When First Experiencing an Unfamiliar Work of Art Start by Asking Questions About

Last Updated on May 27, 2021

This commodity has been written for loftier school fine art students who are working upon a critical study 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, mode and then on (the word 'artwork' in this article is all-encompassing). The questions include a wide range of specialist fine art terms, prompting students to use bailiwick-specific vocabulary in their responses. It combines advice from art analysis textbooks also equally from loftier school art teachers who have first-manus experience didactics these concepts to students.

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How to analyse a piece of art — International GCSE artist analysis example: The image above shows role of an A* IGSCE Art and Design sketchbook page analysing the work of Jim Dine, past Rhea Maheshwari, ACG Parnell College.

Why do we study art?

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

Instructors who assign formal analyses want you lot to look—and expect advisedly. Think of the object as a series of decisions that an artist fabricated. Your task is to figure out and depict, explicate, and interpret those decisions and why the artist may have made them. – The Writing Center, Academy of North Carolina at Chapel Colina¹⁰

Art assay tips

'I like this' or 'I don't like this' without any further caption or justification is not analysis. Personal opinions must be supported with caption, evidence or justification.
'Analysis of artwork' does not mean 'description of artwork'. To proceeds high marks, students must move across stating the obvious and add perceptive, personal insight. Students should demonstrate college 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 instance – perhaps a deliberate try past the artist to draw attention to a focal point, helping to convey thematic ideas.

Although description is an of import part of a formal analysis, description is non plenty on its ain. You must introduce and contextualize your descriptions of the formal elements of the work so the reader understands how each chemical element influences the work'southward overall outcome on the viewer. – Sylvan Barnet, A Brusk Guide to Writing About Artⁱⁱ

Cover a range of different visual elements and design principles. It is mutual for students to get experts at writing about one or two elements of composition, while neglecting everything else – for example, only focusing upon the use of color in every artwork studied. This results in a narrow, repetitive and incomplete analysis of the artwork. Students should ensure that they comprehend a broad range of fine art elements and pattern principles, as well as address context and meaning, where required. The questions below are designed to ensure that students embrace a broad range of relevant topics within their analysis.
Write aslope the artwork discussed. In well-nigh all cases, written analysis should be presented alongside the work discussed, and so that it is clear which artwork comments refer to. This makes it easier for examiners to follow and evaluate the writing.
Support writing with visual analysis. It is about always helpful for loftier school students to support written material with sketches, drawings and diagrams that help the student sympathize and analyse the piece of art. This might include composition sketches; diagrams showing the chief structure of an artwork; detailed enlargements of small sections; experiments imitating utilise 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-old way that artists have learned from each other. In doing this, you volition engage with a piece of work and an creative person's approach even if you previously knew nothing virtually it. If possible do this whenever you can, not from a postcard, the internet or a picture in a book, merely from the actual piece of work itself. This is useful because information technology forces you to wait closely at the work and to consider elements y'all might not have noticed before. – Susie Hodge, How to Look at Art⁷

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

What should students write well-nigh?

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

As complex as works of art typically are, there are really simply 3 general categories of statements ane tin can brand nearly them. A statement addresses grade, content or context (or their various interrelations). – Dr. Robert J. Belton, Fine art History: A Preliminary Handbook, The University of British Columbia⁵

…a formal analysis – the upshot of looking closely – is an assay of the grade that the artist produces; that is, an analysis of the work of art, which is made upward of such things as line, shape, color, texture, mass, composition. These things give the stone or canvas its course, its expression, its content, its pregnant. – Sylvan Barnet, A Curt Guide to Writing Virtually Art²

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

Limerick analysis: a list of questions

The questions below are designed to facilitate direct engagement with an artwork and to encourage a breadth and depth of understanding of the artwork studied. They are intended to prompt higher order thinking and to assistance students arrive 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 case, some questions are advisable for analyzing a painting, only not a sculpture). The words provided as examples are intended to assist students call up about advisable vocabulary to use when discussing a detail topic. Definitions of more than circuitous words have been provided.

Students should non try to copy out questions and and so respond them; rather the questions should be considered a starting indicate for writing bullet pointed annotation or sentences in paragraph form.

