Journal Entry 3

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Chapter 1.10 Engaging with Form and Content

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FUNDAMENTALS

Introduction

Artworks communicate visual ideas

Interpreting those ideas involves analysis (how the work was created, its subject matter, and its meaning—or content)

There are a number of ways in which we can analyse art

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FUNDAMENTALS

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 1.10 Engaging with Form and Content

Types of Analysis

Formal

Stylistic

Iconographic

Contextual (Religious, Historical/Social, Biographical)

Feminist

Gender Studies

Critical Race Theory

Psychological

PART 1

FUNDAMENTALS

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 1.10 Engaging with Form and Content

Analysis will be discussed in comparison to Critique and Interpretation later in the chapter.

Formal Analysis

The process of analysing the elements and principles used by the artist

Elements of art: line, shape, form, mass, volume, color, texture, space, time and motion, and value

Principles of art: contrast, balance, unity, variety, rhythm, emphasis, pattern, proportion, and scale

PART 1

FUNDAMENTALS

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 1.10 Engaging with Form and Content

A work of art is a product of the dynamic interrelationships between the various art elements and principles

Formal analysis involves looking closely at the work in order to consider how the formal elements and principles of art are used to create it and to convey meaning

Artwork: Bust of Queen Nefertiti

1.10.1a and b Thutmosis’s workshop, Bust of Queen Nefertiti from Armana, Egypt, c. 1350 BCE (New Kingdom, 18th Dynasty). Painted limestone, gypsum, crystal, and wax, 19¾” high. Aegyptisches Museum, Staatliche Museen zu Berlin, Germany

Bust of Queen Nefertiti

Three-dimensional, lifelike quality

Hairpiece and patterned necklace imply texture

In profile, implied and directional lines highlight her formal symmetry

Portrayed as an elegant, ideal beauty

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FUNDAMENTALS

Chapter 1.10 Engaging with Form and Content

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Nefertiti is symmetrically balanced, except for the missing pupil in one eye

Two points of a triangle are created by the upper corners of her crown, with the third point slightly below her neck

The patterned ribbon that crosses under the broken cobra makes one want to circle the sculpture

From the side, the dramatic height and angle of her hair meets the nape of her neck to create a sideways “v”

Her long, thin neck lends the queen grace and femininity

Artwork: Edward Hopper, Nighthawks

1.10.2 Edward Hopper, Nighthawks, 1942. Oil on canvas, 33⅛ × 60”. Art Institute of Chicago

Edward Hopper, Nighthawks

The dark background areas communicate a sense of vacancy

The brightly lit interior is an area of emphasis and contrast

Formal devices intensify the effect of the painting: a mood of absence and loneliness

PART 1

FUNDAMENTALS

Chapter 1.10 Engaging with Form and Content

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

For two-dimensional works, consider the locations of objects, colors, and relationships between elements in the composition

American Edward Hopper (1882–1967) said, “Unconsciously, probably, I was painting the loneliness of a large city”

Even though the scene takes place in a city, the streets are devoid of people and activity

The framework of the building and the brilliant yellow wall inside focus our attention on the figures

Despite being gathered together, the figures appear to be alone in their own thoughts

Stylistic Analysis

Artworks have style, or specific characteristics that make them look the way they do

Style can be individual or shared

Used to categorize or identify artworks

PART 1

FUNDAMENTALS

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 1.10 Engaging with Form and Content

A group of artists might share a style because they used similar techniques, worked at the same time, or studied in the same place

Characteristics that contribute to style include the use of formal elements, the use of design principles, and the level of abstraction or representation used

4.8.1 Théodore Géricault, Raft of the Medusa, 1819. Oil on canvas, 12'1 3⁄8" × 17'9 7⁄8". Musée du Louvre, Paris, France

Portal Artwork: Géricault, Raft of the Medusa

Artwork: Bosch, The Garden of Earthly Delights

1.10.3 Hieronymous Bosch, The Garden of Earthly Delights, 1500–1505. Oil on wooden panel, central panel 7’1⅝” × 6’4¾”, wings 7’1⅝ × 38¼”. Museo Nacional del Prado, Madrid, Spain

Hieronymus Bosch, The Garden of Earthly Delights

Style is distinctive; works are known for their fantastical quality

Humans, fruits, and futuristic-looking objects (in distorted sizes) mingle in odd, erotic, and nonsensical ways

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Chapter 1.10 Engaging with Form and Content

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Netherlandish artist Hieronymus Bosch (c. 1450–1516) is most famous for this triptych

On the whole scholars agree that he is expressing a religious condemnation of immorality, particularly in regard to sexual behavior

His style has something in common with medieval biblical sermons and folkloric sources, which also suggested that sinful actions are reflected in distortions of the human anatomy

Spanish monk José de Sigüenza wrote “other artists depicted people as they appear outwardly, but only Bosch had the audacity to paint them as they are on the inside.”

