1
S2 C II.\I)"rt ·:n:~ r()[1\L\I . ; \~..\I .YS IS AND STYLE
wheel w as llot a vailaul(' to th em ; th ey built tlwir pots U)' coilillg ropc's
of clay and tlwlI , SOllll' tillH'S , thc y Sl ll ooth t, d tlw smfacc~ w ith a spatnla. thai
Jet;The r<'sidt i,'i a killd of thick-wall('d , low-fire d ceramic that (' xpresse s
(,llCr?;y and (~a rthill l'S S , fa r di fCncnt from thosc d el ica te Chin,'sc in te
porcelains that cxprcs s comtlillcss and the powe r o f t('chn()lo~; (or, we wri
llliglit say, of ar t ). ali\
to
1'01
SAMPLE ESSAY: A FORMAL ANALYSIS
Th fdl owi ng sa mple ssay written by au ulld ergraduate . illclud es a good
an
d e al or d e scrip ti o ll (a f'ormal alJalys is usually b ~gi llS wit h a fairly filII d('s<Tip
Til
bon of the artwork) , and th e essay is consp ic lJ!11Jsl y impersonal (allother
of
c haracteristic of' a Formal anal ys is ). Hut JloticC' that cvc n this app,m ' lltly di s
pa ss iu nate assertioll o f bids is shaped I)), a thesis. If W(' stand uack from the
('ssay, W(' ('all scc that tll(' basil' point or argl1lllPIlt is this: The sc ulpture SIIl'
(;css rull y com bin e s a hig hly conV<': lltion al symmetrical sty le , on th e one
halld, with mild asymn lct ry and a d egrep uf re alism . 0 11 tlte othe r.
Fip:me I. . '(',Il, ,<I
Sta t li t' of l'rin c,-'
Killlllt"ra as a Sc.: rihe.
ER>'ptiall , Old Kill gdolll ,
Dy1la~l) 4. f(' ign fir
MenkallJ'P. 24 9( 2472
H,C. Oi>j ,'d Pial" ' :
Noles: ERl't (Ci ,,;!.
Me"kallrc C(;'lIletc n .
~\'IQ I ). Lill ", st Olil '.
ir('ight X w idt], X
dt'pth : :lO .,5 X 2l.5 X
1(; 1'.I11 ( 12 X il i(" X
(; y,. in .) !"llI se l\lIl or
Fill e Art s , Bost,,,, .
llarv"nl UlliH' r, il\'
Bos ton I-.(II SC III11 or r ill C'
Art:; E spc di tion ,
13.:3 140. P I".>togra pl, (c)
2011 Mu sei ll" of Fi"p
Arts, I3mloll.
I"
f
l'
II('
)
S ,\.'vIPLlO lOSS;\y: ,\ [",011.\1 ,\1. ,\:\,\LYSIS 53
Put tIlliS, the thesis does not sOllnd especially interesting, but
that is hecause the statement is highly abstract, lacking in concrete
detail. A writer's job is to take that idea (thesis) and to present it in an
interesting and convincing way. In drafting and revising WI essay, good
writers keep thinkillg, "I. want l11y readers to see", ," The idea will come
alive for the reader when th e writer supports it by calling attcntion
to specific details-the evidenc e-as the student writer does in the
following essay.
Notice, by the way, that in his first sente"nce the students refers to
"Figme ] ," which is a photograph of thc work he discusses, (TIl(' images in
an essay or book are called figures, and they are numbe red consecutively.)
This illustration (page 52) oIiginally appeared OJ] a separate page at th e ('nd
oj' the paper, but here it has bee n put before the essay.
Stephen Beer
Fine Arts 1 OA
September 10 ,2006
Formal Analysis: Prince Khunera as a Scnbe
Prince Khwl era as a Scribe, a free-standing Egypti an sculpt ...
1 S2 C II.I)rt ·n~ r()[1LI . ; ~..I .YS IS AND STY.docx
1. 1
S2 C II.I)"rt ·:n:~ r()[1LI . ; ~..I .YS IS AND STYLE
wheel w as llot a vailaul(' to th em ; th ey built tlwir pots U)'
coilillg ropc's
of clay and tlwlI , SOllll' tillH'S , thc y Sl ll ooth t, d tlw
smfacc~ w ith a spatnla. thai
Jet;The r<'sidt i,'i a killd of thick-wall('d , low-fire d ceramic
that (' xpresse s
(,llCr?;y and (~a rthill l'S S , fa r di fCncnt from thosc d el ica
te Chin,'sc in te
porcelains that cxprcs s comtlillcss and the powe r o f
t('chn()lo~; (or, we wri
llliglit say, of ar t ). ali
to
1'01
SAMPLE ESSAY: A FORMAL ANALYSIS
Th fdl owi ng sa mple ssay written by au ulld ergraduate .
illclud es a good
an
d e al or d e scrip ti o ll (a f'ormal alJalys is usually b ~gi llS
wit h a fairly filII d('s<Tip-
Til
bon of the artwork) , and th e essay is consp ic lJ!11Jsl y
impersonal (allother
2. of
c haracteristic of' a Formal anal ys is ). Hut JloticC' that cvc n
this app,m ' lltly di s-
pa ss iu nate assertioll o f bids is shaped I)), a thesis. If W('
stand uack from the
('ssay, W(' ('all scc that tll(' basil' point or argl1lllPIlt is this:
The sc ulpture SIIl'-
(;css rull y com bin e s a hig hly conV<': lltion al symmetrical
sty le , on th e one
halld, with mild asymn lct ry and a d egrep uf re alism . 0 11
tlte othe r.
Fip:me I. . '(',Il, ,<I
Sta t li t' of l'rin c,-'
Killlllt"ra as a Sc.: rihe.
ER>'ptiall , Old Kill gdolll ,
Dy1la~l) 4. f(' ign fir
MenkallJ'P. 24 9( 2472
H,C. Oi>j ,'d Pial" ' :
Noles: ERl't (Ci ,,;!.
Me"kallrc C(;'lIletc n .