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

CONTENT, CONTEXT AND MEANING

Subject matter / themes / issues / narratives / stories / ideas

There tin be unlike, competing, and contradictory interpretations of the same artwork.
An artwork is not necessarily about what the creative person wanted it to be about. – Terry Barrett, Criticizing Art: Understanding the Contemporary^six

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

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

What do the wear, furnishings, accessories (horses, swords, dogs, clocks, business ledgers and then forth), background, angle of the head 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, trophy wife) and personality (intense, cool, inviting)? – Sylvan Barnet, A Short Guide to Writing Nigh Art²

What props and important details are included (drapery; costumes; adornment; architectural elements; emblems; logos; motifs)? How exercise aspects of setting support the master subject field? What is the effect of including these items within the system (visual unity; connections between different parts of the artwork; directs attending; surprise; variety and visual involvement; 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 foam on the aforementioned plate, your surprise might be caused by the juxtaposition, or the side-past-side contrast, of the 2 foods. – Vocabulary.com

A motif is an chemical element in a limerick or blueprint that can be used repeatedly for decorative, structural, or iconographic purposes. A motif can be representational or abstract, and information technology can be endowed with symbolic meaning. Motifs tin be repeated in multiple artworks and ofttimes recur throughout the life'due south work of an individual artist. – John A. Parks, Universal Principles of Fine art¹¹

Does the artwork communicate an action, narrative or story (i.due east. historical event or illustrate a scene from a story)? Has the arrangement been embellished, set up or contrived?
Does the artwork explore motility? Do you 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 move (i.e. multiple or sequential images; blurred edges; scene frozen mid-activity; live functioning art; video fine art; kinetic 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 upshot of spontaneous, accidental cosmos or careful, deliberate arrangement?
Does the work include the cribbing of work by other artists, such equally within a parody or popular fine art? What effect does this have (i.e. copyright concerns)?

Parody: mimicking the advent and/or manner of something or someone, but with a twist for comic upshot or disquisitional comment, every bit in Saturday Night Alive'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.e. dangerous places; abnormally positioned items; human faces; the gaze of people; movement; text)? Heap map tracking has demonstrated that these elements take hold of our attention, regardless of where they are positioned –James Gurney writes more about this fascinating topic.
What kind of text has been used (i.east. font size; font weight; font family; stenciled; paw-fatigued; 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.east. allegory; iconographic elements; signs; metaphor; irony)?

Apologue is a device whereby abstract ideas can be communicated using images of the physical 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 art^eleven

An iconography is a item range or organization of types of image used by an artist 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 pigeon which represents the Holy Spirit. – Tate.org.uk

What tone of voice does the artwork have (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.e positive; energetic; excitement; serious; sedate; peaceful; calm; melancholic; tense; uneasy; uplifting; foreboding; calm; turbulent)? Which subject thing choices help to communicate this mood (i.e. atmospheric condition and lighting conditions; color of objects and scenes)?
Does the title change the mode you interpret the work?
Were in that location any blueprint constraints relating to the subject affair or theme/due south (i.e. a sculpture commissioned to correspond a specific subject, place or thought)?
Are there thematic connections with your own projection? What can you lot acquire from the way the artist has approached this subject?

Wider contexts

All art is in part most the world in which it emerged. – Terry Barrett, Criticizing Art: Understanding the Contemporary⁶

Supported by research, can you lot place when, where and why the work was created and its original intention or purpose (i.east. individual auction; deputed for a specific possessor; commemorative; educational; promotional; illustrative; decorative; confrontational; useful or practical utility; communication; created in response to a design brief; private viewing; public viewing)? In what manner has this groundwork influenced the effect (i.e. availability of tools, materials or time; expectations of the patron / audience)?
Where is the place of construction or design site and how does this influence the artwork (i.east. reflects local traditions, craftsmanship, or customs; complements surrounding designs; designed to conform weather conditions / climate; congenital on celebrated site)? Was the artwork originally located somewhere different?
Which events and surrounding environments have influenced this work (i.e. natural events; social movements such as feminism; political events, economical situations, historic events, religious settings, cultural events)? What consequence did these have?
Is the work characteristic of an artistic style, motility or time period? Has it been influenced by trends, fashions or ideologies? How tin can y'all tell?
Tin can you make any relevant connections or comparisons with other artworks? Have other artists explored a similar field of study in a similar way? Did this occur earlier or afterward this artwork was created?
Can y'all make any relevant connections to other fields of report 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 situation; family and relationships; psychological state; health and fitness; socioeconomic status; employment; ethnicity; culture; gender; pedagogy, organized religion; interests, attitudes, values and beliefs)?
Is this artwork role of a larger body of work? Is this typical of the work the creative person is known for?
How might your ain upbringing, beliefs and biases misconstrue your interpretation of the artwork? Does your own response differ from the public response, that of the original audience and/orinterpretation past critics?
How do these wider contexts compare to the contexts surrounding your ain piece of work?