The left panel shows God’s presentation of Adam and Eve before the Fall

The center panel shows elongated nude figures inhabiting the false paradise of Earth, seduced by ephemeral pleasures

The right panel shows the consequences of their behavior, with endless forms of tortured damnation for the sinners

Iconographic Analysis

Identifies and interprets the symbolic meanings of objects and elements in artworks

Reveals previously unsuspected insights into content

PART 1

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 1.10 Engaging with Form and Content

Iconography—“image writing” or “writing with images”—refers to the visual images and symbols used in a work of art as well as to the interpretation of the work’s meaning

Artwork: Hans Holbein the Younger, The Ambassadors

1.10.4a Hans Holbein the Younger, Jean de Dinteville and Georges de Selve (“The Ambassadors”), 1533. Oil on oak, 6’9½” × 6’10⅓”. National Gallery, London, England

Detail of concealed crucifix

1.10.4b Detail of Hans Holbein the Younger, The Ambassadors

Detail of lute

1.10.4c Detail of Hans Holbein the Younger, The Ambassadors

Detail of skull

1.10.4d Detail of Hans Holbein the Younger, The

Ambassadors

Hans Holbein, The Ambassadors

Rich in symbolic significance

In 1533, England was breaking with the Catholic Church

Globe, hymn book, crucifix, and lute all have specific religious meanings

Skull signifies human mortality (memento mori)

PART 1

FUNDAMENTALS

Chapter 1.10 Engaging with Form and Content

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

German artist Hans Holbein the Younger (1497–1543) worked in the court of King Henry VIII of England

Depicts Jean de Dinteville and the bishop Georges de Selve, young Frenchmen who served as ambassadors to England

Despite their success, wealth, and youth, they are aware of the fleeting nature of life

The skull faces away from their worldly possessions and toward the half-hidden crucifix, affirming that the men believe their salvation depends on God

Contextual Analysis

Studies the atmosphere and ideas, often from a particular time and culture, that an artwork reflects

Both artists and viewers play roles in providing content (meaning)

Various contexts can be considered: religious, historical, and biographical

PART 1

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 1.10 Engaging with Form and Content

Analysis of Religious Context

Considers the artwork in relation to the religious context in which it was made

Often includes identification of narratives, key symbolism, and important figures

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 1.10 Engaging with Form and Content

Artwork: Sumerian Votive Figures

1.10.5 Votive Figures from the Temple of Abu, Eshnunna (Tell Asmar), c. 2700 BCE. Gypsum, male figure height 28⅜”, female figure height 23¼”. Iraq Museum, Baghdad, Iraq

Sumerian Votive Figures

Found under a Sumerian temple

Upward glances, clasped hands, and inscriptions indicate prayer

Each figure represents the human who brought it to the temple

A votive is an offering for the gods made in accordance with a vow

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FUNDAMENTALS

Chapter 1.10 Engaging with Form and Content

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

A dozen small praying figures were found in a Sumerian (4000–1000 bce) temple in modern-day Iraq

The location in which the figures were found gives us a sense of the religious context

Each one is unique: the sizes, hairstyles, and gender vary

Would remain in the temple to offer continual prayer when the people represented could not be there

Analysis of Historical Context

Considers historical events, either past or present, and the way they appear in an artwork

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 1.10 Engaging with Form and Content

Artwork: Palmer Hayden, Midsummer Night in Harlem

1.10.6 Palmer Hayden, Midsummer Night in Harlem, 1936. Oil on canvas, 25 × 30”. Museum of African American Art,

Los Angeles, California

Hayden, Midsummer Night in Harlem

Celebrates the Harlem Renaissance movement, a period of African American cultural growth

Captures the time and place of this New York community

Use of flat, bright colors references modern and African art

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Chapter 1.10 Engaging with Form and Content

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

American artist Palmer Hayden (1890–1973) highlights the strong sense of community

