upbringing and personal state of affairs; family and relationships; psychological country; health and fettle; socioeconomic status; employment; ethnicity; culture; gender; didactics, faith; interests, attitudes, values and beliefs)?
• Is this artwork part of a larger torso of piece of work? Is this typical of the work the artist is known for?
• How might your own upbringing, beliefs and biases distort your interpretation of the artwork? Does your ain response differ from the public response, that of the original audience and/orinterpretation by critics?
• How do these wider contexts compare to the contexts surrounding your own work?

COMPOSITION AND Grade

Format

• What is the overall size, shape and orientation of the artwork (i.east. vertical, horizontal, portrait, mural or foursquare)? Has this format been influenced by practical considerations (i.due east. availability of materials; display constraints; design brief restrictions; screen sizes; mutual aspect ratios in moving-picture show or photography such equally 4:three or two:three; or paper sizes such as A4, A3, A2, A1)?
• How do images fit within the frame (cropped; truncated; shown in total)? Why is this format appropriate for the subject matter?
• Are different parts of the artwork physically separate, such as within a diptych or triptych?
• Where are the boundaries of the artwork (i.e. is the artwork self-contained; meaty; penetrating; sprawling)?
• Is the artwork site-specific or designed to exist displayed across multiple locations or environments?
• Does the artwork accept a fixed, permanent format, or was itmodified, moved or adjusted over time? What causes such changes (i.e. weather and exposure to the elements – melting, erosion, discoloration, decaying, current of air motion, surface abrasion; structural failure – cracking, breaking; damage caused by unpredictable events, such as fire or vandalism; intentional move, such as rotation or sensor response; intentional impermanence, such equally an installation assembled for an exhibition and removed afterwards; viewer interaction; additions, renovations and restoration by subsequent artists or users; a projection and so expansive it takes years to construct)? How does this modify affect the artwork? Are there stylistic variances between parts?
• How does the scale and format of the artwork relate to the environment where information technology is positioned, used, installed or hung (i.e. harmonious with mural typography; sensitive to adjacent structures; imposing or dwarfed by environs; human being scale)? Is the artwork designed to be viewed from one vantage indicate (i.e. front facing; viewed from below; approached from a chief entrance; set at human heart level) or many? Are images taken from the best angle?
• Would a similar format benefit your own project? Why / why not?

Construction / layout

• Has the artwork been organised using a formal system of arrangement or mathematical proportion (i.due east. dominion of thirds; gold ratio or screw; grid format; geometric; dominant triangle; or circular composition) or is the arrangement less anticipated (i.e. chaotic, random, accidental, fragmented, meandering, scattered; irregular or spontaneous)? How does this system of arrangement help with the communication of ideas? Tin you draw a diagram to show the basic construction of the artwork?
• Can you run across a clear intention with alignment and positioning of parts within the artwork (i.east. edges aligned; items spaced equally; simple or complex arrangement; overlapping, amassed or full-bodied objects; dispersed, separate items; repetition of forms; items extending across the frame; frames inside frames; bordered perimeter or patterned edging; broken borders)? What outcome do these visual devices have (i.e. imply hierarchy; help the viewer understand relationships betwixt parts of artwork; create rhythm)?
• Does the artwork have a primary centrality of symmetry (vertical, diagonal, horizontal)? Tin can you locate a center of residual? Is the artwork symmetrical, asymmetrical (i.e. stable), radial, or intentionally unbalanced (i.due east. to create tension or unease)?
• Tin can you depict a diagram to illustrate emphasis and dominance (i.e. 'blocking in' mass, where the 'heavier' ascendant forms appear in the composition)? Where are dominant items located within the frame?
• How do your eyes motility through the composition?
• Could your own artwork use a similar organisational structure?