COMPOSITION AND Course

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 by practical considerations (i.eastward. availability of materials; brandish constraints; blueprint cursory restrictions; screen sizes; common aspect ratios in film or photography such as four:3 or 2:three; or newspaper sizes such as A4, A3, A2, A1)?
How do images fit within the frame (cropped; truncated; shown in full)? Why is this format advisable for the subject matter?
Are different parts of the artwork physically separate, such every bit within a diptych or triptych?
Where are the boundaries of the artwork (i.eastward. is the artwork self-contained; compact; penetrating; sprawling)?
Is the artwork site-specific or designed to be displayed across multiple locations or environments?
Does the artwork take a stock-still, 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, wind move, surface chafe; structural failure – bang-up, breaking; impairment caused past unpredictable events, such as fire or vandalism; intentional motion, such as 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 modify touch the artwork? Are at that place stylistic variances betwixt parts?
How does the scale and format of the artwork relate to the environment where it is positioned, used, installed or hung (i.e. harmonious with landscape typography; sensitive to adjacent structures; imposing or dwarfed by surround; human scale)? Is the artwork designed to be viewed from one vantage indicate (i.east. front end facing; viewed from below; approached from a primary entrance; gear up at human eye level) or many? Are images taken from the best angle?
Would a similar format benefit your own project? Why / why not?

Structure / layout

Has the artwork been organised using a formal system of system or mathematical proportion (i.e. rule of thirds; golden ratio or spiral; grid format; geometric; dominant triangle; or circular composition) or is the system less predictable (i.eastward. cluttered, random, accidental, fragmented, meandering, scattered; irregular or spontaneous)? How does this system of system help with the communication of ideas? Can you draw a diagram to show the basic structure of the artwork?
Can you run across a clear intention with alignment and positioning of parts within the artwork (i.east. edges aligned; items spaced equally; uncomplicated or complex arrangement; overlapping, amassed or concentrated objects; dispersed, carve up items; repetition of forms; items extending across the frame; frames within frames; bordered perimeter or patterned edging; cleaved borders)? What event practise these visual devices take (i.e. imply bureaucracy; help the viewer understand relationships between parts of artwork; create rhythm)?
Does the artwork have a master centrality of symmetry (vertical, diagonal, horizontal)? Tin you locate a middle of rest? Is the artwork symmetrical, asymmetrical (i.due east. stable), radial, or intentionally unbalanced (i.e. to create tension or unease)?
Can you depict 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 do your eyes move through the composition?
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 at that place any interrupted, suggested or implied lines (i.e. lines that can't literally be seen, merely the viewer'southward brain connects the dots between divide elements)?
Where are the dominating lines in the composition and what is the effect of these? Can you overlay tracing newspaper upon an artwork to illustrate some of the important lines?
- Repeating lines: may simulate material qualities, texture, blueprint or rhythm;
- Boundary lines: may segment, split up or split different areas;
- Leading lines: may manipulate the viewer's gaze, directing vision or lead the eye to focal points (centre tracking studies indicate that our eyes leap from one indicate of interest to another, rather than move smoothly or predictably forth leading lines^nine. Lines may still help to establish emphasis by 'pointing' towards sure items);
- Parallel lines: may create a sense of depth or movement through space 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 suggest rigidity, strength;
- Abstract lines: may balance the composition, create contrast or emphasis;
- Angular / diagonal lines: may propose tension or unease;
- Cluttered lines: may suggest a sense of agitation or panic;
- Underdrawing, construction lines or contour lines: draw form (learn more virtually contour lines in our article about line drawing);
- Curving / organic lines: may suggest nature, peace, motility or free energy.
What is the relationship betwixt line and three-dimensional course? Areoutlines used to ascertain course and edges?
Would it exist advisable to utilise line in a similar fashion within your own artwork?

Shape and course

Can you identify a dominant visual language within the shapes and forms shown (i.e. geometric; angular; rectilinear; curvilinear; organic; natural; fragmented; distorted; free-flowing; varied; irregular; complex; minimal)? Why is this visual language appropriate?
How are the edges of forms treated (i.e. practice they fade away or blur at the edges, every bit if melting into the folio; ripped or torn; distinct and difficult-edged; or, in the words of James Gurney⁹, do they 'deliquesce into sketchy lines, paint strokes or drips')?
Are there any three-dimensional forms or relief elements within the artwork, such every bit carved pieces, protruding or sculptural elements? How does this impact the viewing of the piece of work from different angles?
Is there a variety or repetition of shapes/forms? What effect does this have (i.e. repetition may reinforce ideas, balance composition and/or create harmony / visual unity; diverseness 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 awkward junctions)?
Are silhouettes (external edges of objects) considered?