Most people are shown with large smiles and bright eyes

They have just returned from an evening at church

Makes the painting accessible by emphasizing realistic details of the gathering

Analysis of Biographical Context

Considers whether the artist’s personal experiences and opinions may have affected the making or meaning of the artwork

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 1.10 Engaging with Form and Content

Artwork: Magdalena Abakanowicz, 80 BACKS

1.10.7 Magdalena Abakanowicz, 80 BACKS, 1976–80. Burlap and resin, height 24–27”; depth 19½–22”; width 21½–26”. Museum of

Modern Art, Pusan, South Korea

Abakanowicz, 80 Backs

Draws from artist’s personal life experiences and Polish heritage

Abstract sculptures explore issues of dignity, courage, and survival

Repeated figures reflect her experience of the Communist regime’s emphasis on the collective over the individual

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Chapter 1.10 Engaging with Form and Content

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

When Polish artist Magdalena Abakanowicz (b.1930) was nine years old, at the beginning of World War II, her village was occupied by invading German troops

At the end of the war, Poland spent the next forty-five years as a Soviet-Union-dominated Communist state

The fragile, perishable fiber materials reflect her keen awareness of the human vulnerability to which she was so exposed during the war and its aftermath

In the early years of her career, she had no conventional materials from which to sculpt; she used burlap sacks as her artistic medium

Analysis/Critique/Interpretation

Analysis

Description

Discussion

Related to the artwork

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 1.10 Engaging with Form and Content

Analysis/Critique/Interpretation

Critique

Theory

Includes the ideas, opinions, and experiences of the viewer

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 1.10 Engaging with Form and Content

Analysis/Critique/Interpretation

Interpretation

Critical review

Commentary

Includes the judgment of the writer

Not necessarily negative

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 1.10 Engaging with Form and Content

Analysis/Critique/Interpretation

Analysis relates more directly to the time of the artwork

Critique and Interpretation can include considerations that have happened since that time

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 1.10 Engaging with Form and Content

Feminist Analysis & Critique

Considers the role of women in an artwork as its subjects, creators, patrons, and viewers

Can reflect the intentions of an artist, the perspective of a viewer, the interpretation of a critic, or all three

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 1.10 Engaging with Form and Content

Artwork: Ingres, Grande Odalisque

1.10.8 Jean-Auguste-Dominique Ingres, Grande Odalisque, 1814. Oil on canvas, 35⅞ × 63¾”. Musée du Louvre, Paris, France

Ingres, Grande Odalisque

Made for a male audience/viewer

Objectified subject (nude woman in a harem)

Pose is sensual but disproportionate: back is painted with extra vertebrae

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Chapter 1.10 Engaging with Form and Content

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

French artist Jean-Auguste-Dominique Ingres (1780–1867)

Feminist analysis might compare this artwork to others made at the time and find that female nudes were often depicted as objects of desire and beauty

Woman is an odalisque (a woman in a harem), and so a feminist analysis might study the French view of women in Near Eastern society, who were considered exotic and sensual

Feminist analysis might find that women in France were demanding equal rights, causing men to pine for docile females

A feminist might also study this subject’s demure gaze, whereby she accepts her status as an object of beauty

Comparison

Compare Ingres’s Odalisque with other reclining nudes

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 1.10 Engaging with Form and Content

1.10.8 Jean-Auguste-Dominique Ingres, Grande Odalisque, 1814. Oil on canvas, 35⅞ × 63¾”.

4.9.8 Titian, Venus of Urbino, 1538. Oil on canvas, 3’ 10 7⁄8” - 5'5".

4.9.9 Édouard Manet, Olympia, 1863. Oil on canvas, 3’ 3 3⁄8" - 6’ 2 3⁄4".

4.9.10 Yasumasa Morimura, Portrait (Futago), 1988–90. Color photograph, printed in two editions at varying sizes

Gender Studies Analysis

Expands the considerations raised by feminist analysis to explore ways in which an artwork reflects experience based on a person’s gender

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 1.10 Engaging with Form and Content

Artwork: Robert Mapplethorpe, Self-Portrait (#385)

1.10.9 Robert Mapplethorpe, Self-Portrait (#385), 1980. Gelatin silver print, 20 × 16”

Robert Mapplethorpe, Self-Portrait

Mapplethorpe’s photographs are carefully composed and elegantly lit

His appearance in Self-Portrait raises questions about the assumptions we make about the way people look

Reveals gender as a construction

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Chapter 1.10 Engaging with Form and Content

