What Terminology Is Commonly Used in Relation to the Analysis of a Work of Art

Last Updated on May 27, 2021

This article has been written for high schoolhouse art students who are working upon a critical report of art, sketchbook note or an essay-based artist study. It contains a listing of questions to guide students through the process of analyzing visual cloth 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 broad range of specialist art terms, prompting students to use subject-specific vocabulary in their responses. Information technology combines advice from art analysis textbooks as well as from high school fine art teachers who have showtime-manus feel teaching these concepts to students.

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How to analyse a piece of art — International GCSE artist analysis example: The epitome 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 do we written report art?

About all high schoolhouse art students carry out critical analysis of artist work, in conjunction with creating practical work. Looking critically at the work of others allows students to understand compositional devices and and then explore these in their own art. This is one of the best means for students to learn.

Instructors who assign formal analyses want yous to look—and look carefully. Call up of the object every bit a series of decisions that an artist fabricated. Your job is to effigy out and describe, explicate, and interpret those decisions and why the artist may take made them. – The Writing Center, University of North Carolina at Chapel Loma^ten

Fine art assay tips

'I similar this' or 'I don't similar this' without whatever further caption or justification is not assay. Personal opinions must be supported with explanation, evidence or justification.
'Analysis of artwork' does non mean 'description of artwork'. To gain high marks, students must move beyond stating the obvious and add perceptive, personal insight. Students should demonstrate college gild thinking – the ability to analyse, evaluate and synthesize information and ideas. For example, if color has been used to create strong contrasts in certain areas of an artwork, students might follow this ascertainment with a thoughtful assumption virtually why this is the instance – possibly a deliberate attempt by the creative person to draw attending to a focal point, helping to convey thematic ideas.

Although description is an important part of a formal assay, description is non plenty on its own. You must innovate and contextualize your descriptions of the formal elements of the work so the reader understands how each chemical element influences the piece of work's overall event on the viewer. – Sylvan Barnet, A Short Guide to Writing About Art²

Embrace a range of different visual elements and blueprint principles. It is common for students to get experts at writing about one or 2 elements of composition, while neglecting everything else – for example, only focusing upon the utilize of color in every artwork studied. This results in a narrow, repetitive and incomplete analysis of the artwork. Students should ensure that they cover a wide range of fine art elements and design principles, as well equally address context and meaning, where required. The questions beneath are designed to ensure that students cover a broad range of relevant topics within their analysis.
Write alongside the artwork discussed. In almost all cases, written analysis should be presented alongside the work discussed, and then that it is articulate which artwork comments refer to. This makes it easier for examiners to follow and evaluate the writing.
Support writing with visual analysis. It is most e'er helpful for high schoolhouse students to back up written fabric with sketches, drawings and diagrams that assistance the student understand and analyse the slice of art. This might include limerick sketches; diagrams showing the main structure of an artwork; detailed enlargements of small 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 of import role in many artist studies.

Making sketches or drawings from works of fine art is the traditional, centuries-old way that artists have learned from each other. In doing this, you will appoint with a work and an artist's arroyo even if you previously knew nil about it. If possible exercise this whenever yous can, not from a postcard, the internet or a picture show in a book, but from the actual work itself. This is useful because information technology forces you to look closely at the work and to consider elements you might not have noticed earlier. – Susie Hodge, How to Look at Art⁷

Finally, when writing most fine art, students should communicate with clarity; demonstrate subject-specific noesis; use right terminology; generate personal responses; and reference all content and ideas sourced from others. This is explained in more than detail in our commodity most high school sketchbooks.

What should students write most?

Although each attribute of limerick is treated separately in the questions below, students should consider the relationship between visual elements (line, shape, form, value/tone, color/hue, texture/surface, infinite) and how these interact to form design principles (such as unity, variety, emphasis, dominance, remainder, symmetry, harmony, movement, dissimilarity, rhythm, pattern, scale, proportion) to communicate meaning.