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

Are forms designed with ergonomics and human scale in heed?

Ergonomics: an applied science concerned with designing and arranging things people use and so that the people and things interact well-nigh 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, 'cutting away' or exposed, such every bit a sectional cartoon? What is the purpose of this (i.eastward. to explicate construction methods; communicate information; dramatic issue)?
Would it be advisable to apply shape and course in a similar way within your own artwork?

Value / tone / light

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 express (i.e. pale and faint; subdued; dull; heart-searching and dark overall; strong highlights and shadows, with little mid-tone values)? What is the result of this?
Where are the low-cal sources within the artwork or scene? Is in that location a single consistent light source or multiple sources of low-cal (sunshine; calorie-free bulbs; torches; lamps; luminous surfaces)? What is the effect of these choices (i.due east. mimics natural lighting weather condition at a certain time of mean solar day or night; figures lit from the side to analyze 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 bespeak sunshine cleaved by surrounding leaves; chiaroscuro used to exaggerate theatrical drama and impact; areas cloaked in darkness to minimize visual complexity; to enhance our understanding of narrative, mood or meaning)?

One of the most of import ways in which artists can use calorie-free to accomplish detail effects is in making strong contrasts between light and dark. This dissimilarity is oftentimes described as chiaroscuro. – Matthew Treherne, Analysing Paintings, University of Leeds³

Are representations of three-dimensional objects and figures apartment or tonally modeled? How exercise unlike tonal values change from 1 to the next (i.e. gentle, smoothen gradations; sharp tonal bands)?
Are there whatever unusual, cogitating or transparent surfaces, mediums or materials which reflect or transmit lite in a special mode?
Has tone been used to help communicate atmospheric perspective (i.e. paler and bluer as objects get farther away)?
Are gallery or ecology light sources where the artwork is displayed fixed or fluctuating? Does the piece of work appear different when viewed at different times of day? How does this bear upon your interpretation of the piece of work?
Are shadows depicted inside the artwork? What is the effect of these shadows (i.eastward. anchors objects to the page; creates the illusion of depth and infinite; creates dramatic contrasts)?
Exercise sculptural protrusions or relief elements catch the light and/or create bandage shadows or pockets of shadow upon the artwork? How does this influence the viewer's experience?
How has tone been used to help direct the viewer's attention to focal areas?
Would it be appropriate to use value / tone in a similar manner within your own artwork? Why / why not?

Color / hue

Can you view the true color of the artwork (i.eastward. are you viewing a low-quality reproduction or examining the artwork in poor lighting)?
Whichcolor schemes take been used within the artwork (i.e. harmonious; complementary; primary; monochrome; earthy; warm; cool/cold)? Has the artist used a broad or limited colour palette (i.e. diversity or unity)? Which colors dominate?
How would yous describe the intensity of the colors (vibrant; bright; vivid; glowing; pure; saturated; potent; deadening; muted; pale; subdued; bleached; diluted)?
Are colors transparent or opaque? Can yous see reflected color?
Has color contrast been used within the artwork (i.eastward. extreme contrasts; juxtaposition of complementary colors; garish / clashing / jarring)? Are there whatsoever abrupt color changes or unexpected uses of color?
What is the event of these colour choices (i.eastward. expressing symbolic or thematic ideas; descriptive or realistic depiction of local color; emphasizing focal areas; creating the illusion of aeriform perspective; relationships with colors in surrounding environment; creating balance; creating rhythm/blueprint/repetition; unity and variety within the artwork; lack of color places emphasis upon shape, item and course)? What kind of temper do these colors create?

Information technology is ofttimes said that warm colors (red, orangish, yellow) come forward and produce a sense of excitement (yellow is said to suggest warmth and happiness, as in the smiley face), whereas cool colors (blue, green) recede and have a calming effect. Experiments, nonetheless, take proved inconclusive; the response to color – despite clichés about seeing red or feeling blue – is highly personal, highly cultural, highly varied. – Sylvan Barnet, A Brusque Guide to Writing Nearly Art²

Would information technology be appropriate to use color in a similar mode within your ain artwork?

