How to Read a Work of Art Context Text and

Terminal Updated on May 27, 2021

This article has been written for high school art students who are working upon a critical study of fine art, sketchbook annotation or an essay-based creative person study. Information technology contains a list of questions to guide students through the process of analyzing visual material of any kind, including drawing, painting, mixed media, graphic blueprint, sculpture, printmaking, architecture, photography, textiles, manner and so on (the give-and-take 'artwork' in this article is all-encompassing). The questions include a wide range of specialist art terms, prompting students to apply subject area-specific vocabulary in their responses. It combines communication from art analysis textbooks equally well every bit from high school art teachers who accept beginning-hand experience teaching these concepts to students.

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How to analyse a piece of art — International GCSE artist assay example: The image higher up shows function of an A* IGSCE Art and Design sketchbook page analysing the work of Jim Dine, by Rhea Maheshwari, ACG Parnell Higher.

Why do we report fine art?

Most all high school art students carry out disquisitional assay of artist work, in conjunction with creating applied work. Looking critically at the piece of work of others allows students to understand compositional devices and then explore these in their own fine art. This is ane of the all-time ways for students to learn.

Instructors who assign formal analyses want you lot to look—and wait advisedly. Think of the object as a series of decisions that an artist fabricated. Your job is to figure out and describe, explain, and translate those decisions and why the artist may take made them. – The Writing Heart, University of North Carolina at Chapel Hill¹⁰

Fine art assay tips

'I like this' or 'I don't like this' without whatsoever farther explanation or justification is non analysis. Personal opinions must be supported with explanation, evidence or justification.
'Assay of artwork' does not mean 'description of artwork'. To gain high marks, students must motion beyond stating the obvious and add together perceptive, personal insight. Students should demonstrate higher order 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 observation with a thoughtful supposition about why this is the case – perhaps a deliberate attempt by the creative person to draw attention to a focal point, helping to convey thematic ideas.

Although description is an important function of a formal analysis, description is not enough on its ain. You must introduce and contextualize your descriptions of the formal elements of the piece of work so the reader understands how each element influences the work's overall effect on the viewer. – Sylvan Barnet, A Short Guide to Writing Virtually Fine artⁱⁱ

Cover a range of different visual elements and design principles. Information technology is common for students to go experts at writing almost one or two elements of composition, while neglecting everything else – for example, only focusing upon the use of colour in every artwork studied. This results in a narrow, repetitive and incomplete analysis of the artwork. Students should ensure that they encompass a broad range of art elements and design principles, as well every bit address context and meaning, where required. The questions below are designed to ensure that students cover a wide range of relevant topics inside their assay.
Write alongside the artwork discussed. In almost all cases, written analysis should be presented alongside the work discussed, so 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 assay. It is almost always helpful for high school students to support written material with sketches, drawings and diagrams that assist the student understand and analyse the piece of art. This might include composition sketches; diagrams showing the main construction of an artwork; detailed enlargements of pocket-size sections; experiments imitating use of media or technique; or illustrations overlaid with arrows showing leading lines and so on. Visual investigation of this sort plays an important role in many artist studies.

Making sketches or drawings from works of art is the traditional, centuries-one-time fashion that artists accept learned from each other. In doing this, you lot will appoint with a work and an artist'southward approach fifty-fifty if y'all previously knew nothing about it. If possible practise this whenever you can, non from a postcard, the internet or a motion-picture show in a book, just from the actual work itself. This is useful because it forces you to look closely at the work and to consider elements yous might not take noticed earlier. – Susie Hodge, How to Look at Art^vii

Finally, when writing nearly art, students should communicate with clarity; demonstrate subject area-specific cognition; apply right terminology; generate personal responses; and reference all content and ideas sourced from others. This is explained in more item in our commodity about loftier schoolhouse sketchbooks.

What should students write about?

Although each aspect of composition is treated separately in the questions beneath, students should consider the relationship between visual elements (line, shape, form, value/tone, color/hue, texture/surface, space) and how these interact to grade blueprint principles (such as unity, variety, emphasis, dominance, balance, symmetry, harmony, movement, contrast, rhythm, pattern, scale, proportion) to communicate significant.

