Include the title, artist, and date of the work somewhere in your first paragraph. Undertake a description of a single artwork in a text of approximately 2 pages (double-spaced, 12pt font, Times New Roman) in length (photographic documentation does not count toward this page count). If appropriate, perhaps consider the ways in which the artwork(s) and surroundings function in tandem.
You should not undertake outside research.
-You should avoid making unsubstantiated claims about “beauty,” “greatness,” or similar: instead, explain what makes the work of art compelling.
Identification: title, date, artist (if known), medium, museum location, usually this information is provided by the museum label.
Subject Matter: Biblical, mythological, historical, genre, portrait, investigation of “pure” colors or forms, etc.
During the visit you should try to answer as many of the questions below as possible. Be sure to take notes about the artwork and photos of details you find pertinent.
Not all questions/terms will apply to all objects, and the objects themselves may suggest further questions not listed here. When writing the paper, choose from the answers; depending on the work you select, some will be more compelling or pertinent.
You may not end up using all of the data you acquired when viewing the work. Be judicious about what you include: do not just use the lists as templates.
A. Material and Technical Means: Is the sculpture carved out of wood, stone, marble, cast in bronze, modeled in terracotta? Are there visible traces of the tools used in carving or modeling the object?
B. Scale: Is the object imposing in size, or small enough to fit into the palm of a hand? How do you relate to it now? How could it have been used?
C. Space: To what degree does the object occupy space? Is the work a relief that creates its own illusion of space within it? Is recession into depth or projection into the beholder’s space suggested? Is it meant to be seen from a particular viewpoint?
D. Color: Is color a part of the object (by means of paint, inlaid gems, beads, etc.)? Is the color of the material itself of significance?
E. Sculpture Type: Is it low relief, high relief, a freestanding figure, a group of figures, a mask, a combination?
F. Line: How is line used in the object? Are the dominant linear elements seen in the forms themselves, or are they incised onto the surface of the forms?
G. Light: What is the effect of light upon the work? Are the forms arranged so that a particular effect of light and shade will be attained?
H. Form: What kind of forms are basic to the object? Geometric? Organic? Irregular?
I. Overall Composition: How do the above elements, forms, interact to convey an overall meaning?
III. Formal Analysis: Drawing and Painting
A. Line: How does the system of lines and outlines relate to each other? To the whole image? What is their overall effect?
B. Surface Planes: What is the decorative quality of the two-dimensional organization? Symmetry or asymmetry of forms on the surface?
C. Space: How is the illusion of space created? Or is it denied? Consider perspective, overlapping, foreshortening, or their absence.
D. Color: Describe the organization and function of color in the work. Is it representational or expressive?
E. Light: Can you discern the source of light in the image? In what direction does light fall into the picture? What is the intensity of light and shade? Does light play a dramatic or expressive role as well as descriptive?
F. Paint Handling: Are brushstrokes visible and bold, or imperceptible with a smooth polished surface? Is the paint opaque or transparent? How does it contribute to the meaning of the work? Is paint applied thinly or thickly? (Thickly applied oil paint is often called impasto.) Are brushstrokes visible? Is the paint surface smooth or rough?
G. Figure/Ground relations: In the broadest sense, most pictures can be analyzed in terms of how they relate figure to ground. The figure is that which appears to stand out from the ground behind it. For example, a black circle drawn on a white sheet of paper can appear like a circle hovering in front of a white background. This relation can create a sense of depth and spatial recession in the picture. In looking at a work, consider whether the figure/ground relation is clear, whether it is ambiguous, or perhaps non-existent.
H. Picture Organization: This is traditionally known as composition. Consider the work in its totality. Do the formal elements (lines, colors, planes) form a visual whole? How would you describe this total effect? Is it symmetrical? Does one area of the picture seem to dominate the rest? Where? Does the picture appear structured or unstructured? Is the organization of the painting derived from the boundaries of the picture frame?
you dont have to use all of these just some. use the photo to write this paper
