Art Paper #1

Planning  Your  Visit   Museums  are  storehouses  of  our  cultural  treasures.  Some  focus  on  specific  times   and  cultures.  Galleries  frequently  change  the  artwork  they  display,  and  offer  special   exhibitions  showcasing  the  work  of  contemporary  and  local  artists.  Artworks  in  a   gallery  are  often  for  sale,  but  works  owned  by  a  museum  are  held  in  its  care  long   term.  Ask  your  professor  what  museums  and  galleries  are  located  in  your  area.   Artworks  can  also  be  seen  all  around  you:  for  example,  a  sculpture  in  your  local   park,  or  art  in  government  buildings  or  in  the  gallery  on  your  school  campus.   Often,  museums  were  built  by  renowned  architects,  and  are  therefore  works  of  art   in  themselves.  As  museum  staff  take  pride  in  their  collections,  and  are  concerned  for   the  valuable  objects  in  their  care,  museums  often  have  strict  rules.  The  architecture   itself  can  also  be  somewhat  forbidding.  Don’t  let  such  rules,  or  a  building’s  imposing   facade,  make  you  feel  unwelcome,  however:  the  artwork  is  there  for  you  to   appreciate!   Let  yourself  wander  through  the  museum,  stopping  to  consider  works  that  intrigue   you.  Everyone’s  taste  is  unique,  and  it  is  better  for  you  to  focus  on  a  few  works  than   to  become  quickly  overwhelmed  trying  to  understand  the  museum’s  entire   collection  in  one  day.  When  you  come  upon  an  artwork  you  would  like  to  write   about  or  sketch,  stop  and  consider  what  it  is  that  drew  you  to  it.  Do  you  love  it?  Hate   it?  Do  you  find  it  beautiful  or  ugly?  Are  you  curious  about  the  characters  in  the   scene?  Or  are  you  confused  by  what  the  artist  is  trying  to  say?  Use  the  textbook,   class  notes,  and  museum  labels  to  help  you  understand  the  artwork.  But  also  take   ample  time  to  look  at  it  in  detail.   You  can  make  the  most  of  your  visit  to  a  local  art  museum  or  gallery  if  you  plan   ahead.  These  guidelines  will  help  you  prepare  for  your  visit  and  your  project  so  that   you  get  the  best  results.   Practical  considerations:  Check  the  museum  website  for  information  about   opening  hours,  transportation,  parking,  entrance  fees,  and  whether  such  items  as   backpacks  and  cameras  are  allowed  inside  the  museum  (and  if  not,  where  you  can   check  them).  Some  museums  do  not  charge  for  entry  but  may  charge  for  a  special   exhibit:  check  the  website  for  details.  Many  museums  that  charge  have  free  or   reduced-­‐price  admission  on  specific  days.   What  to  take  with  you:  First  and  foremost,  read  your  assignment  carefully  before   you  go,  and  take  it  with  you.  Take  a  notebook  and  pencils,  too,  so  you  can  make   sketches  of  the  works  (including  details  that  interest  you).  Some  museums  do  not   allow  pens,  so  check  first  before  taking  one.  Many  museums  do  not  allow  you  to  take   photographs,  but  if  you  have  already  printed  out  an  image  from  the  museum   website,  you  can  use  this  as  a  reference,  or  you  may  find  a  postcard  of  the  work  in   the  museum  gift  shop.   Artwork  labels:  Curators  usually  place  labels  close  to  an  artwork.  These  labels   contain  useful  information  about  the  work,  which  can  help  you  write  a  really  great   assignment.  Do  not  forget  to  make  notes  of  the  details  given  in  the  labels.  The   museum  bookstore  and  website  will  help  you  find  more  material  about  the  artwork   you  select.   Museum  and  gallery  Do’s  and  Don’ts:  You  may  want  to  get  close  to  a  work  to   study  a  particular  detail,  but  remember  to  be  courteous  to  other  visitors  who  may  

want  to  see  the  work  at  the  same  time.  Never  touch  a  work  of  art,  because  doing  so   can  damage  it.  Do  not  take  photos  unless  you  are  sure  this  is  allowed.  If  in  doubt,   ask.  Some  museums  permit  visitors  to  take  photos  if  flash  is  not  used.  Finally,   although  food  and  drink  are  not  allowed  in  the  exhibition  spaces  of  museums  and   galleries,  many  have  a  café  or  restaurant.   While  you  are  there:  Museum  and  gallery  projects  often  require  you  to  study  one   work  in  detail,  or  to  compare  and  contrast  two  works.  The  experience  of  seeing   works  in  a  museum  or  gallery  is  the  best  way  to  enjoy  and  learn  about  art.  Take  a   little  time  to  look  at  other  works,  not  just  the  ones  you  are  studying  for  your   assignment.  Artworks  displayed  in  the  same  room  may  well  be  by  the  same  artist,  or   from  the  same  era  or  culture.  