~'IQ I ). Lill ", st Olil '.
ir('ight X w idt], X
dt'pth : :lO .,5 X 2l.5 X
1(; 1'.I11 ( 12 X il i(" X
(; y,. in .) !"llI se llIl or
Fill e Art s , Bost,,,, .
llarv"nl UlliH' r, il'-
Bos ton I-.(II SC III11 or r ill C'
Art:; E spc di tion ,
13.:3 140. P I".>togra pl, (c)
3. 2011 Mu sei ll" of Fi"p
Arts, I3mloll.
I"
f
l'
II('
)
S ,.'vIPLlO lOSS;y: , [",011.1 ,1. ,:,LYSIS 53
Put tIlliS, the thesis does not sOllnd especially interesting, but
that is hecause the statement is highly abstract, lacking in
concrete
detail. A writer's job is to take that idea (thesis) and to present
it in an
interesting and convincing way. In drafting and revising WI
essay, good
writers keep thinkillg, "I. want l11y readers to see", ," The idea
will come
alive for the reader when th e writer supports it by calling
attcntion
to specific details-the evidenc e-as the student writer does in the
following essay.
Notice, by the way, that in his first sente"nce the students refers
to
"Figme ] ," which is a photograph of thc work he discusses,
(TIl(' images in
4. an essay or book are called figures, and they are numbe red
consecutively.)
This illustration (page 52) oIiginally appeared OJ] a separate
page at th e ('nd
oj' the paper, but here it has bee n put before the essay.
Stephen Beer
Fine Arts 1 OA
September 10 ,2006
Formal Analysis: Prince Khunera as a Scnbe
Prince Khwl era as a Scribe, a free-standing Egypti an sculpture
12 inches tali , now in the Muse um of Fine his Boston (Figure
1), was
found at Giza in a temple dedicated to the father of the prince,
King
Mycermus. The lime stone statue may have been a tribute to that
Fourth Dynas ty king .1 The prince , sitting cross-legged with a
scribal
tablet on his lap, rests his hands on his thighs, He v,ears only a
short
skirt or alt.
The statue is in e xcellent condition although it is missing its
right
forearm and hand. Fragments o f the left leg and the scribe 's
5. tablet
also have been lost. The lack of any difference in the carving
bel'Neen the bare stomach and the alt suggests that these two
fea-
tmes we re once differentiated by conh'asting paint that has now
faded, but the only traces of paint remaining on the figur e are
bits of
black on the hair and eyes.
i Musewn labeL
54 CHAPTER:! FORMAL ;/'oilLYSIS AND STYLE
The statue is symmetrical, composed along a vertical axis which
runs from the crown of the head into the base of the sculpture.
The
sculptor has relied on basic geometric forms in shaping the
statue on
either side of this axis. Thus, the piece could be described as a
circle
(the head) within a triangle (the wig) which sits atop a square
and two
rectangles (the torso, the crossed legs, and the base). The
reliance
6. on basic geometric forms reveals itself even in details. For
example,
the forehead is depicted as a small triangle within the larger
triangu-
lar form of the headdress,
On closer inspection, however, one observes that the rigidity
of both this geometric and symmetric organization is relieved
by
the artist's sensitivity to detail and by his ability as a sculptor,
None of the shapes of the work is a true geometric form, The
full,
rounded face is more of an oval than a circle, but actually it is
neither. The silhouette of the upper part of the body is defmed
by softly undulating hnes that represent the muscles of the arms
and that modify the Simplicity of a strictly square shape. Where
the prince's naked torso meets his kilt, just below the waist, the
sculptor has suggested portliness by allowing the form of the
stomach to swell slightly, Even the "circular" navel is flattened
into an irregular shape by the suggested weight of the body,
The contours of the base, a simple matter at first glance,
7. actually
are not exactly four~square but rather are slightly curvilinear,
Nor is the symmetry on either side of the vertical axis perfect:
Both the mouth and the nose are slightly askew: the right and
left
forearms originally struck different poses; and the left leg is
given
prominence over the right. These departures from symmetry and
from geometry enliven the statue, giving it both an individuality
and a personality.
Although most of the statue is carved in broad planes, the
sculptor has paid particular attention to details in the head.
There
SAMPLE ESSAY: A FORMAL ANALYSIS 55
he attempted to represent realistically the details of the prince's
face,
The parts of the eyes, for example-the eyebrows, eyelids,
eyeballs,
and sockets-are distinct Elsewhere the artist has not worked in
such probing detail, The breasts, for instance, are rendered in
8. large
forms, the nipples being absent The attention to the details of
the
face suggests that the artist attempted to render a lifelikeness of
the
prince himself,
The prince Ls represented in a scribe's pose but without a
scribe's tools, The prince is not actually doing anything. He
merely
sits, The absence of any open spaces (between the elbows and
the
waist) contributes to the figure's composure or self-containment
But
if he sits, he sits attentively: There is nothing static here, The
slight
upward tilt of the head and the suggestion of an upward gaze of
the
eyes give the impression that the alert prince is attending
someone
else, perhaps his father the king, The suggestion in the statue is
one
of imminent work rather than of work in process,
Thus, the statue, with its variations from geometric order,
9. suggests the presence, in stone, of a particular man, The pose
may
be standard and the outer form may appear rigid at first, yet the
sculptor has managed to depict an individual. The details ofthe
face
and the overfleshed belly reveal an intent to portray a person,
not just
an idealized member of the scribal profession, Surely when
freshly
painted these elements of individuality within the confines of
conventional forms and geometric structure were even more
compelling.
Behind the Scene: Beer's Essay, from Early
Responses to Final Version
This essay is good because it is clear and interesting and
especially because
it helps the reader to see and enjoy the work of art. Now let's go
backstage,
so to speak, to see how Stephen Beer turned his notes into an
effective
final draft.
.