Line

• What types of linear mark-making are shown (thick; sparse; short; long; soft; bold; delicate; feathery; indistinct; faint; irregular; intermittent; freehand; ruled; mechanical; expressive; loose; blurred; dashing; cross-hatching; meandering; gestural, fluid; flowing; jagged; spiky; precipitous)? What atmosphere, moods, emotions or ideas do these evoke?
• Are in that location any interrupted, suggested or implied lines (i.eastward. lines that can't literally be seen, but the viewer'south brain connects the dots between split up elements)?
• Where are the dominating lines in the composition and what is the outcome of these? Can you overlay tracing paper upon an artwork to illustrate some of the important lines?
  • Repeating lines: may simulate material qualities, texture, design or rhythm;
  • Boundary lines: may segment, split up or separate different areas;
  • Leading lines: may manipulate the viewer'south gaze, directing vision or atomic number 82 the middle to focal points (center tracking studies indicate that our eyes leap from one point of interest to another, rather than movement smoothly or predictably forth leading lines⁹. Lines may nonetheless assist to establish accent by 'pointing' towards certain items);
  • Parallel lines: may create a sense of depth or motion through space within a landscape;
  • Horizontal lines: may create a sense of stability and permanence;
  • Vertical lines: may suggest summit, reaching upward or falling;
  • Intersecting perpendicular lines: may advise rigidity, forcefulness;
  • Abstruse lines: may balance the composition, create contrast or emphasis;
  • Athwart / diagonal lines: may advise tension or unease;
  • Cluttered lines: may suggest a sense of agitation or panic;
  • Underdrawing, construction lines or contour lines: depict form (learn more than almost contour lines in our article about line drawing);
  • Curving / organic lines: may advise nature, peace, movement or energy.
• What is the human relationship between line and iii-dimensional class? Areoutlines used to define grade and edges?
• Would it be appropriate to use line in a similar way inside your own artwork?

These artworks by James Gurney (author of Imaginative Realism⁹) illustrate a concept he has called 'spokewheeling' – where leading lines converge towards a focal bespeak, helping to direct the viewer'southward attention. Images © of James Gurney.

Shape and grade

• Can you identify a ascendant visual language inside the shapes and forms shown (i.e. geometric; angular; rectilinear; curvilinear; organic; natural; fragmented; distorted; free-flowing; varied; irregular; complex; minimal)? Why is this visual language appropriate?
• How are the edges of forms treated (i.e. do they fade abroad or blur at the edges, as if melting into the folio; ripped or torn; singled-out and hard-edged; or, in the words of James Gurney⁹, exercise they 'dissolve into sketchy lines, paint strokes or drips')?
• Are at that place any three-dimensional forms or relief elements inside the artwork, such as carved pieces, protruding or sculptural elements? How does this affect the viewing of the piece of work from different angles?
• Is there a variety or repetition of shapes/forms? What effect does this accept (i.e. repetition may reinforce ideas, balance composition and/or create harmony / visual unity; diverseness may create visual interest or overwhelm the viewer with anarchy)?
• How are shapes organised in relation to each other, or with the frame of the artwork (i.e. grouped; overlapping; repeated; echoed; fused edges; touching at tangents; contrasts in scale or size; distracting or awkward junctions)?
• Are silhouettes (external edges of objects) considered?

All shapes have silhouettes, and vision research has shown that one of the first tasks of perception is to be able to sort out the silhouette shapes of each of the elements in a scene. – James Gurney, Imaginative Realism⁹

• Are forms designed with ergonomics and human being scale in mind?

Ergonomics: an engineering science concerned with designing and arranging things people use so that the people and things interact nigh efficiently and safely – Merriam-webster.com

• Tin can you lot identify which forms are functional or structural, versus ornamental or decorative?
• Have any forms been disassembled, 'cut abroad' or exposed, such as a sectional drawing? What is the purpose of this (i.e. to explain construction methods; communicate information; dramatic consequence)?
• Would it exist appropriate to employ shape and form in a similar manner within your own artwork?

Value / tone / lite

• Has a wide tonal range been used in the artwork (i.e. a broad range of darks, highlights and mid-tones) or is the tonal range limited (i.e. pale and faint; subdued; dull; brooding and dark overall; strong highlights and shadows, with little mid-tone values)? What is the effect of this?
• Where are the light sources inside the artwork or scene? Is there a single consequent light source or multiple sources of low-cal (sunshine; light bulbs; torches; lamps; luminous surfaces)? What is the effect of these choices (i.e. mimics natural lighting atmospheric condition at a certain fourth dimension of day or night; figures lit from the side to clarify form; contrasting background or spot-lighting used to accentuate a focal area; soft and diffused lighting used to mute contrasts and minimize harsh shadows; dappled lighting to signal sunshine broken past surrounding leaves; chiaroscuro used to exaggerate theatrical drama and impact; areas cloaked in darkness to minimize visual complexity; to heighten our understanding of narrative, mood or meaning)?