Every bit circuitous as works of art typically are, there are really only three general categories of statements one can make almost them. A argument addresses form, content or context (or their various interrelations). – Dr. Robert J. Belton, Fine art History: A Preliminary Handbook, The Academy of British Columbia^five

…a formal assay – the upshot of looking closely – is an analysis of the grade that the creative person produces; that is, an analysis of the work of fine art, which is made upward of such things as line, shape, colour, texture, mass, composition. These things give the stone or canvas its class, its expression, its content, its meaning. – Sylvan Barnet, A Short Guide to Writing About Art²

This video by Dr. Beth Harris, Dr. Steven Zucker and Dr. Naraelle Hohensee provides an excellent example of how to analyse a piece of art (it is of import to note that this video is an case of 'formal assay' and doesn't include contextual analysis, which is also required by many loftier schoolhouse art test boards, in addition to the formal assay illustrated here):

Composition analysis: a list of questions

The questions below are designed to facilitate direct engagement with an artwork and to encourage a latitude and depth of understanding of the artwork studied. They are intended to prompt higher gild thinking and to help students arrive at well-reasoned assay.

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

Students should not endeavour to copy out questions so answer them; rather the questions should exist considered a starting betoken for writing bullet pointed notation or sentences in paragraph form.

How to write art analysis — 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 almost limerick. For more details, please refer to the bibliography below.

CONTENT, CONTEXT AND Pregnant

Subject area thing / themes / issues / narratives / stories / ideas

There can be different, competing, and contradictory interpretations of the same artwork.
An artwork is not necessarily about what the creative person wanted information technology to be about. – Terry Barrett, Criticizing Fine art: Understanding the Contemporary^vi

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

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

What do the vesture, furnishings, accessories (horses, swords, dogs, clocks, business ledgers and so along), background, angle of the caput or posture of the head and body, direction of the gaze, and facial expression contribute to our sense of the figure's social identity (monarch, clergyman, bays wife) and personality (intense, absurd, inviting)? – Sylvan Barnet, A Short Guide to Writing About Art²

What props and of import details are included (drapery; costumes; beautification; architectural elements; emblems; logos; motifs)? How do aspects of setting support the primary subject? What is the effect of including these items within the organisation (visual unity; connections between different parts of the artwork; directs attention; surprise; diversity and visual interest; separates / divides / borders; transformation from one object to another; 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 past the juxtaposition, or the side-by-side dissimilarity, of the two foods. – Vocabulary.com

A motif is an element in a composition or blueprint that can be used repeatedly for decorative, structural, or iconographic purposes. A motif can be representational or abstruse, and it can be endowed with symbolic significant. Motifs can exist repeated in multiple artworks and often recur throughout the life'southward piece of work of an private artist. – John A. Parks, Universal Principles of Fine art^eleven

Does the artwork communicate an action, narrative or story (i.east. historical event or illustrate a scene from a story)? Has the arrangement been embellished, set upward or contrived?
Does the artwork explore motility? Do yous proceeds a sense that parts of the artwork are about to change, topple or fall (i.e. tension; suspense)? Does the artwork capture objects in motion (i.due east. multiple or sequential images; blurred edges; scene frozen mid-action; live performance art; video fine art; kinetic fine art)?
What kind of abstract elements are shown (i.e. 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 arrangement?
Does the piece of work include the appropriation of piece of work past other artists, such as within a parody or pop art? What event does this have (i.due east. copyright concerns)?

Parody: mimicking the appearance and/or style of something or someone, but with a twist for comic outcome or disquisitional comment, as in Saturday Dark 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 as items that are informative, shocking or threatening for humans (i.eastward. dangerous places; abnormally positioned items; human faces; the gaze of people; motion; text)? Heap map tracking has demonstrated that these elements catch our attention, regardless of where they are positioned –James Gurney writes more nigh this fascinating topic.
What kind of text has been used (i.east. 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 meaning? How does the artwork convey deeper, conceptual themes (i.e. apologue; iconographic elements; signs; metaphor; irony)?

Allegory is a device whereby abstract ideas can be communicated using images of the concrete world. Elements, whether figures or objects, in a painting or sculpture are endowed with symbolic pregnant. Their relationships and interactions combine to create more complex meanings. – John A. Parks, Universal Principles of Fine art^eleven

An iconography is a particular range or system of types of paradigm used by an creative person or artists to convey particular meanings. For example in Christian religious painting there is an iconography of images such every bit the lamb which represents Christ, or the dove which represents the Holy Spirit. – Tate.org.uk

What tone of vox does the artwork take (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; calm; turbulent)? Which discipline matter choices help to communicate this mood (i.e. weather and lighting conditions; color of objects and scenes)?
Does the title change the way yous interpret the work?
Were there whatever pattern constraints relating to the subject matter or theme/s (i.east. a sculpture commissioned to stand for a specific field of study, place or idea)?
Are at that place thematic connections with your own project? What tin can you learn from the style the artist has approached this subject?