10. ,
70 Cl l rPT Fll 4 ,'1 ,I Y"I"I<: T I II.'1t;I"il'
• It s Sizl' (h c rc, in this ove r-li fe -size fi g ure, man as h
nro )
• Its CO llte.'( t , e specially its sit e in th e sixteenth l'
l~ntury (today it
stands in th e rotunda o f th e Ac ad e my of FiliP Arts , !Jilt ill
L,)()4 it
stood at th e e ntran ce to th e Palazzo Ve cellio--the town "all-
wh e re it e ilihoclie d the prill c ipl e of til e citize n-warrior
and sig1lifled
the victory of repuhlicanism ove r tyrann y)
C:onsi d e r as well anythi1lg e lse YOII thillk til e sClllpture
com ists uf-o r doe s
Hot co nsis t of- for Midll'lall!-c lo , llllliKe his predecesso r
])onatcll o, doe s
no t include til(' head or the slain Goliath ; thlls, ifi c
hdallgelo 's im age is not
explicitly that of a conlplCrillg hero, Or YOll might co nf'ine
yo m attention to
anyone of t]wsc dcm(,lIts ,
Analysis is lIot a proc ess 1I Sl,<1 ollly in talki1lg about art. It
is co m-
m o nl y appli e d in thinkin g about almost any co mpl e x matt
e r. Ve nlls
Willia ms plays ,I d ea( ll y g aille of te nnis, What make s it so
good? ""h a t
r.lil'h,· lallge l,, '~ Stalll(.' or lJll uid,
15(lJ - 1504, Marule, 13 " 1) ",
11. : n:ad e rni.a., F lorenC!J, PhotoEraph er:
David Bufllngton , Grotty Im age s,
11!(',- Pho!odisc/ Rovaltv free,
SEI'I~
does her IJackhalld contrihut(J ') "'Ilat do('s iter ser'
lIl'nt s') TI ll' ITI( 'I'aIlCe of sllch qlll'stiollS is ckar, Simi;
wi 1(' II ~'(l1I a r t' w riting about art, to try to Sl'( ' the COIII[J
If('n' is a n'IY short anal ysis or 011(' aspl'ct of yl i
'l'lw c: rCII I iOIl of Ad(/ 11/ ( 1,'50S- 1512 ) (Ill the cd Ii ng
of th !
page 72 ), Th e writcr's thesis , or tIl<' point that ulld('rlie~
tlwt tll(, lin('s of a [lattl'm sal' sonlditin!..': , COmllllll1ic,~ , " ,
.
vi('wc r alld , sl'cond , thaI tlie viewe r docs !lot lI1 e re ly sea
('[wri c l1 cl's it. partil'ipat('s ill it.
'1'1,(' "s tory" of iiclr<'lallg<'lo err'llli o /i of Adm/I. all
SislilH' Charc 'l ill nOIlH' , is lllld c' rsto()( h I' (·IC'IY reac
(;<'ll('sis, Bllt C'l'C'll tire slorv is lIHldilkd ill a lI'al ' that IB,
prl' ll('lI sihlc a11d illlpn'ss il '~' to til(' (',IC ' , Tlr c: Cr;'ator,
ill l
a Ii vill g S0 1l1 illto tIl(' hod y of l'ial'-~ I 1l1otilllot eas ilY tr
('xpn'ssivc ' pallvrn - n 'al'i l(' s ollt tOll'ard tll( ' artll of ,
,II Ii 111 ,Il'i lIg spark , Ic'apillg I'ro II I fill gc' rtip to
l'illgertip,
1'1'0111 til(' 111<1k v r to till' lTc'atmC' , TIH' I"'id g<' oj' tire
12. ami
two sl'p:lr al,' worlds: tIl(' sc,If'-c'ol1lailwd cOlllp al'illl'ss l
(' IH, los('s Cod alld is ,(il( ' l1 1(l1w<l nl 11lotiOll hI Ihl' dial
and th e incu mpletp, flat sli c c' o['tll!' ('ar th , 'II ;ISl'
passil~
till ' ir aekll'arJ slant of its conto llr. TI1('r(' is pass il ill al
l.'llrW ove r which tI l<' hody o f ;dalll is 11lold l'd , It is hi
alld e nabl pd part ly to ri sc by tlr c ,lit radiI'(' pOll'er of th i
alOl', Th e (ksJr<' and pot e nt I,d (,: lpa (' ll'), to gl'l lip and l
as a Sllbordill ate tlH'llI c ill tir e I('rt kg, ",iJi('ir also scn
Adam's anll , llnahl e to lIlaiJlhlil1 itself fl'l'vl y like , tl)(Oc'll
or Cod , I
0 111' anal YS iS shows that tIl!' lll1il ll~ lt " 1III'II1c' of thc ,
('r('a tiun , is collveye d hI' wirat strikes tl(' ,'1(' flrst alld l
t ],( ~ cO lllpositiOIl as 11'(' px alll iIll ' its detail s, Till' strudl
tlte' dynallli <.: th eme or th e story. And sille,' tire pattei'll
giving e ll c rb'" is Il ot simply rccol'lkd hI' tIll' S" l1 SC· of I'i
arOll ses ill till' Illind a corrcspolldill.,( con figll ratioll o f
reactiu ll is mo rc than a lllP r(' lakin g cogn i/am'" of all
j, )l'c(' s that characte rize th e 111('a1lillg of til!' stml ('OIlW
alld prud ucr' the kind of stirring partil'ipatioll that
expe ri c ll ce frolll the c1 e ta <.: hc d ;!C'Cc'pl'alll'( ' of
illfOJ'lll<
- Hlldo lf Arnlwilli. / 1"1 (11111 'i.~/Iltl P( TCI'I)
13. 'JOOCl' th a t Arnt)('1J) docs no! discllss color, or
gronnd , o r th e place or th e work in its site or ill ;-"1'
70
c/ I PT En 4 /!'I.'I YTIC TIIiNKING
• Its size ( here, in tlljs ove r-life -size fi g ure , man as
bero )
• Its conte xt, especially its ~ite ill the sL't<-(,llth ccntuIY
( toda:' it
stands in th e rot llnd a of th e Acade my of Fin f' Arts, hut ill
l50.+ it
stood at tb e e ntrance to th e Palazzo Vecchio-the town haU-
wh e re it E' 1Ilbod ie d the principl e of th e c itizen-warrior
and Signified
th" 'ictol) of n~pnhlicarlisrn O'e r ty ranrJ:')
Consider as wel ] an,vthing e lse rOll think the S(; IJipture
consists of-or doC's
not consi " t of-- for lVIich e lalige lo , nnlike his pre decessor
Donatc'Jlo, do( 's
not iuclnd e th e h ead or t he slain Go liath : thus , Yfidwlang e
Io's i11lagt' is 1Iot
explicitl: ' that of a co nqu e ring h ero , Or you might confin e
),our attentio n to
an' one of th ese e lements,
Allah-sis is not a process lIs e d on ly in talking about art. 1t is
Com -
monly appli e d in thinking about all1lOst am comp le x m atte
r, Ve llil S
14. H'illiams plays it d f' adk ga ille of tennis, What makes it ,0
good? What
j/ iJ IC' lallgf' lo Slatu c' () rDa~'id,
1501 - J50,L ~hrhle, 13 ' 5"
Jccadl'nl ia, f lorc ncc, Phntograph er:
D rti d I3llmn~oll, (;",th' Tma,ge s,
IlI c,,-Ph nlodi scIHO'allv Fn' f',
SI:F. lt(; ,!'II) SAY I"'G 71
d OL'S h e r hacklland cont rihut< ,'') ' hat cl(ws her senT do
to h('1' 0p)lo-
Il t' nts') TIl(' rC!c'll1IC(' of Sllell qll(,stions is clear.