One of the most important ways in which artists tin use light to achieve detail furnishings is in making strong contrasts betwixt light and dark. This contrast is ofttimes described as chiaroscuro. – Matthew Treherne, Analysing Paintings, University of Leeds³

• Are representations of 3-dimensional objects and figures flat or tonally modeled? How do unlike tonal values change from one to the next (i.e. gentle, polish gradations; abrupt tonal bands)?
• Are in that location whatever unusual, reflective or transparent surfaces, mediums or materials which reflect or transmit light in a special way?
• Has tone been used to help communicate atmospheric perspective (i.e. paler and bluer equally objects become further away)?
• Are gallery or environmental low-cal sources where the artwork is displayed stock-still or fluctuating? Does the piece of work appear different when viewed at different times of day? How does this affect your interpretation of the work?
• Are shadows depicted within the artwork? What is the effect of these shadows (i.e. anchors objects to the folio; creates the illusion of depth and space; creates dramatic contrasts)?
• Do sculptural protrusions or relief elements grab the light and/or create bandage shadows or pockets of shadow upon the artwork? How does this influence the viewer'south experience?
• How has tone been used to help direct the viewer's attention to focal areas?
• Would it be advisable to employ value / tone in a similar manner within your own artwork? Why / why not?

Color / hue

• Can you view the true color of the artwork (i.e. are yous viewing a low-quality reproduction or examining the artwork in poor lighting)?
• Whichcolor schemes have been used inside the artwork (i.e. harmonious; complementary; primary; monochrome; earthy; warm; cool/cold)? Has the artist used a broad or limited color palette (i.e. variety or unity)? Which colors dominate?
• How would you describe the intensity of the colors (vibrant; bright; vivid; glowing; pure; saturated; potent; deadening; muted; stake; subdued; bleached; diluted)?
• Are colors transparent or opaque? Tin can you run across reflected color?
• Has colour contrast been used within the artwork (i.east. extreme contrasts; juxtaposition of complementary colors; garish / clashing / jarring)? Are there any abrupt color changes or unexpected uses of color?
• What is the consequence of these color choices (i.e. expressing symbolic or thematic ideas; descriptive or realistic depiction of local colour; emphasizing focal areas; creating the illusion of aerial perspective; relationships with colors in surrounding environs; creating residual; creating rhythm/pattern/repetition; unity and variety inside the artwork; lack of colour places accent upon shape, detail and form)? What kind of atmosphere do these colors create?

It is often said that warm colors (carmine, orange, yellow) come up forrard and produce a sense of excitement (xanthous is said to suggest warmth and happiness, as in the smiley face), whereas absurd colors (blue, green) recede and have a calming outcome. Experiments, all the same, have proved inconclusive; the response to color – despite clichés about seeing cherry or feeling blue – is highly personal, highly cultural, highly varied. – Sylvan Barnet, A Short Guide to Writing Nigh Art²

• Would it be advisable to use colour in a similar way within your own artwork?

Texture / surface / pattern

• Are there any interesting textural, tactile or surface qualities within the artwork (i.e. bumpy; grooved; indented; scratched; stressed; rough; shine; shiny; varnished; glassy; glossy; polished; matte; sandy; grainy; gritted; leathery; spiky; silky)? How are these created (i.east. inherent qualities of materials; impasto mediums; sculptural materials; illusions or implied texture, such as cross-hatching; finely detailed and intricate areas; organic patterns such as foliage or pocket-size stones; repeating patterns; ornamentation)?
• How are textural or patterned elements positioned and what issue does this accept (i.e. used intermittently to provide diversity; repeating blueprint creates rhythm; patterns broken create focal points; textured areas create visual links and unity betwixt separate areas of the artwork; balance betwixt detailed/textured areas and simpler areas; glossy surface creates a sense of luxury; imitation of texture conveys information about a bailiwick, i.due east. softness of fur or strands of pilus)?
• Would it be advisable to use texture / surface in a like fashion within your own artwork?