As complex as works of art typically are, there are really only 3 general categories of statements one can make near them. A statement addresses form, content or context (or their diverse interrelations). – Dr. Robert J. Belton, Art History: A Preliminary Handbook, The University of British Columbia⁵

…a formal analysis – the consequence of looking closely – is an assay of the course that the artist produces; that is, an assay of the work of art, which is made up of such things equally line, shape, color, texture, mass, composition. These things requite the stone or sheet its form, 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 splendid instance of how to analyse a piece of art (it is important to annotation that this video is an instance of 'formal assay' and doesn't include contextual analysis, which is also required past many high schoolhouse art examination boards, in addition to the formal analysis illustrated here):

Composition analysis: a list of questions

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

It is not expected that students answer every question (doing so 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, just not a sculpture). The words provided as examples are intended to assistance students recollect almost appropriate vocabulary to use when discussing a particular topic. Definitions of more than complex words accept been provided.

Students should not attempt to copy out questions and and then answer them; rather the questions should be considered a starting point for writing bullet pointed annotation or sentences in paragraph form.

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

CONTENT, CONTEXT AND Meaning

Bailiwick matter / themes / bug / narratives / stories / ideas

There tin can be different, competing, and contradictory interpretations of the aforementioned artwork.
An artwork is not necessarily about what the creative person wanted it to be about. – Terry Barrett, Criticizing Art: Understanding the Contemporary⁶

Our interest in the painting grows simply when we forget its championship and take an involvement in the things that it does not mention…" – Françoise Barbe-Gall, How to Look at a Painting^viii

Does the artwork fall within an established genre (i.e. historical; mythical; religious; portraiture; landscape; even so life; fantasy; architectural)?
Are there any recognisable objects, places or scenes? How are these presented (i.eastward. arcadian; 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 we tell about them (i.due east. identity; age; attire; profession; cultural connections; health; family relationships; wealth; mood/expression)? What can nosotros learn from their pose (i.e. frontal; profile; partly turned; trunk linguistic communication)? Where are they looking (i.e. direct center contact with viewer; downcast; interested in other subjects within the artwork)? Can we work out relationships between figures from the way they are posed?

What practice the clothing, furnishings, accessories (horses, swords, dogs, clocks, business organisation ledgers and so forth), background, angle of the head or posture of the caput and body, direction of the gaze, and facial expression contribute to our sense of the figure's social identity (monarch, clergyman, trophy wife) and personality (intense, cool, inviting)? – Sylvan Barnet, A Short Guide to Writing Most Artⁱⁱ

What props and important details are included (drapery; costumes; adornment; architectural elements; emblems; logos; motifs)? How do aspects of setting support the principal bailiwick? What is the effect of including these items inside the arrangement (visual unity; connections between different parts of the artwork; directs attention; surprise; multifariousness and visual interest; separates / divides / borders; transformation from one object to another; unexpected juxtaposition)?

If a waiter served y'all a whole fish and a scoop of chocolate ice cream on the aforementioned plate, your surprise might exist caused by 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 tin can be representational or abstract, and it can be endowed with symbolic meaning. Motifs can be repeated in multiple artworks and oft recur throughout the life's work of an private artist. – John A. Parks, Universal Principles of Art¹¹

Does the artwork communicate an activity, narrative or story (i.e. historical result or illustrate a scene from a story)? Has the organization been embellished, set up or contrived?
Does the artwork explore movement? Practise y'all proceeds a sense that parts of the artwork are well-nigh to modify, topple or fall (i.eastward. 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 abstruse elements are shown (i.e. bars; shapes; splashes; lines)? Have these been derived from or inspired by realistic forms? Are they the outcome of spontaneous, accidental creation or careful, deliberate arrangement?
Does the piece of work include the cribbing of piece of work by other artists, such as inside a parody or pop art? What effect does this take (i.e. copyright concerns)?