Similarly, it m~lkcs sen ,';c~ ,
hell VO Il an' w ritin g ahollt art. to try to s('(' the COll
IPOIl<' l1ts of' the orle
llen· is a l 'elY short <In<llvsis of ol1 e aspect or
~lich('lang('lo's paintil1g
rIll' Crcal'io/l cf(/olll l l SW;- L5121 on the ce iling oftll('
Sistine' Chapel ( S(,C'
pa~c (2 ), TIl(' w riter's lhe,~'is , or the point that underlies his
al1ahsi s, is, first ,
that the line s o r a pattern sa) sonwthiJlg, COIl11TIllllicatc
somethil1g to th e
'ie ('r al1d , second , that the 'icw('r dot's not lllerely see
I'll<' pattenl hut a lso
e >. pcri(>l1c('s it , participates in it.
Tile "s ton'" or ~Ij ch ( ~ lang('l()'s Crm li(lll pf, r!OIl/ , on
tll(' ceiling or the
SistilH' ( :hapd ill HOllie " is 1111lkrstood hy ('I '('n' reader of
til(' hook or
CCl1('sis , Bllt ('1('11 the ' story is Inodil'i(,d in a 'a' tklt
lIIak(,s it InOf'{' COIll -
15. preIH' llSihl(' and illlpf'{'ssi '(' to th( , (,'(' , The Cn'ato r, in
stead uCllrI ' atilil1 ,g
a li in ;..; SO ld into til!' ho(h' of' dm'- a lIloti f not ('asik
trallslatahll> illto all
(':.;prcssil'(' pattef'll - reaclH's Ollt toward th (' ann or Adalll as
th()ugh all
anililating ~[lark, I( ' aping I'rolll fingertip to IJllgl'rtip, '(, IT
translliittl'd
1'1'0 111 till ' mak('r to the (,I'('at n n~, TIl(' hrid ,g(' or till'
anll 'is llalk (,O lln l'ct~
t'() sl'paratl' orl(ls: 1'11(' s(' II ~('orILli lll'd cOlnpactlll.'SS
of til(' IlI~lIltl(' tklt
('"c1os('s Cod and is gi'(' 11 !lll'va rd I]l otio ll iJ~ ' lh e
diagonal or hi s ho(l-;
and the incomple te, flat sli ce or th e (-'arth , wh ose passivity i
~ p"pressf' d in
th e hach"lrcl slant of its co ntou r. Tlll:> n~ is passi ~ t' a lso
in tlw ('oncav('
curve uve r whi ch th e body of Allain is IJlolded, It is king 011
tIL E' ,grou nd
ami e nabl e d palik to li se Iw th e atlracti'e powe r of t he
appro<lchi,n,l!: Crt'-
atnr. The (ksire an d potf' nt ial capacit~ t'o ge t up and w alk
are inuil:ate d
as a slIhonJinate t hcn'(' in thr lefl leg, w hich a lso se rve s as
a slipport of
16. Admn ' a nn , nWlhk tn Iliaint a in it self fr('cl~ ' lik (' th e e
lw rg:;-charge d arnl
or Cod,
Onr all<l l)'sis shows that th e "ltimate th e n)(' of th" image' ,
tlw idea of
crcat ion , is con'c) "d h,l wllat strikes tll(' ('~ 'e Ilrst and co
ntinnes to organiz('
th e com positioll as we exa illin (:' its d etail s, Til e
strll<:lllraJ ske letoll re 'p~tls
tIl e dynallli(; th e mp of th e stOlY. And sin r.:e th e patte lll
of tmnsmitte d, li fc -
g i-ing f' nf'r)!;' is not simply recorded b~ ' th e se nse or
lision hilt prpslllllalrly
arollScs ill th e milld a ('or res pondin g conl1gmatioll of lorc(-
's , th e ObSC1Yl-' r'S
rcaction is 1110re tban a 1I1 ('rC taking cognizance of an
(,':.;tcrmLi object Th l-'
forc es tlJat clmnlctp ri z~! t11 (' lIll"aning or th (, sto!), corn e
alive in tile ohse lyc r
anu prodllC<" the kinll or ~tirrillg participation that
uistillgllisll c s a rti stic
l'xp eril"ncIJ frOIll th e det ache d acc('ptall(,(' oi"ill
l(Jl'IlIatioll,
- Hndol rA rn lw im , Art oll!7 Vi,,/w! Perr:eptioll ( Wi·n ,
451i-l()()
Notice that Arn llf' im doc s not WSC ll SS color, or tIl e
R!"naissance back-
18. 74-77, we will seC'
tbat the conte nt or Illeaning is expressed through the style
orfon7t. )
The study of clJiistic images alld t!t(~ cultural thoughts and
attihldcs tlmt
tllCY re fl e ct is C<llJed iconolol,,) ' (sec pages 260-2(2). lvo
sculphm~s of the samc
sllhj ect matter-ii)r instanc( ~ , the Cmciflxion----em C>-11ress
(hfkrcllt meanings:
• C hrist's COJH :l ucst of death (head high, <';,(:s ope n,
face composed,
arms horizontal, bod)' relatively straight alld self-possessed,
fuIly
clothed with an ankle-l e ngth tunic of a king ).