Wider contexts

All fine art is in office nigh the globe in which it emerged. – Terry Barrett, Criticizing Art: Understanding the Contemporary⁶

Supported by research, can you identify when, where and why the work was created and its original intention or purpose (i.due east. private sale; commissioned for a specific owner; commemorative; educational; promotional; illustrative; decorative; confrontational; useful or applied utility; communication; created in response to a design brief; individual viewing; public viewing)? In what way has this groundwork influenced the outcome (i.e. availability of tools, materials or time; expectations of the patron / audience)?
Where is the place of construction or pattern site and how does this influence the artwork (i.due east. reflects local traditions, craftsmanship, or customs; complements surrounding designs; designed to accommodate weather condition conditions / climate; congenital on historic site)? Was the artwork originally located somewhere different?
Which events and surrounding environments have influenced this work (i.e. natural events; social movements such equally feminism; political events, economical situations, historic events, religious settings, cultural events)? What effect did these accept?
Is the work characteristic of an artistic way, motion or time period? Has it been influenced past trends, fashions or ideologies? How tin can you lot tell?
Can y'all make whatsoever relevant connections or comparisons with other artworks? Have other artists explored a similar subject field in a similar style? Did this occur before or later on this artwork was created?
Can y'all 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 state; wellness and fitness; socioeconomic status; employment; ethnicity; culture; gender; education, religion; interests, attitudes, values and beliefs)?
Is this artwork role of a larger body of work? Is this typical of the work the artist is known for?
How might your own upbringing, beliefs and biases distort your estimation of the artwork? Does your own response differ from the public response, that of the original audience and/orinterpretation past critics?
How practice these wider contexts compare to the contexts surrounding your own work?

COMPOSITION AND FORM

Format

What is the overall size, shape and orientation of the artwork (i.e. vertical, horizontal, portrait, landscape or square)? Has this format been influenced past practical considerations (i.eastward. availability of materials; brandish constraints; design brief restrictions; screen sizes; mutual aspect ratios in picture or photography such as 4:3 or 2:3; or paper sizes such as A4, A3, A2, A1)?
How do images fit within the frame (cropped; truncated; shown in full)? Why is this format appropriate for the subject affair?
Are different parts of the artwork physically carve up, such every bit within a diptych or triptych?
Where are the boundaries of the artwork (i.e. is the artwork cocky-contained; compact; penetrating; sprawling)?
Is the artwork site-specific or designed to be displayed across multiple locations or environments?
Does the artwork have a fixed, permanent format, or was information technologymodified, moved or adjusted over fourth dimension? What causes such changes (i.e. weather and exposure to the elements – melting, erosion, discoloration, decaying, air current movement, surface abrasion; structural failure – smashing, breaking; damage caused by unpredictable events, such as fire or vandalism; intentional motility, such as rotation or sensor response; intentional impermanence, such as an installation assembled for an exhibition and removed later on; viewer interaction; additions, renovations and restoration past subsequent artists or users; a project so expansive it takes years to construct)? How does this change affect the artwork? Are in that location stylistic variances between parts?
How does the scale and format of the artwork relate to the environment where it is positioned, used, installed or hung (i.eastward. harmonious with mural typography; sensitive to adjacent structures; imposing or dwarfed by surroundings; homo calibration)? Is the artwork designed to be viewed from one vantage signal (i.due east. front facing; viewed from beneath; approached from a main entrance; set at homo eye level) or many? Are images taken from the best angle?
Would a like format benefit your ain project? Why / why non?

Structure / layout

Has the artwork been organised using a formal organization of arrangement or mathematical proportion (i.east. rule of thirds; gilded ratio or spiral; grid format; geometric; dominant triangle; or round composition) or is the arrangement less predictable (i.e. cluttered, random, accidental, fragmented, meandering, scattered; irregular or spontaneous)? How does this system of system help with the communication of ideas? Tin can yous draw a diagram to prove the bones structure of the artwork?
Can you see a clear intention with alignment and positioning of parts within the artwork (i.east. edges aligned; items spaced equally; uncomplicated or complex organization; overlapping, clustered or full-bodied objects; dispersed, separate items; repetition of forms; items extending beyond the frame; frames inside frames; bordered perimeter or patterned edging; broken borders)? What upshot exercise these visual devices accept (i.e. imply hierarchy; help the viewer empathise relationships betwixt parts of artwork; create rhythm)?
Does the artwork have a primary axis of symmetry (vertical, diagonal, horizontal)? Can y'all locate a center of balance? Is the artwork symmetrical, asymmetrical (i.east. stable), radial, or intentionally unbalanced (i.e. to create tension or unease)?
Tin you depict a diagram to illustrate emphasis and dominance (i.e. 'blocking in' mass, where the 'heavier' dominant forms announced in the composition)? Where are ascendant items located within the frame?
How do your eyes move through the composition?
Could your ain artwork employ a similar organisational construction?