You  may  notice  something  in  these  pieces  that  will   inspire  extra  ideas  for  your  assignment.   Formal/Visual  Analysis  of  Works  of  Art   A  work  of  art  is  the  product  of  the  dynamic  interrelationships  between  the  various   art  elements  and  principles  as  they  are  utilized  by  the  artist.  As  you  engage  with  an   artwork,  ask  yourself  why  the  artist  made  such  choices.  By  considering  the  elements   and  principles  involved,  you  can  make  yourself  look  more  closely  at  the  work  of  art,   and  thus  understand  more  fully  the  artist’s  intended  vision,  as  well  as  noticing  how   the  work  reflects  the  time  and  place  from  whence  it  came.   Elements  of  Art   Line:  Do  you  see  any  outlines  that  define  objects,  shapes,  or  forms?  Are  lines  used  to   emphasize  a  direction  (vertical,  horizontal,  diagonal)?  Describe  the  important  lines:   are  they  straight  or  curved,  short  or  long,  thick  or  thin?  How  do  you  think  the  artist   utilized  line  to  focus  attention  on  certain  objects,  forms,  or  people?  Are  any  invisible   lines  implied?  For  example,  is  a  hand  pointing,  is  the  path  of  a  figure’s  gaze  creating   a  psychological  line,  or  is  linear  perspective  used?  Do  the  lines  themselves  have  an   expressive  quality,  as  in  Van  Gogh’s  Starry  Night?   Light:  If  the  work  is  a  two-­‐dimensional  object,  is  a  source  of  light  depicted  or   implied?  Is  the  light  source  natural  or  artificial?  Do  the  shadows  created  by  the  light   appear  true  to  life,  or  has  the  artist  distorted  them?  In  what  way  does  he  or  she   depict  such  shadows—through  line,  or  color?  If  the  object  shown  is  three-­‐ dimensional,  how  does  it  interact  with  the  light  in  its  setting?  How  do  gradations  of   shadows  and  highlights  create  form  or  depth,  emphasis  or  order  in  the  composition?   Color:  Which  colors  are  predominantly  used  in  this  depiction?  If  the  object  is  black   and  white,  or  shades  of  gray,  did  the  artist  choose  to  do  this  because  of  the  media  he   or  she  was  working  in,  or  do  such  shades  create  a  certain  mood  or  effect?  Color  can   best  be  described  by  its  hue,  tone,  and  intensity  (the  hue  is  its  basic  shade,  for   example  blue  or  red).  Does  the  artist’s  choice  of  color  create  a  certain  mood?  Does   he  or  she  make  use  of  complementary  colors—red/green,  violet/yellow,   blue/orange—or  analogous  ones  (those  next  to  each  other  on  the  color  wheel)?   Does  the  artist  utilize  colors  that  are  "warm"  or  "cool"?  In  which  parts  of  the  work?   Is  atmospheric  perspective—in  which  cool  colors  recede,  creating  a  blurred   background,  and  warm,  clear  colors  fill  the  foreground—used?   Texture:  What  is  the  actual  texture  on  the  surface  of  the  object?  Is  it  rough  or   smooth?  What  is  the  implied  texture?  Are  patterns  created  through  the  use  of   texture?  

Shape:  What  shapes  do  you  see?  If  the  work  has  a  flat  surface,  are  the  shapes  shown   on  it  two-­‐dimensional,  or  are  they  made  to  appear  (illusionistically)  three-­‐ dimensional  or  volumetric?  If  the  work  is  a  three-­‐dimensional  object,  how   volumetric  is  its  shape?  Is  it  nearly  flat,  or  does  it  have  substantial  mass?  Is  the   shape  organic  (seemingly  from  nature)  or  geometric?  In  representations  of  people,   how  does  shape  lend  character  to  a  figure?  Are  these  figures  proud  or  timid,  strong   or  weak,  beautiful  or  grotesque?   Space:  How  does  the  form  created  by  shape  and  line  fill  the  space  of  the   composition?  Is  there  negative,  or  empty,  space  without  objects  in  it?  If  the  artwork   is  three-­‐dimensional,  how  does  it  fill  our  space?  Is  it  our  size,  or  does  it  dwarf  us?  If   the  piece  is  two-­‐dimensional,  is  the  space  flat,  or  does  it  visually  project  into  ours?   How  does  the  artist  create  depth  in  the  image  (by  means  of  layering  figures/objects,   linear  perspective,  atmospheric  perspective,  foreshortening  of  figures)?   Principles-­‐  of  Art   Artists  utilize  the  elements  of  art  to  produce  these  design  principles.   Emphasis:  The  emphasis  of  a  work  refers  to  a  focal  point  in  the  image  or  object.   What  is  your  eye  drawn  to?  Does  the  artist  create  tension  or  intrigue  us  by  creating   more  than  one  area  of  interest?  Or  is  the  work  of  art  afocal  ―  that  is,  the  viewer   cannot  find  a  particular  place  to  rest  the  eye?  Is  there  a  psychological  focus  created   through  the  elements  of  art?   Scale  and  Proportion:  What  is  the  size  of  all  the  forms  and  how  do  they  relate   proportionally  to  one  another?  