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Gender affects Robert Mapplethorpe’s (1946–1989) imagery because he chose subjects that were often related to his own interests as a gay man

An exhibition of his work sparked national controversy shortly after he died of AIDS-related illness

Some considered the graphic sexual nature of his photographs to be problematic because the artist had been awarded a grant from public funds

Critical Race Theory

Interpretation that critically examines society and culture as it intersects with race, power, and institutional practices

Can reflect the intentions of the artist, the perspective of the viewer, the interpretation of a critic, or all three

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 1.10 Engaging with Form and Content

Artwork: Mickalene Thomas, Le Déjeuner sur l’herbe: Les trois femmes noires

1.10.10 Mickalene Thomas, Le Déjeuner sur l’herbe: Les trois femme noires, 2010. Rhinestones, acrylic, and enamel on wood panel, 10 × 24’. Private collection

Mickalene Thomas, Le Déjeuner sur l’herbe

Thomas borrows from and updates Manet’s famous painting

Non-traditional materials of collage and mixed media, including rhinestones

Culturally specific representation based on the artist’s experience

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Chapter 1.10 Engaging with Form and Content

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

American artist Mickalene Thomas (b. 1971) continues and comments on the long tradition of reclining nudes.

Changes the identity of the subjects to foreground black women in leading rather than supporting (or non-existent) roles.

Physically layers the materials on the panel.

Includes styles and designs from her own lifetime: wood paneling, Marimekko fabric, hoop earrings, Afros.

Comparison

Compare the original Le Déjeuner sur l’herbe by Manet with the reinterpretation by Thomas

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 1.10 Engaging with Form and Content

Psychological Analysis

Considers the state of the artist’s mind when creating an artwork

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 1.10 Engaging with Form and Content

Artwork: Edvard Munch, The Scream

1.10.11 Edvard Munch, The Scream, 1893. Casein and tempera on cardboard, 35⅞ × 29⅛”. Munch Museum, Oslo, Norway

Edvard Munch The Scream

Tragic experiences and psychological disturbances motivated Munch’s work

Diary indicates the painting was based on an actual event: walking on a bridge with friends, he saw the sky turn red and froze with anxiety

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Chapter 1.10 Engaging with Form and Content

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Norwegian artist Edvard Munch (1863–1944) reported that he felt psychologically driven to make art

Some scholars suggest Munch witnessed an incredibly intense sunset caused by the dust thrown into the atmosphere during a volcanic eruption

Others believe he experienced an attack of agoraphobia, or fear of open spaces

Artwork: Velázquez, Las Meninas

1.10.12a Diego de Silva y Velázquez, Las Meninas,

c. 1656. Oil on canvas,

10’5¼” × 9’¾”. Museo Nacional del Prado,

Madrid, Spain

Detail of Las Meninas

1.10.12b Detail of Diego de Silva y Velázquez, Las Meninas

Velázquez, Las Meninas

Formal analysis: use of various elements and principles

Contextual analysis: identification of members of the Spanish court

Biographical analysis: artist’s desire for status

Iconographic analysis: meaning behind the cross on Velázquez

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Chapter 1.10 Engaging with Form and Content

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Diego de Silva y Velázquez (1599–1660) depicts himself painting a large canvas

The Princess Margarita is posed in the center, with her ladies-in-waiting (“las meninas”) surrounding her

Court workers, including dwarfs, are present too

What Is the Meaning of Las Meninas?

After considering the various methods of analysis, scholars suggest Velázquez used Las Meninas to:

Raise the status of painters

Raise his own status in Spanish society

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 1.10 Engaging with Form and Content

Diego Velázquez: Las Meninas

Video:

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Chapter 1.10 Engaging with Form and Content

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

The Influence of Las Meninas

Artists often study and copy the work of those they admire

At the age of 76, Picasso set his skills against the earlier Spanish master

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 1.10 Engaging with Form and Content

Artwork: Pablo Picasso, Las Meninas

1.10.13 Pablo Picasso, Las Meninas, first in a series, 1957. Oil on canvas, 6’4⅜” × 8’6⅜”. Museo Picasso, Barcelona, Spain

Picasso, Las Meninas

Picasso painted 45 paintings using a poster of the original as a model

His approach is more abstract

Reinterprets the work to make it his own; even replaced the mastiff with his own dog

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Chapter 1.10 Engaging with Form and Content