Line

What types of linear mark-making are shown (thick; sparse; brusque; long; soft; bold; frail; feathery; indistinct; faint; irregular; intermittent; freehand; ruled; mechanical; expressive; loose; blurred; dashing; cross-hatching; meandering; gestural, fluid; flowing; jagged; spiky; sharp)? What atmosphere, moods, emotions or ideas do these evoke?
Are in that location whatsoever interrupted, suggested or implied lines (i.e. lines that tin't literally be seen, merely the viewer's brain connects the dots between separate elements)?
Where are the dominating lines in the composition and what is the effect of these? Can yous overlay tracing paper upon an artwork to illustrate some of the important lines?
- Repeating lines: may simulate cloth qualities, texture, blueprint or rhythm;
- Purlieus lines: may segment, carve up or separate different areas;
- Leading lines: may manipulate the viewer's gaze, directing vision or lead the center to focal points (eye tracking studies betoken that our optics leap from one point of interest to some other, rather than move smoothly or predictably along leading lines⁹. Lines may nonetheless help to establish emphasis by 'pointing' towards certain items);
- Parallel lines: may create a sense of depth or movement through infinite within a landscape;
- Horizontal lines: may create a sense of stability and permanence;
- Vertical lines: may suggest elevation, reaching upwards or falling;
- Intersecting perpendicular lines: may suggest rigidity, strength;
- Abstract lines: may balance the composition, create dissimilarity or emphasis;
- Angular / diagonal lines: may suggest tension or unease;
- Cluttered lines: may suggest a sense of agitation or panic;
- Underdrawing, construction lines or contour lines: depict form (learn more than nearly contour lines in our article about line drawing);
- Curving / organic lines: may propose nature, peace, movement or free energy.
What is the relationship betwixt line and three-dimensional class? Areoutlines used to define class and edges?
Would it exist appropriate to use line in a like way within your own artwork?

Shape and form

Can you identify a ascendant visual language within the shapes and forms shown (i.e. geometric; athwart; 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. practice they fade away or blur at the edges, equally if melting into the folio; ripped or torn; distinct and hard-edged; or, in the words of James Gurney⁹, do they 'dissolve into sketchy lines, paint strokes or drips')?
Are there any three-dimensional forms or relief elements within the artwork, such as carved pieces, protruding or sculptural elements? How does this touch the viewing of the work from different angles?
Is there a diverseness or repetition of shapes/forms? What effect does this have (i.e. repetition may reinforce ideas, rest composition and/or create harmony / visual unity; variety may create visual interest or overwhelm the viewer with chaos)?
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 bad-mannered junctions)?
Are silhouettes (external edges of objects) considered?

All shapes have silhouettes, and vision research has shown that 1 of the showtime tasks of perception is to exist able to sort out the silhouette shapes of each of the elements in a scene. – James Gurney, Imaginative Realism^nine

Are forms designed with ergonomics and human scale in listen?

Ergonomics: an applied science concerned with designing and arranging things people use then that the people and things interact nearly efficiently and safely – Merriam-webster.com

Tin can you identify which forms are functional or structural, versus ornamental or decorative?
Have whatever forms been disassembled, 'cutting away' or exposed, such as a sectional cartoon? What is the purpose of this (i.e. to explain construction methods; communicate information; dramatic issue)?
Would it exist advisable to use shape and form in a similar manner within your own artwork?

Value / tone / calorie-free

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. stake and faint; subdued; tedious; brooding and nighttime overall; strong highlights and shadows, with little mid-tone values)? What is the outcome of this?
Where are the light sources inside the artwork or scene? Is at that place a unmarried consistent lite source or multiple sources of light (sunshine; light bulbs; torches; lamps; luminous surfaces)? What is the consequence of these choices (i.east. mimics natural lighting weather condition at a sure time of twenty-four hours 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 by surrounding leaves; chiaroscuro used to exaggerate theatrical drama and impact; areas cloaked in darkness to minimize visual complication; to enhance our agreement of narrative, mood or meaning)?