Did  the  artist  create  objects  larger  in  scale  in  order   to  emphasize  them?  Or  was  scale  used  to  create  depth?  Are  objects  located  in  the   foreground,  middle  ground,  or  background?  Look  at  the  scale  of  the  artwork  itself.  Is   it  larger  or  smaller  than  you  expected?   Balance:  Balance  is  produced  by  the  visual  weight  of  shapes  and  forms  within  a   composition.  Balance  can  be  symmetrical—in  which  each  side  of  an  artwork  is  the   same—or  asymmetrical.  Radial  balance  is  when  the  elements  appear  to  radiate  from   a  central  point.  How  are  opposites—light/shadow,  straight/curved  lines,   complementary  colors—used?   Rhythm:  Rhythm  is  created  by  repetition.  What  repeated  elements  do  you  see?   Does  the  repetition  create  a  subtle  pattern,  a  decorative  ornamentation?  Or  does  it   create  an  intensity,  a  tension?  Does  the  rhythm  unify  the  work,  or  does  it,  on  the   contrary,  seem  a  group  of  disparate  parts?   Unity/Variety:  Is  the  artwork  unified  or  cohesive?  How  does  the  artist  use  the   elements  to  achieve  this?  Or  is  there  diversity  in  the  use  of  elements  that  creates   variety?  How  does  the  artwork  combine  aspects  of  unity  and  variety?   Media  and  Technique   Is  the  object  two-­‐  or  three-­‐dimensional?  What  limitations,  if  any,  might  the  chosen   medium  create  for  the  artist?   Painting:  How  did  the  type  of  paint  affect  the  strokes  the  artist  could  make?  Was  it   fresco,  oil,  tempera,  or  watercolor?  Was  it  a  fast-­‐drying  paint  that  allowed  little  time   to  make  changes?  What  kind  of  textures  and  lines  was  the  artist  able  to  create  with   this  medium?  Does  it  lend  a  shiny  or  flat  look?  How  durable  was  the  medium?  Does   the  work  look  the  same  today  as  when  the  artist  painted  it?  

Drawing:  Consider  the  materials  utilized:  metal  point,  chalk,  charcoal,  graphite,   crayon,  pastel,  ink,  and  wash.  Is  the  artist  able  to  make  controlled  strokes  with  this   medium?  Would  the  tool  create  a  thick  or  thin,  defined  or  blurred  line?  Was  the   drawing  intended  to  be  a  work  of  art  in  itself,  or  is  it  a  study  for  another  work,  a   peek  into  the  artist’s  creative  process?   Printmaking:  What  is  the  process  the  artist  undertook  to  create  this  work?  Did  he   or  she  need  to  carve  or  etch?  Did  the  medium  require  a  steady  hand?  Strength,  or   patience?   Sculpture:  Is  the  sculpture  high  or  low  relief,  or  can  we  see  it  in  the  round?  What   challenges  did  the  material  present  to  the  artist?  Was  the  work  created  through  a   subtractive  process  (beginning  with  a  large  mass  of  the  medium  and  taking  away   from  it  to  create  form),  or  an  additive  one?  What  tools  did  the  artist  use  to  create  the   form?  If  the  form  is  human,  is  it  life-­‐size?   Architecture:  Does  the  building  represent  the  work  of  a  community  or  the  power  of   a  leader?  How  was  it  constructed?  What  was  the  structure’s  intended  use?  How  does   it  fit  with  its  surroundings?  Is  it  domineering  or  welcoming?   Modes  of  Analysis   Consider  whether  any  of  the  following  ways  of  analyzing  an  artwork  can  be  applied   to  the  subject  of  your  assignment:   Content:  Does  the  work  clearly  depict  objects  or  people  as  we  would  recognize   them  in  the  world  around  us  (is  it  representational)?  Alternatively,  is  its  subject   matter  completely  unrecognizable  (is  it  non-­‐objective)?  To  what  degree  has  the   artist  simplified,  emphasized,  or  distorted  aspects  of  forms  in  the  work  (or   abstracted  it)?   Iconographic  analysis:  Are  there  things  in  the  work  that  you  can  interpret  as  signs   or  symbols?  For  example,  is  there  anything  that  suggests  a  religious  meaning,  or   indicates  the  social  status  of  somebody  depicted  in  the  work?  Labels  often  provide   good  information  about  iconography.   Biographical  analysis:  Would  information  about  the  life  of  the  artist  help  you  to   interpret  the  work?  Again,  labels  are  often  a  good  source  of  biographical  detail.  In   some  museums  volunteer  docents  are  available  to  answer  questions  about  an   artist’s  life  and  works.   Feminist  analysis:  Is  the  role  of  women  in  the  artwork  important?  Is  the  artist   commenting  on  the  experience  of  women  in  society?  Is  the  artist  a  woman?   Contextual  analysis:  Would  you  understand  the  work  better  if  you  knew   something  about  the  history  of  the  era  in  which  it  was  created,  or  about  religious,   political,  economic,  and  social  issues  that  influenced  its  creation?