Parody: mimicking the appearance and/or manner of something or someone, merely with a twist for comic issue or critical comment, as in Saturday Night Live's political satires – Dr. Robert J. Belton, Fine art History: A Preliminary Handbook, The Academy of British Columbia^five

Does the field of study captivate an instinctual response, such every bit items that are informative, shocking or threatening for humans (i.e. unsafe 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 than almost this fascinating topic.
What kind of text has been used (i.eastward. font size; font weight; font family; stenciled; hand-drawn; computer-generated; printed)? What has influenced this option of text?
Do key objects or images have symbolic value or provide a cue to significant? How does the artwork convey deeper, conceptual themes (i.e. allegory; iconographic elements; signs; metaphor; irony)?

Apologue is a device whereby abstract ideas tin be communicated using images of the concrete world. Elements, whether figures or objects, in a painting or sculpture are endowed with symbolic meaning. Their relationships and interactions combine to create more complex meanings. – John A. Parks, Universal Principles of Fine art¹¹

An iconography is a item range or system of types of image used by an artist or artists to convey item meanings. For instance in Christian religious painting there is an iconography of images such as the lamb which represents Christ, or the pigeon which represents the Holy Spirit. – Tate.org.uk

What tone of phonation does the artwork accept (i.due east. deliberate; honest; autobiographical; obvious; direct; unflinching; against; subtle; ambiguous; uncertain; satirical; propagandistic)?
What is your emotional response to the artwork? What is the overall mood (i.e positive; energetic; excitement; serious; sedate; peaceful; at-home; melancholic; tense; uneasy; uplifting; foreboding; calm; turbulent)? Which subject matter choices assistance to communicate this mood (i.e. weather condition and lighting conditions; color of objects and scenes)?
Does the title modify the way you interpret the work?
Were there whatsoever design constraints relating to the subject affair or theme/southward (i.east. a sculpture deputed to represent a specific bailiwick, place or idea)?
Are at that place thematic connections with your ain projection? What can you lot learn from the style the creative person has approached this field of study?

Wider contexts

All art is in part about the world in which it emerged. – Terry Barrett, Criticizing Art: Understanding the Contemporary^half-dozen

Supported by research, tin you lot identify when, where and why the work was created and its original intention or purpose (i.e. private sale; commissioned for a specific owner; commemorative; educational; promotional; illustrative; decorative; confrontational; useful or applied utility; communication; created in response to a pattern brief; individual viewing; public viewing)? In what way has this background influenced the outcome (i.eastward. availability of tools, materials or time; expectations of the patron / audition)?
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 arrange weather conditions / climate; built 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, economic situations, historic events, religious settings, cultural events)? What upshot 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 can you tell?
Tin can you make any relevant connections or comparisons with other artworks? Have other artists explored a similar discipline in a like way? Did this occur earlier 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 virtually the artist are relevant in understanding this artwork (upbringing and personal situation; family and relationships; psychological state; health and fitness; socioeconomic status; employment; ethnicity; culture; gender; teaching, faith; interests, attitudes, values and beliefs)?
Is this artwork part of a larger body of work? Is this typical of the work the artist is known for?
How might your ain upbringing, beliefs and biases distort your interpretation of the artwork? Does your own 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 ain work?

COMPOSITION AND FORM

Format

What is the overall size, shape and orientation of the artwork (i.e. vertical, horizontal, portrait, mural or square)? Has this format been influenced by practical considerations (i.east. availability of materials; display constraints; blueprint brief restrictions; screen sizes; common attribute ratios in film or photography such as four:3 or 2:3; or newspaper sizes such every bit A4, A3, A2, A1)?
How do images fit inside the frame (cropped; truncated; shown in full)? Why is this format appropriate for the subject matter?
Are different parts of the artwork physically split up, such as within a diptych or triptych?
Where are the boundaries of the artwork (i.e. is the artwork cocky-contained; meaty; 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 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 movement, surface abrasion; structural failure – cracking, breaking; damage acquired past unpredictable events, such as fire or vandalism; intentional movement, such every bit rotation or sensor response; intentional impermanence, such every bit an installation assembled for an exhibition and removed afterwards; viewer interaction; additions, renovations and restoration by 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 calibration and format of the artwork relate to the environment where it is positioned, used, installed or hung (i.east. harmonious with landscape typography; sensitive to adjacent structures; imposing or dwarfed by surroundings; human scale)? Is the artwork designed to be viewed from 1 vantage signal (i.e. front facing; viewed from below; approached from a main archway; fix at human center level) or many? Are images taken from the best angle?
Would a similar format benefit your ain project? Why / why not?