One of the about important means in which artists can use low-cal to achieve particular effects is in making strong contrasts between light and dark. This dissimilarity is often described as chiaroscuro. – Matthew Treherne, Analysing Paintings, University of Leeds³

Are representations of three-dimensional objects and figures flat or tonally modeled? How do different tonal values alter from one to the next (i.e. gentle, smooth gradations; abrupt tonal bands)?
Are there any unusual, reflective or transparent surfaces, mediums or materials which reflect or transmit lite in a special manner?
Has tone been used to help communicate atmospheric perspective (i.eastward. paler and bluer as objects get further away)?
Are gallery or environmental light sources where the artwork is displayed fixed or fluctuating? Does the work appear unlike when viewed at different times of twenty-four hours? 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 page; creates the illusion of depth and space; creates dramatic contrasts)?
Do sculptural protrusions or relief elements catch the light and/or create cast shadows or pockets of shadow upon the artwork? How does this influence the viewer's experience?
How has tone been used to assist directly the viewer'southward attention to focal areas?
Would it exist appropriate to utilise value / tone in a like way within your own artwork? Why / why not?

Color / hue

Can y'all view the true color of the artwork (i.e. are y'all viewing a low-quality reproduction or examining the artwork in poor lighting)?
Whichcolor schemes have been used within the artwork (i.e. harmonious; complementary; primary; monochrome; bawdy; warm; absurd/common cold)? Has the artist used a broad or limited color palette (i.east. diverseness or unity)? Which colors dominate?
How would you draw the intensity of the colors (vibrant; bright; vivid; glowing; pure; saturated; stiff; dull; muted; stake; subdued; bleached; diluted)?
Are colors transparent or opaque? Can you see reflected color?
Has color contrast been used inside the artwork (i.due east. extreme contrasts; juxtaposition of complementary colors; garish / ambivalent / jarring)? Are there any abrupt colour changes or unexpected uses of color?
What is the effect of these color choices (i.e. expressing symbolic or thematic ideas; descriptive or realistic delineation of local color; emphasizing focal areas; creating the illusion of aerial perspective; relationships with colors in surrounding surround; creating balance; creating rhythm/blueprint/repetition; unity and variety within the artwork; lack of color places emphasis upon shape, detail and grade)? What kind of temper do these colors create?

It is often said that warm colors (red, orange, yellow) come forward and produce a sense of excitement (yellow is said to propose warmth and happiness, as in the smiley confront), whereas absurd colors (bluish, green) recede and have a calming result. Experiments, however, have proved inconclusive; the response to color – despite clichés about seeing scarlet or feeling bluish – is highly personal, highly cultural, highly varied. – Sylvan Barnet, A Short Guide to Writing About Fine art²

Would it exist advisable to use color 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; smooth; shiny; varnished; glassy; glossy; polished; matte; sandy; grainy; gritted; leathery; spiky; silky)? How are these created (i.e. inherent qualities of materials; impasto mediums; sculptural materials; illusions or implied texture, such as cantankerous-hatching; finely detailed and intricate areas; organic patterns such as foliage or small stones; repeating patterns; ornamentation)?
How are textural or patterned elements positioned and what effect does this have (i.e. used intermittently to provide variety; repeating pattern creates rhythm; patterns broken create focal points; textured areas create visual links and unity between separate areas of the artwork; balance between detailed/textured areas and simpler areas; glossy surface creates a sense of luxury; fake of texture conveys information about a subject, i.e. softness of fur or strands of hair)?
Would it be advisable to employ texture / surface in a similar way within your ain artwork?