Space

• Is the pictorial space shallow or deep? How does the artwork create the illusion of depth (i.e. layering of foreground, middle-ground, background; overlapping of objects; use of shadows to anchor objects; positioning of items in relationship to the horizon line; linear perspective – larn more nigh 1 point perspective here; tonal modeling; relationships with adjacent objects and those in close proximity – including the homo form – to create a sense of calibration; spatial distortions or optical illusions; manipulating scale of objects to create 'surrealist' spaces where true scale is unknown)?
• Has an unusual viewpoint been used (i.e. worm's view; aerial view, looking out a window or through a doorway; a scene reflected in a mirror or shiny surface; looking through leaves; multiple viewpoints combined)? What is the result of this viewpoint (i.e. allows sure parts of the scene to be dominant and overpowering or squashed, condensed and foreshortened; or suggests a narrative between two separate spaces; provides more information about a space than would commonly be seen)?
• Is the emphasis upon mass or void? How densely arranged are components inside the artwork or moving-picture show plane? What is the relationship between object and surrounding space (i.e. meaty / crowded / busy / densely populated, with little surrounding space; spacious; careful coaction between positive and negative space; objects clustered to create areas of visual interest)? What is the effect of this (i.e. creates a sense of emptiness or isolation; business organization / visual ataxia creates a feeling of anarchy or claustrophobia)?
• How does the artwork engage with real space – in and around the artwork (i.e. self-contained; airtight off; eye contact with viewer; reaching outwards)? Is the viewer expected to move through the artwork? What is the relationship between interior and exterior infinite? What connections or contrasts occur between inside and out? Is information technology comprised of a series of separate or linked spaces?
• Would information technology exist appropriate to utilise space in a similar way within your own artwork?

Apply of media / materials

• What materials and mediums has the artwork been constructed from? Accept materials been concealed or presented deceptively (i.due east. is there an authenticity / honesty of materials; are materials historic; is the structure visible or exposed)? Why were these mediums selected (weight; color; texture; size; strength; flexibility; pliability; fragility; ease of use; price; cultural significance; durability; availability; accessibility)? Would other mediums have been appropriate?
• Which skills, techniques, methods and processes were used (i.east. traditional; conventional; industrial; contemporary; innovative)? It is of import to notation that the examiners practise not want the regurgitation of long, technical processes, only rather to see personal observations virtually how processes issue and influence the artwork in question. Would replicating office of the artwork assistance you gain a improve understanding of the processes used?
• Has the artwork been built in layers or stages? For example:
  • Painting: gesso ground > textured mediums > underdrawing > blocking in colors > defining form > final details;
  • Architecture: brief > concepts > development > working drawings > foundations > structure > cladding > finishes;
  • Graphic design: brief > concepts > development > Photoshop > proofing > printing.
• How does the utilise of media aid the artist to communicate ideas?
• Are these methods useful for your own project?

Finally, remember that these questions are a guide only and are intended to make y'all start to think critically about the fine art you are studying and creating.

Wondering how to analyze your ain artwork? The questions higher up can be applied to your own artwork, as in the art analysis example above, by Nikau Hindin, ACG Parnell College. In this sketchbook page she analyses her own Photoshop thumbnails, created using photographs of her chosen subject thing. Critical analysis of your own artwork is something that students should get very familiar with over the duration of an fine art and design course. You may wish to view the residual of Nikau's A* A Level Art coursework project.

Farther Reading

If you lot enjoyed this article yous may also similar our article about loftier school sketchbooks (which includes a section about sketchbook annotation). If you are looking for more assist with how to write an art analysis essay you may like our serial virtually writing an artist written report.

_BIBLIOGRAPHY

1. _{A guide for Analyzing Works of Fine art; Sculpture and Painting, Durantas}
2. _{A Brusque Guide to Writing Near Art, Sylvan Barnet (Amazon affiliate link)}
3. _{Analysing Paintings, Matthew Treherne, University of Leeds}
4. _{Fine art and Art History Tips, The Academy of Vermont}
5. _{Fine art History: A Preliminary Handbook, Dr. Robert J. Belton, The Academy of British Columbia}
6. _{Criticizing Fine art: Understanding the Gimmicky, Terry Barrett (Amazon affiliate link)}
7. _{How to Await at Fine art, Susie Hodge (Amazon affiliate link)}
8. _{How to Wait at a Painting, Françoise Barbe-Gall}
9. _{Imaginative Realism, James Gurney (Amazon chapter link)}
10. _{The Writing Middle, University of Northward Carolina at Chapel Hill}
11. _{Universal Principles of Art: 100 Primal Concepts for Agreement, Analyzing and Practicing Art, John A. Parks (Amazon chapter link)}

Amiria has been an Art & Design instructor and a Curriculum Co-ordinator for seven years, responsible for the course design and assessment of educatee work in two loftier-achieving Auckland schools. She has a Available of Architectural Studies, Bachelor of Architecture (Beginning Class Honours) and a Graduate Diploma of Educational activity. Amiria is a CIE Accredited Art & Pattern Coursework Assessor.

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Source: https://www.studentartguide.com/articles/how-to-analyze-an-artwork