• C hrist's painful death (head drooping to one side, eyes
clos ed,
brows ~Illd mouth contOlied . arms pulled illto a V by the
weight of
the body, body twisted iJlto an S-sllapc, body vlIln e rable
because
dothed only with a loiudoth ).
Th e stlbject tlIatter in both is the sanlc~th(' Cmcifixion- ll1lt th
e me aning
or conte nt (conquest of deatll In one image , painful death in
the other ) is
utte rl y diffe re nt. The image of C hrist Triumphant-Christ as
Divine Hulcr
and Judge- was common in the twelfth and cady thirt(~ (mth
cellturies; the
Suffe ring C hrist , e mphasi zing tilt' humanity or Lllortal
aspect of JesllS, was
com mOll in the lute tl1irteenth ano fClUrtcclltlt centuri es.
19. To tmH to anothe r genre, if we look at so me nin e tee nth-ce
ntury land-
scap es we may s ee (aid e d by Barbara Novak's Nature and
Cultllre:
Amedcan Landscape (lnd Paintin g, 182.5-18 75) that tll e
suhjecf l1ultter of
skie s st re ake d with red and ye llow e mbodi e s a cont ell t
that can be
cle sclibed, at least roILghl:- , as th e grand e m of God . Per
haps Paul Kl ee was
trying to turn our attention from subj e ct matte r to conte nt
when he said,
"Art docs Hot reproduce the visible; rath e r, it rnakes visible,"
or (in a some-
what fr eer translation ), "Art do e s not reproduc e what ,ve see
; rather, it
makes us see ,"
Th e conte nt , one mi ght S<lV, is th e subj ect matte r tran
sform ed or recre-
ated or infuse d by inte ll ect and ree ling with m8~lI1ing-in
short , th e conte nt
is a meaning mad e 'isibl c, This is wbat H e nri Matisse was
gettin g at when
he said that drawin g is "not an exe rcise of partic niar d e
xt<!rity but above all
a means o f expre ssin g intimate fee lings and rnomls ."
l
72 C IIAPTEH 4 1 i:{ LYTI C THINKING
Ylicill'lallg(,lo , "1'/", Cn",[ioll ,,(, I'/al/l , I ,)OS-]'~ 12 .
20. Fr('sm , ,)'2" X I H'W' ( D I"il of S istill( '
Chap,, 1 Cci lill g ), Vatil'all Palal'(" Vatil'all Sta[(' . lI a'-".
PII()tog rapit c r: Scala. Art Hnollr :<',
VY. 0 Sl'ala/ ,rl n 'St llirt'(' , ,. Y.
Ittdolplt ArltI'illt. <)ttotatioll alld drawillg frottt ,1>1 (lnd
Visual P"rTcl'i io ll . Copy right
2004. Thl ' n('g( ' ttl s oj' II", UttiVt'rsity oj' Califi>ntia. l e pri
lltc:u by pe rtttissiott of lite
Univ('rs il y 01'( :a lifc)fllia Pr{'~s .
th()ll~h
effect (
rccorll
SUB}
Heror
catl tal
tlIP co
that tl
11
tlwy r
sllhje(
•
The
Ilr '
utte
and
Sill'
COl
21. sea
All
ski
de
tl)
"A
wI
at
is
h
COII/(,IJI}Jor(trlJ ; r/ : , SOllr('("}()ok of rlis /s ' Wrilillgs (
1 m)6 ), e ll. Kristine'
Stil(,s ami 1'('[('1' Scl 7., ( III readillg tll( ' VOlllIIH ' n[s of
artists , howl'vt' r, it is
oft('11 IIsefld t() re vall Cl eWS Uld e llhll rg's n~ lllark that
a!l VOIl whn Listt;>lls t()
all artist talkslHlllldltavL' his eyes C.Xeu nill ed .