Construction / layout

Has the artwork been organised using a formal arrangement of arrangement or mathematical proportion (i.e. rule of thirds; gold ratio or screw; grid format; geometric; dominant triangle; or circular limerick) or is the organization less predictable (i.e. chaotic, random, adventitious, fragmented, meandering, scattered; irregular or spontaneous)? How does this system of arrangement assistance with the communication of ideas? Tin you describe a diagram to show the bones structure of the artwork?
Can yous see a clear intention with alignment and positioning of parts inside the artwork (i.e. edges aligned; items spaced equally; simple or complex arrangement; overlapping, clustered or concentrated objects; dispersed, divide items; repetition of forms; items extending beyond the frame; frames within frames; bordered perimeter or patterned edging; cleaved borders)? What event do these visual devices have (i.e. imply hierarchy; help the viewer understand relationships between parts of artwork; create rhythm)?
Does the artwork have a primary axis of symmetry (vertical, diagonal, horizontal)? Tin you locate a center of balance? Is the artwork symmetrical, asymmetrical (i.e. stable), radial, or intentionally unbalanced (i.e. to create tension or unease)?
Can you draw a diagram to illustrate emphasis and dominance (i.e. 'blocking in' mass, where the 'heavier' dominant forms appear in the composition)? Where are dominant items located within the frame?
How exercise your eyes move through the limerick?
Could your own artwork utilize a similar organisational structure?

Line

What types of linear mark-making are shown (thick; thin; brusque; long; soft; bold; delicate; 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 any interrupted, suggested or unsaid lines (i.e. lines that can't literally be seen, just the viewer'southward brain connects the dots betwixt carve up elements)?
Where are the dominating lines in the limerick and what is the result of these? Can y'all overlay tracing paper upon an artwork to illustrate some of the important lines?
- Repeating lines: may simulate material qualities, texture, blueprint or rhythm;
- Purlieus lines: may segment, split up or split different areas;
- Leading lines: may dispense the viewer's gaze, directing vision or lead the eye to focal points (eye tracking studies bespeak that our optics spring from one point of interest to some other, rather than move smoothly or predictably along leading lines⁹. Lines may all the same assistance to plant accent by 'pointing' towards certain items);
- Parallel lines: may create a sense of depth or motility through infinite within a landscape;
- Horizontal lines: may create a sense of stability and permanence;
- Vertical lines: may advise height, reaching upwards or falling;
- Intersecting perpendicular lines: may advise rigidity, forcefulness;
- Abstruse lines: may rest the composition, create contrast or emphasis;
- Angular / diagonal lines: may suggest tension or unease;
- Cluttered lines: may propose a sense of agitation or panic;
- Underdrawing, construction lines or contour lines: describe class (larn more about contour lines in our article about line drawing);
- Curving / organic lines: may suggest nature, peace, movement or energy.
What is the relationship between line and three-dimensional course? Areoutlines used to define form and edges?
Would it be advisable to apply line in a similar way within your own artwork?

Shape and form

Can you identify a dominant visual language within the shapes and forms shown (i.e. geometric; angular; rectilinear; curvilinear; organic; natural; fragmented; distorted; complimentary-flowing; varied; irregular; complex; minimal)? Why is this visual language appropriate?
How are the edges of forms treated (i.e. do they fade away or blur at the edges, every bit if melting into the page; ripped or torn; distinct and difficult-edged; or, in the words of James Gurney^ix, do they 'deliquesce into sketchy lines, paint strokes or drips')?
Are in that location whatever iii-dimensional forms or relief elements inside the artwork, such as carved pieces, protruding or sculptural elements? How does this affect the viewing of the work from unlike 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; 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.east. 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 i 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 homo scale in mind?

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

Can you lot identify which forms are functional or structural, versus ornamental or decorative?
Have any forms been disassembled, 'cut away' or exposed, such equally a sectional drawing? What is the purpose of this (i.e. to explicate structure methods; communicate data; dramatic consequence)?
Would it be advisable to use shape and grade in a like manner within your own artwork?