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Pablo Picasso (1881–1973) was a Spanish painter

In the first painting in the series, Picasso alters the size of the canvas

Picasso has broken figures down into abstract parts

He first saw Las Meninas as a boy, just after his younger sister had died; she had been about the same age as Margarita here

Comparison

Compare the original Las Meninas by Velázquez with the reinterpretation by Picasso

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 1.10 Engaging with Form and Content

Artwork: Clive King, “Chaos Machine”

1.10.14 Clive King, “Chaos Machine,” 2015–16 (from The Chaos Series, an ongoing series of drawings). Black ink on paper, three drawings, each 6' 6” × 4' 8"

Clive King, “Chaos Machine”

Abstract imagery can be interpreted in much the same way as representative imagery

Formal analysis: what do you see?

Contextual analysis: what is the historical event depicted?

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Chapter 1.10 Engaging with Form and Content

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Welsh contemporary artist Clive King (b. 1944) used abstraction later in his life to respond to a tragedy that occurred in his hometown when he was twelve years old.

Formal aspects: monochromatic palette, triptych, changing line density and forms (ladder, lines, etc.) changing from panel to panel. Medium: pen and ink (what is the effect?). Size: 6’ 6” tall (again, what effect would that have on the maker and the viewer?)

Contextual apsects: Merthyr Valley Colliery near Aberfan; coal tip collapsed on October 21, 1966; 144 people died as a result; debris destroyed the Pantglas Junior School and most of the village’s children were killed.

Abstraction allowed King to access his memories and communicate them in an effective way.

Autobiographical

Also relates to industry and landscape

Clive King, “Chaos Machine”

Iconographic analysis: we can identify parts of the coal tip and debris from its collapse

Overall meaning of “Chaos Machine” is informed by the different modes of analysis

It is a beautiful and powerful memorial

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Chapter 1.10 Engaging with Form and Content

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Iconographic analysis helps us understand the symbolism

Left panel: shows the top of the winding tower or headframe (structure above the underground coal mine). Debris rises up from below, like an explosion

Center panel: depicts the momentum of the coal tip collapsing

Right panel: aftermath of the collapse, including wreckage in the local houses and school

Meaning: synthesis of visual, contextual, biographical, and iconographic information

Videos about Analysis

For a video that uses formal and contextual analysis, watch:

Vincent van Gogh in His Own Words

For a video that uses biographical and psychological analysis, watch:

Sandro Botticelli: The Birth of Venus

Video:

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Chapter 1.10 Engaging with Form and Content

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Thomas Cole: The Oxbow

For a video that uses formal analysis, watch:

Video:

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Chapter 1.10 Engaging with Form and Content

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

MoMA Videos

To learn more about how to analyse art, watch our videos of MoMA lecturers discussing some of the highlights of the MoMA collection, including:

Joseph Beuys, Eurasia Siberian Symphony

Pablo Picasso, Les Demoiselles d’Avignon

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Chapter 1.10 Engaging with Form and Content

Chapter 1.10 Copyright Information

This concludes the PowerPoint slide set for Chapter 1.10

Gateways to Art: Understanding the Visual Arts

Third Edition

By Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Chapter 1.10 Engaging with Form and Content

Picture Credits for Chapter 1.10

1.10.1a Photo Margarete Buesing. Photo Scala, Florence/BPK, Bildagentur für Kunst, Kultur und Geschichte, Berlin

1.10.1b Photo Margarete Buesing. Photo Scala, Florence/BPK, Bildagentur für Kunst, Kultur und Geschichte, Berlin

1.10.2 The Art Institute of Chicago, Friends of American Art Collection, 1942.51

1.10.3 Museo Nacional del Prado, Madrid

4.8.1 Musée du Louvre, Paris

1.10.4a The National Gallery, London/Scala, Florence

1.10.4b The National Gallery, London/Scala, Florence

1.10.4c The National Gallery, London/Scala, Florence

1.10.4d The National Gallery, London/Scala, Florence

1.10.5 Erich Lessing/akg-images

1.10.6 Museum of African American Art, Los Angeles, California, Gift of Mrs Hayden

1.10.7 Courtesy the artist

1.10.8 Musée du Louvre, Paris

1.10.11 Munch Museum, Oslo

1.10.12a Museo Nacional del Prado, Madrid

1.10.12b Museo Nacional del Prado, Madrid

1.10.14 Clive King

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Chapter 1.10 Engaging with Form and Content