Filially, Iwrc i~ . 'Olilm e llt ahollt a sevefe ly g 'om e tric
nonohjecti'('
pil"llln' 1), Frallk Sll'lIa (h, Hl3(1) (Sc e pag(' 97), Th e
picture, ()Il(' of 51' 'lIa's
Protractor seri( 's. is 10 fc"c t tall alld 20 f( ,(,t wide , Hohe rt
Ros f' nlJIIlIll writes:
COl 1 frolll('cI willi a (" klra('( ' risti(" (:'.alll(1II " '/idlk/ -i -
SlIlml"/f11l / , ti lt' (-'~f(-' ami
22. th l' 1I1i1id an' at firsl s i"'pl dlllllhlilillHII·d b) th l' sh ol'r
11I1I1Iiplicitv 1) 1'
sprillging rlltlllll s, flllor CSc.:(' llt ])<[,-(;10 colors, and
"Ildkssl) slliCli llg
pl;l11('s --- <111 til(' l1Iore so , IlCC<lll s(' the hasic co mpon
e ll t (c: ird! ,s alld sClnicir-
("I('s ; Ibl h..11111 s of unillodillat c d color) alld tl1f' hasi c.:
dcs irrn (be rl' a {'11 'ar
hilall' ral S~ -IIIIJII ' tly l a rc so IllGid , Bllr agaill, : ~s
alwa~r.s ill ~b -'I.Ia's work, 111f'
SI'I ' lIlillg P 'OliU111." of 'ocalllllarY is ('llI.IIltc'!'(,cI hy tli
'(, Iusiv!' l:Olllpkx.iti('s of
til(' I'('sllil. At /'irsl glalJ(' '. th!' oV!'ITidillg pattcl'll is of
slll:h iJlsislnlt sylll1l1d-
ri('al ('1;l1'ill that 1( ' li ,!'1 W(' call sniZ(' p!'( 'dictahk
prilll:ipl!'s of organi7.ation
aJl(llJrill ,l!: 10 !'('st tlli s l'i silal fn'lI/,.', BlIt St( 'lIa p e rnlils
110 sll cll stati c: !'('solll -
tioll . lill' tilt' ()!'rall S 'lllllldJi('s of til(' d 'sign arc>
cOlltradic.:te: d Iw hoth Ll1f'
illt!'rla('l' patt l' l'IIs alld til(' c.: olors, I ,lti l' h cOll stanth
asse rt tl'"'ir ill(h 'p e n -
d (' lIl'l' from <111 ' Silllpl e:- llIill(ll'd Sc!I( ' llll ' , In a
sllrpri sing way this ta llgl p of
I-,'nat illg l" n p rgil 'S, n ,lc.: a sl'd and rl'l'<lpt11l'c d,
provides a HJ60s rlll c r-and -
23. <':O IlII1<I '~ e qlli'.t!' 111 ()f Lil(' /ln l's t l'oli()('.:s . I'VP
II ill [e nlls of its l'llglllflllg se<tl( ,
(l l("n ' 10 I{'d I 'ide) , wlli <.: h illlPOS{,S itsl ,lf ill all
al1l10st phys icalwa;' Il[lOIl til('
spf'datorOs world , ll1tJlis C,lSI ', til(' sJllillging vailits (.rLiIe:
arcs , SOIIl t' r1'<l('hill ~
as 11i~1t , IS 4 1<,('[ allo'{' oll e 's h('ad, t11l'1I th t' paillting
illto slIlIlPtllillg that
rrges Oil th l' an,hit l'dllral , a lurk that lilight rest ()n til('
nom alld he subject
to lIatmal ph;sicallaws of load all d SlJppOli, Se:!'llllll this
llllllll' llSI' seal!' , tb l'
thrlls[s alld l'olllltL-rtJll'lJsts , tlj(' t,lIlt alld pI'r/ r'ct
spalln.illg o f great -,p,I(,(" , til('
razor-sharp illtl ,rloC;:Ulg of po i.nts of stn' s,' alll'olltril'(' to
plllllg(, tllP ol>s('l'wr
illto a di zZl'ilig lour-dc- for ' , of w'srh('(il' c ll gillC( ring,
- Fmllk SII'1Io ( I ~)II ), 4.';-48
What bri(.f' ad vice 'an l.w gi vr" 1l ahollt n'sponclin g to
llol1ohjC'ctive palnt-
illg~j PI'dlal)s olliv this (alld Iwrt' is SOJllcthillg of' a
rqwtitioll of what liLts
already bl '(' l1 said ahollt wpn,:sl'ntatiollal draWings and
paintings ): As .vou
look at tIl(' Vurk , bcgin with vour rl'sp0Il.S (;S to th
folluwing:
• Tl}(' dYllallli l' int e rplay or colors, ,shape~ , lin t' S, tex
24. tures (of pig llH'llts
and of th(, gl'olllld on whidl tll c pig me nts an.: applie J )
• TIll' si/,(' of' tll( ' work (ortc lI so largl" that YO Il m,ly
have to c relll e YOllr
II( ' -k to S('(' it )
•
•
•
I ,at('r
COil te
C(,I'II I
(lIlL ~
11('lll
lin'
what
Scu
F()'
orat ~
i lIsta
9G ClI.I ' TU{ - ~ - ~ _ LYTIC TIII _~KI~(;
25. C Ulli r: lIl})(Jmr!l Art: A SOllrceuoo k 4 Artisls ' Writin gs (
Hl8o ), pd. i(ristill('
Stil( 's and Pete r Sel z . ( [n re adill g th e COll11n e nts o/"
artists , II<1W('I'('I". it is
ortell li sr'fld to recall C lacs Old('nburg:~ re mark th a t anyon
t' wllo l i~ t (, lls til
a n artist talk should ban' his ey'cs e xami1l('(I. )
FLnaJl~ ', he n:, i ~ a (;O mnH:- nt ahout a ~f" 'e re l)· gf> oll1
e tric l1onohj c ctiq ,
pictllJ"(' by Frank Stella (h. 19,3G) (s(' t ' pagl' ~)I ). Th e
picture , on c of Sh 'lb"s
Protractor s('ries . is lO fl' (' t tall and 20 reel "'ide. Holwrt Hos
c nhlllnl writ('s:
(;011 1"1'011 I('d ,,'ilh a l'harad c ri shc L'x alllpi l'. Iflhkl-i-
SII!{I/llllflli T, th e C)l' and
III(' Illi11d arc' al first silllpl) (i1ul1hrOllnd ed by til l' , he("r
IIl lillipli CilY or
sprillgill~ r1l1thIlIS . nuorC' s('(' llt D ;1; '-(;lo colors , allll
('lIdlessl v slliftillg