Value / tone / light

Has a broad tonal range been used in the artwork (i.e. a broad range of darks, highlights and mid-tones) or is the tonal range express (i.e. stake and faint; subdued; boring; heart-searching and dark overall; stiff highlights and shadows, with little mid-tone values)? What is the effect of this?
Where are the light sources within the artwork or scene? Is there a single consistent lite source or multiple sources of light (sunshine; low-cal bulbs; torches; lamps; luminous surfaces)? What is the effect of these choices (i.east. mimics natural lighting weather condition at a certain fourth dimension of 24-hour interval or dark; figures lit from the side to clarify form; contrasting background or spot-lighting used to accentuate a focal surface area; soft and diffused lighting used to mute contrasts and minimize harsh shadows; dappled lighting to betoken sunshine broken by surrounding leaves; chiaroscuro used to exaggerate theatrical drama and impact; areas cloaked in darkness to minimize visual complexity; to enhance our agreement of narrative, mood or meaning)?

One of the almost important ways in which artists tin can use light to achieve particular furnishings is in making strong contrasts between lite and dark. This dissimilarity is oftentimes described as chiaroscuro. – Matthew Treherne, Analysing Paintings, University of Leeds³

Are representations of three-dimensional objects and figures flat or tonally modeled? How practise different tonal values change from one to the next (i.e. gentle, smooth gradations; precipitous tonal bands)?
Are there any unusual, reflective or transparent surfaces, mediums or materials which reflect or transmit light in a special manner?
Has tone been used to assist communicate atmospheric perspective (i.eastward. paler and bluer as objects get farther abroad)?
Are gallery or ecology light sources where the artwork is displayed fixed or fluctuating? Does the 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 event of these shadows (i.eastward. anchors objects to the folio; creates the illusion of depth and infinite; creates dramatic contrasts)?
Do sculptural protrusions or relief elements take hold of the light and/or create bandage shadows or pockets of shadow upon the artwork? How does this influence the viewer'due south experience?
How has tone been used to help direct the viewer'due south attention to focal areas?
Would information technology exist advisable to use value / tone in a like mode within your own artwork? Why / why not?

Colour / hue

Can you lot view the true color of the artwork (i.e. are you viewing a low-quality reproduction or examining the artwork in poor lighting)?
Whichcolour schemes accept been used within the artwork (i.e. harmonious; complementary; main; monochrome; bawdy; warm; cool/cold)? Has the creative person used a broad or limited color palette (i.east. multifariousness or unity)? Which colors dominate?
How would you describe the intensity of the colors (vibrant; bright; vivid; glowing; pure; saturated; strong; dull; muted; pale; subdued; bleached; diluted)?
Are colors transparent or opaque? Can you see reflected color?
Has color contrast been used within the artwork (i.e. extreme contrasts; juxtaposition of complementary colors; garish / clashing / jarring)? Are in that location any abrupt color changes or unexpected uses of color?
What is the outcome of these color choices (i.due east. expressing symbolic or thematic ideas; descriptive or realistic depiction of local color; emphasizing focal areas; creating the illusion of aerial perspective; relationships with colors in surrounding surround; creating balance; creating rhythm/design/repetition; unity and variety inside the artwork; lack of colour places accent upon shape, particular and form)? What kind of temper do these colors create?

Information technology is often said that warm colors (cerise, orangish, yellow) come frontwards and produce a sense of excitement (yellow is said to propose warmth and happiness, every bit in the smiley face), whereas cool colors (blue, green) recede and have a calming effect. Experiments, withal, have proved inconclusive; the response to color – despite clichés about seeing red or feeling blue – is highly personal, highly cultural, highly varied. – Sylvan Barnet, A Short Guide to Writing About Art^two

Would it exist appropriate to employ colour in a similar style within your own artwork?