Texture / surface / pattern

Are there any interesting textural, tactile or surface qualities within the artwork (i.due east. bumpy; grooved; indented; scratched; stressed; rough; smooth; shiny; varnished; burnished; sleeky; 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 every bit cantankerous-hatching; finely detailed and intricate areas; organic patterns such every bit foliage or small stones; repeating patterns; ornamentation)?
How are textural or patterned elements positioned and what effect does this accept (i.e. used intermittently to provide diversity; repeating pattern creates rhythm; patterns broken create focal points; textured areas create visual links and unity between carve up areas of the artwork; remainder betwixt detailed/textured areas and simpler areas; glossy surface creates a sense of luxury; imitation of texture conveys data about a subject, i.e. softness of fur or strands of hair)?
Would it exist appropriate to apply texture / surface in a like fashion inside your own artwork?

Space

Is the pictorial space shallow or deep? How does the artwork create the illusion of depth (i.e. layering of foreground, middle-basis, background; overlapping of objects; utilize of shadows to anchor objects; positioning of items in relationship to the horizon line; linear perspective – learn more than about one betoken perspective hither; tonal modeling; relationships with side by side objects and those in shut proximity – including the human class – to create a sense of scale; spatial distortions or optical illusions; manipulating scale of objects to create 'surrealist' spaces where truthful calibration is unknown)?
Has an unusual viewpoint been used (i.e. worm'south 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.e. allows sure parts of the scene to be dominant and overpowering or squashed, condensed and foreshortened; or suggests a narrative between two separate spaces; provides more information nigh a space than would normally be seen)?
Is the accent upon mass or void? How densely arranged are components within the artwork or picture plane? What is the human relationship between object and surrounding space (i.e. compact / crowded / busy / densely populated, with little surrounding space; spacious; conscientious interplay between positive and negative space; objects clustered to create areas of visual interest)? What is the effect of this (i.east. 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.e. self-contained; closed off; eye contact with viewer; reaching outwards)? Is the viewer expected to move through the artwork? What is the human relationship between interior and exterior space? What connections or contrasts occur between inside and out? Is information technology comprised of a series of divide or linked spaces?
Would it be appropriate to use space in a like way within your ain artwork?

Use of media / materials

What materials and mediums has the artwork been constructed from? Have materials been curtained or presented deceptively (i.e. is there an authenticity / honesty of materials; are materials celebrated; is the structure visible or exposed)? Why were these mediums selected (weight; color; texture; size; strength; flexibility; pliability; fragility; ease of employ; cost; cultural significance; immovability; availability; accessibility)? Would other mediums take been advisable?
Which skills, techniques, methods and processes were used (i.eastward. traditional; conventional; industrial; contemporary; innovative)? It is important to note that the examiners do non want the regurgitation of long, technical processes, only rather to see personal observations near how processes outcome and influence the artwork in question. Would replicating role of the artwork aid you proceeds a better understanding of the processes used?
Has the artwork been built in layers or stages? For example:
- Painting: gesso ground > textured mediums > underdrawing > blocking in colors > defining form > final details;
- Architecture: brief > concepts > development > working drawings > foundations > construction > cladding > finishes;
- Graphic design: brief > concepts > development > Photoshop > proofing > press.
How does the use of media help the creative person to communicate ideas?
Are these methods useful for your own project?

Finally, remember that these questions are a guide only and are intended to make you lot commencement to remember critically nigh the fine art you are studying and creating.

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

Farther Reading

If y'all enjoyed this article yous may also similar our article about high school sketchbooks (which includes a section well-nigh sketchbook annotation). If you are looking for more help with how to write an art assay essay you lot may like our serial about writing an artist report.

_BIBLIOGRAPHY

_{A guide for Analyzing Works of Art; Sculpture and Painting, Durantas}
_{A Brusk Guide to Writing Most Art, Sylvan Barnet (Amazon chapter link)}
_{Analysing Paintings, Matthew Treherne, University of Leeds}
_{Art and Art History Tips, The University of Vermont}
_{Fine 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 Wait at a Painting, Françoise Barbe-Gall}
_{Imaginative Realism, James Gurney (Amazon chapter link)}
_{The Writing Center, University of North Carolina at Chapel Hill}
_{Universal Principles of Art: 100 Fundamental Concepts for Understanding, Analyzing and Practicing Art, John A. Parks (Amazon affiliate link)}

Amiria has been an Art & Blueprint teacher and a Curriculum Co-ordinator for seven years, responsible for the course design and cess of student work in two high-achieving Auckland schools. She has a Available of Architectural Studies, Bachelor of Compages (First Class Honours) and a Graduate Diploma of Teaching. Amiria is a CIE Accredited Art & Design Coursework Assessor.

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