plall ('s- all Ihl' more so, lo('alls(' the' 1l<_Lsi c l'oillpon (>
nts (cirJ (;'s alld s(' llli eir-
e1 r' s: Ilal hallds 01' 1I111Ilmllllal(,d color) and till' basi l'
dC~ igll (b (c' n' a ('Je.'Il'
bilate ral 'iy mrlld ry J a J"(' so Illcid_ BUI 'Igaill . as 'Ih-ays ill
SI!;' ILI S work. 1],('
S('('llIi".t; ('('0110111)' or UcaiJ11lar.I' is (;() u11t(' rl"' d h.I'
the eln si'(' f'O IIlpl cxitit's or
th c rt'sidt .. t first glan( 'e, Ihe m'C' ITi(lingpatt ('1ll is or Sl.l
cit illSisl elll sl'lllllwl-
ri( 'al (' Iarill ' thaI 1'( ' f(,c'] '(' call se izp pn:didabl c prin
cipl es or organi zal ion
<Llld hrill).!: to resl Ihi s I'i sllal h·cn z~'. Blil Stell a pen11its
110 sl1 ch stali c I"( 'so lll -
li()lI . Illi' IIIl' o (' rall s~ - Il1I1I('lri ps 01' Ihe des ign arC'
26. eontr'idict('d Il' h 0 111 I], p
il1t (' r"I <":(' patt e'TlIS and th e co lor.s. ",hi('l, cO l1sl antl~
' asse rt t]' eir illdqw ll -
dc- lI c( ' I'rom all' silllpl('-1I1illd(,d s('hpl11 ('. III a
SllIvrising Va ', Ihis lant;l (' or
gn atin g (' Ill'rgi(''i , r(' I( 'ascd and f('l" aplllrP( 1, pr{); ci f' s
a 19GOs rukr- 'lIId-
:OI1 I[1'LSS "(jllil 'al ('lIt or Ih (' IIn (-'st Pollocks , (' '(' 11 iii
t( ' rIiIS of its l'IHQilllnt; scale
11('1"(' 2(J 11 'PI lI'iu(' J, ,, -Ilicl I inlpos( 's ilseir in all
alillost pl,)"sicaJ '<I ' lIpon the
sp('Nator:s world. In t.his cas(·. Ill e ~pringing 'alul s or tl)('
an 's, SOlll e reach ing
as high us -4 kl't abo"(' O Il C ,s ]wad . tmn th e pailltillg illto
SO l1H 'lli il1 g Ih al
"( ' r~, ·s 0 11 till' arcllitecl I mti , a " -ork tllat l11iglll rest
Oll the floo r alld h(' sllhjct:t
10 l1alm'll ph sicaJlaws or load al1d support . Seen 0 11 Ihis
inllll('l1SC sc' lit"., th e
thrllsLs alld l'Ilnllt ertill"l Ls b, Ilw laut '"HI Pl'ri<' d spallnillg
of grc 'al SJl:1 (:( ·S. th
razo r-sh 'HV ill! N lockili g of' poi nls of" str('ss ,III mntlil'('
10 plu nge til(' obs('1" ('I"
ilil o ,I c1i 7z'ing tour-dl'-forc(' uf' <ws tlu"fic pngill( '(,lillg.
- Frflllk St d la ( I,), Ll. ~'l-4D
"] lat brit ,r advice' can h e g il'l'lI ahol1t respond.in g to
Ilono bj('cti'(~ paint -
illg') P e rl'<1ps olliv this (and IH' rc is sOllldlling of H re
petition of w klt hns
aln 'ad) ht:en saiel about fe pn:s('ntati()lIaJ draWin gs and
paintin gs ): As YOII
loo k a t th e work h egin "'itll I"llllr r('sponse s to th e ("o
iloling :
27. • Til e dynamic inl<c' rpl u) of ('olors , shapes . li ne s,
textme s (o f pi g ments
and or tl IP ground 0 11 w hich th e pigments arp appli e d )
• Th(-, si ze of'tlw 'ork « lten so large that l 'OIl rMI~
have to crall t> lum
II c ck to seC' it )
97I;r:rn~(; II)E,S I :()I( ES S. YS : . SKIN(~ Ql lLSTIONS
TO G L T , ~S·F. I{S
F 1' _11,)' Sll·lb. 'Iidl"' -i- SlIh;(/llIflll I. l)f;, _1-"1 ""i"( 's c"
III acrylic '-"" " ". I() ' X 2n '. «) 20 I I
I' r,,,.k <;1<'1,,"'. 1'1;," H;,~lll s SCW;"' I. IIS I. , - York.
• '1'1)(' sl,ape of the lork i lllo_,t an' n 'daugllhir or square,
but e spe -
cialh- in til(' H)(i()s mall an' trianglliar. circlllar, chevron -sh a
pe d ,
diamtJlld-sIHljwd . and so Oil , with the n'Sltit tbat. h ecause
they
([('part frOll1 till' tr,lllitional shape of' paintings, they S("'(' ill
almost to
1)(' ohj( 'l'l_,- tlo-cliIIH 'lIsional (or ('( ' 11 threl'-dim e
nsional ) sc'nlp-
tIIH 'S att ,lclH'd to a I 'all ratll( ' r than paintings )
• Tile (h'gl"( 'l' to ·hil'h till' artist's klllt! ··tol1ch ··) is t'
'id c nt (in th e
Color Ficld paintings Dr a stain painter sn (' iI as ll e le n
Frankcllthaln, 1 ·111'1"(' Iinprilll(·d C<1lI<LS soakl'd lip
spill e d ac ryli c
pailll, ton('h i, allllost c(l1l1pll'tely ails(, llt )
• Tb e title
28. I .atl'r. as kls b c' (' u snggest c c . 'Oll 111<1' want to think
aholll the pidnrl' in the
('()nll'xt of st<tt(,lTl (' nt~ nad e I;v th e ,;liist- For instanc(',
Pollocks "Mv COll-
(' 1' 1"11 is with tIH" rh )thms of natnre . th e wa~ ' th e O(;f'
an move s. 1 wo rk insid e
( 1I1 1, lik(' natl1l"(~ , " U st.fnl ,s omCr' S incimlc th e li'mr
coll ections of COllllll e nts
1lI1 ' lltiolll:d on p<l~l'S ~)5-9() .
Finallr rCII1( '11I1)('r that l11 akin g a (,(]]lIpari son is on(' of
th(' lIH1St dT(-,(
li vp W,lS of seei ng thin gs. How dlws this work diffe r ("rolll
that lork , and
llat is th e effec t of th e diffe ren ce ?