Texture / surface / pattern

Are there any interesting textural, tactile or surface qualities inside the artwork (i.e. bumpy; grooved; indented; scratched; stressed; rough; smooth; shiny; varnished; glassy; sleeky; polished; matte; sandy; grainy; gritted; leathery; spiky; silky)? How are these created (i.eastward. inherent qualities of materials; impasto mediums; sculptural materials; illusions or unsaid texture, such as cross-hatching; finely detailed and intricate areas; organic patterns such as foliage or minor stones; repeating patterns; ornamentation)?
How are textural or patterned elements positioned and what outcome does this have (i.eastward. used intermittently to provide multifariousness; repeating pattern creates rhythm; patterns cleaved create focal points; textured areas create visual links and unity betwixt split areas of the artwork; balance betwixt detailed/textured areas and simpler areas; sleeky surface creates a sense of luxury; imitation of texture conveys information virtually a subject, i.eastward. softness of fur or strands of hair)?
Would it be advisable to employ texture / surface in a similar manner within your own artwork?

Infinite

Is the pictorial space shallow or deep? How does the artwork create the illusion of depth (i.east. layering of foreground, middle-ground, background; overlapping of objects; apply of shadows to ballast objects; positioning of items in relationship to the horizon line; linear perspective – learn more than most ane point perspective here; tonal modeling; relationships with adjacent objects and those in close proximity – including the homo form – to create a sense of scale; 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.due east. 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.eastward. allows certain parts of the scene to be ascendant and overpowering or squashed, condensed and foreshortened; or suggests a narrative between two separate spaces; provides more data about a space than would ordinarily be seen)?
Is the accent upon mass or void? How densely arranged are components within the artwork or movie airplane? What is the relationship betwixt object and surrounding space (i.eastward. compact / crowded / busy / densely populated, with little surrounding space; spacious; conscientious coaction betwixt positive and negative space; objects clustered to create areas of visual involvement)? What is the effect of this (i.e. creates a sense of emptiness or isolation; business / visual clutter creates a feeling of anarchy or claustrophobia)?
How does the artwork engage with real space – in and around the artwork (i.east. self-independent; 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 space? What connections or contrasts occur between inside and out? Is it comprised of a serial of separate or linked spaces?
Would it be appropriate to employ space in a similar manner within your own artwork?

Utilize of media / materials

What materials and mediums has the artwork been constructed from? Accept materials been concealed 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; color; texture; size; strength; flexibility; pliability; fragility; ease of use; cost; cultural significance; durability; availability; accessibility)? Would other mediums have been appropriate?
Which skills, techniques, methods and processes were used (i.due east. traditional; conventional; industrial; gimmicky; innovative)? It is of import to note that the examiners exercise not desire the regurgitation of long, technical processes, but rather to see personal observations about how processes consequence and influence the artwork in question. Would replicating part of the artwork aid you gain a meliorate 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;
- Compages: brief > concepts > development > working drawings > foundations > construction > cladding > finishes;
- Graphic design: brief > concepts > development > Photoshop > proofing > press.
How does the use of media help the artist to communicate ideas?
Are these methods useful for your own projection?

Finally, call back that these questions are a guide only and are intended to brand you start to think critically about the art you are studying and creating.

How to analyse your own artwork — Wondering how to analyze your own artwork? The questions higher up can be applied to your own artwork, equally in the art analysis instance to a higher place, by Nikau Hindin, ACG Parnell Higher. In this sketchbook page she analyses her own Photoshop thumbnails, created using photographs of her chosen discipline matter. Critical analysis of your own artwork is something that students should become very familiar with over the elapsing of an art and pattern course. You lot may wish to view the rest of Nikau's A* A Level Fine art coursework projection.

Farther Reading

If you enjoyed this article you lot may also like our article about high school sketchbooks (which includes a section about sketchbook annotation). If you are looking for more than help with how to write an art analysis essay you may similar our serial about writing an artist study.

_BIBLIOGRAPHY

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

Amiria has been an Fine art & Design instructor and a Curriculum Co-ordinator for vii years, responsible for the course design and assessment of student work in ii high-achieving Auckland schools. She has a Bachelor of Architectural Studies, Bachelor of Architecture (First Grade Honours) and a Graduate Diploma of Education. Amiria is a CIE Accredited Art & Design Coursework Assessor.

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

22 Patrick Alfred