Space

Is the pictorial space shallow or deep? How does the artwork create the illusion of depth (i.e. layering of foreground, center-ground, background; overlapping of objects; use of shadows to anchor objects; positioning of items in relationship to the horizon line; linear perspective – learn more about 1 signal perspective here; tonal modeling; relationships with side by side objects and those in close proximity – including the man form – to create a sense of scale; spatial distortions or optical illusions; manipulating scale of objects to create 'surrealist' spaces where true calibration is unknown)?
Has an unusual viewpoint been used (i.e. worm's view; aeriform 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 effect of this viewpoint (i.east. allows certain parts of the scene to be dominant and overpowering or squashed, condensed and foreshortened; or suggests a narrative between two split spaces; provides more than information about a space than would ordinarily be seen)?
Is the emphasis upon mass or void? How densely arranged are components within the artwork or film plane? What is the relationship betwixt object and surrounding space (i.e. compact / crowded / decorated / densely populated, with little surrounding space; spacious; careful interplay between positive and negative space; objects amassed to create areas of visual interest)? What is the outcome of this (i.e. creates a sense of emptiness or isolation; concern / visual clutter creates a feeling of chaos or claustrophobia)?
How does the artwork engage with existent space – in and around the artwork (i.e. self-contained; airtight off; heart contact with viewer; reaching outwards)? Is the viewer expected to move through the artwork? What is the relationship betwixt interior and outside space? What connections or contrasts occur betwixt within and out? Is it comprised of a series of separate or linked spaces?
Would information technology be appropriate to employ infinite in a like manner inside your own artwork?

Utilize of media / materials

What materials and mediums has the artwork been constructed from? Take materials been curtained or presented deceptively (i.e. is there an authenticity / honesty of materials; are materials celebrated; is the construction visible or exposed)? Why were these mediums selected (weight; colour; texture; size; strength; flexibility; pliability; fragility; ease of employ; cost; cultural significance; durability; availability; accessibility)? Would other mediums accept been advisable?
Which skills, techniques, methods and processes were used (i.due east. traditional; conventional; industrial; contemporary; innovative)? It is important to notation that the examiners do not want the regurgitation of long, technical processes, simply rather to run into personal observations about how processes upshot and influence the artwork in question. Would replicating part of the artwork help you gain a better understanding of the processes used?
Has the artwork been built in layers or stages? For example:
- Painting: gesso basis > textured mediums > underdrawing > blocking in colors > defining form > last details;
- Compages: cursory > concepts > development > working drawings > foundations > construction > cladding > finishes;
- Graphic blueprint: brief > concepts > development > Photoshop > proofing > printing.
How does the use of media assistance the artist to communicate ideas?
Are these methods useful for your own project?

Finally, remember that these questions are a guide just and are intended to make yous first to think critically most the art y'all are studying and creating.

How to analyse your own artwork — Wondering how to analyze your own artwork? The questions higher up can be practical to your own artwork, every bit in the fine art analysis example above, past Nikau Hindin, ACG Parnell Higher. In this sketchbook page she analyses her own Photoshop thumbnails, created using photographs of her called subject field matter. Critical analysis of your own artwork is something that students should go very familiar with over the duration of an art and design course. You may wish to view the rest of Nikau'south A* A Level Fine art coursework project.

Farther Reading

If you lot enjoyed this article you may besides like our article virtually high school sketchbooks (which includes a section virtually sketchbook annotation). If you are looking for more assistance with how to write an art analysis essay you lot may similar our series nigh writing an artist study.

_BIBLIOGRAPHY

_{A guide for Analyzing Works of Art; Sculpture and Painting, Durantas}
_{A Curt Guide to Writing Virtually Art, Sylvan Barnet (Amazon affiliate link)}
_{Analysing Paintings, Matthew Treherne, University of Leeds}
_{Fine art and Fine art History Tips, The Academy of Vermont}
_{Art History: A Preliminary Handbook, Dr. Robert J. Belton, The University of British Columbia}
_{Criticizing Art: Understanding the Contemporary, Terry Barrett (Amazon affiliate link)}
_{How to Look at Art, Susie Hodge (Amazon affiliate link)}
_{How to Look at a Painting, Françoise Barbe-Gall}
_{Imaginative Realism, James Gurney (Amazon chapter link)}
_{The Writing Centre, Academy of North Carolina at Chapel Hill}
_{Universal Principles of Art: 100 Cardinal Concepts for Understanding, Analyzing and Practicing Fine art, John A. Parks (Amazon chapter link)}

Amiria has been an Fine art & Blueprint teacher and a Curriculum Co-ordinator for seven years, responsible for the course design and cess of pupil piece of work in 2 loftier-achieving Auckland schools. She has a Bachelor of Architectural Studies, Bachelor of Compages (Get-go Class Honours) and a Graduate Diploma of Pedagogy. Amiria is a CIE Accredited Art & Pattern Coursework Assessor.

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