Sculpture
Fm what purpose was thi s obj ect mad c'? To ('dil )1 tJ w hlith
fil]') To COI1Hn e m-
Ilr,(t c hp roi s i11 '~ ,'hat is ex presse d through the r
~'prE'sentatioll? -h'll , for
illStan c(' , d Ol-' S th e h ighlv Ol"rlt; rcd . symllletrical kJrlJ1
or Kill i!- ClwfiTIl (a bo
on which neoclassism depends, holds within it two basic
suppositions: the context through which understanding
unfolds is time; and, for sculpture, the natural context
of rationality is the medium of relief.
29. Logical arguments-procedures such as "if X, then Y"
-follow a temporal development. At the heart of such
reasoning is ~ion.~ of . C8usvlity, of the connection
between effects and their causes which depend for their
very relatedness upon the passage of time. In the eight-
eenth and nineteenth centuries ambitious painters and
sculptors accepted without dispute the notion that time
was the medium through which the logic of social and
moral institutions revealed itself-hence the exalted posi.
tion they gave to history painting as a genre and to his-
torical monuments. History was understood to be a kind of )
narrative, involving the progression of a set of signifi· 11'"
cances that mutually reinforce and explicate each other, ()
and that seem driven as if by a divine mechanism toward '
~ conclusion, toward the meaning of an event.
. Therefore, when FranQOis Rude undertook a sculptural
commission for the Arch of Triumph, he understood his
task as transcending the. sim:eI(L~pj'~~!ltati_on~ mo-
30. 4. FI
ment from the J're';;:Ch-fi;volution. The aspirations behlnd La
M
ca.S(La Marseillaise, also known as Departing Volunteers (fig.
TriUl
4) of 1833-36, were to fashion the composition into a Girat
kind of temporal cut that would knife through the dis-
array of historical incident and uncover its meaning. This
aspiration, which Rude shared with his contemporaries,
had been articulated at the end of the eighteenth century
by Gotthold Lessing. The work of visual art, "in its co-
; existent compositions," Lessing argued, "can use but a
, single moment of action, and must therefore choose the I(
most pregnant one, the one most suggestive of what has
gone before and what is to follow."3 In La Marseillaise
Rude does capture that moment of absolute pregnancy,
of forms focused to a point of utter sharpness from which
meaning will then be seen to spread outward, connecting
this particular composition to the events that form its past
and its future.
In order to achieve this focus, Rude organizes the com-
position along two axes: a horizontal axis that divides
the frieze of soldiers in the lower half of the work from
10
31. 4 . Fran r;ois Rude (1 784-1855):
La Marse illaise. 1833-36 . St one,
ca. 504" x 31 2" . A rch of
Trium ph , Paris ( Photo,
Giruu don )
the splayed form of th e win ged victory that fills the upper
register ; and a vertical axis that plumbs the space fr om
th e head of the victory down the center of her body
through the vertical juncture between the two ce ntr al
sol diers. The meaning of the composition-and conse·
quen tly of th e moment it depicts-revolves arou nd the
poin t where these two axes join . Ru de pr oduces the feel·
i ng of movemen t r otating around the vertical axis by ove r·
la ppin g the bodies in th e lower register to form a semi·
circle. The line of soldie rs seems to be issuin g from the
far right, out of the ve ry gro und of the arch, and to be
moving forward as it proceeds to the left . The poin t at
which that wave of bodies crests is the poin t of con ta ct
with the vertical axis, as the two central figures recogn ize
the symbol of victory. At tha t j uncture, as they mirror
th e image suspended above them. the soldiers seem to
11
arrest the horizontal flow of movement through space and
time. By exploiting the formal device of symmetry, Rude
creates an icon that will stand for a particular moment:
the dawning of consciousness about the meaning of
liberty. And then, leftward along the horizontal frieze,
the figures seem to continue their movement, this time
32. into the future.
The org anization of La Ma rseillaise is essentially nar-
rative. The varying degrees of relief, the isolation of
the limbs of the figures by means of drapery in order to
intensify the rhythmical effect of the paired gestures, the
tension between the lateral movement implied by the
lower register and the iconlike rigidity of the upper
figure--all are ways in which Rude structures the narra-
tive for the viewer. And what is crucial for a reading of
this narrative is that the work is in relief. For, by its very
nature, the medium of relief makes the reading of the
narrative possible.
The frontality of the relief forces the viewer to place
himself directly before the work in order to see it, and
thus guarantees that the effect of the composition will in
no way be diluted. Further, the medium of relief depends
upon a relationship between the sculpted figures and their
ground. Since this ground behaves like the illusionistic
background of a painting, it opens up a virtual space
through which the figures can appear to move . Into this
movement-this apparent emergence from background to
foreground- the sculptor can project the temporal values
33. of the narrative. Most important, the m;-dium or rdief
links 'to gether the visibility of the sculpture with the
comprehension of its meaning; because from the sin gle
viewing point, in front of the work, all the implications
of gesture, all the significance of form, mu st naturally
devolve.
Relief thus makes it possible for the viewer to under-
stand two reciprocal q uali ties simultaneou sly: the form
as it evolves within the space of the r elief groun d and the
meaning of the depicted moment in its rustorical contex t.
Even thou gh the viewer does no t actually move around
the sculpture, he is given the ill usion of having as much
information as he would if he could circuInll uv igate the
forms- perhaps even more, since ....ri lhin a single percep-
~
'{ r
.'
5. Auguste Rodin (1840-1917):
Gates of Hell , 1880- 1917.
Bronze, 21 6" x 144" x 33".
P hi/adelp hia Museum 0/ Art.
(P hoto, A. J. Wyatt, staff
photographer)
12
13
34. Assignment 1: Discussion—Using Technology to Deliver
Training
Technology can be a vital component of training delivery. Use
the Argosy University online library resources and your
textbooks to read about training technology.
Using your own experience, module readings, Internet research,
and references from the Argosy University online library,
respond to the following:
Illustrate how technology can benefit the transfer of learning.ti
Explain how organizations have utilized technology in learning.
Use your research or examples from your experience.
Comment on the appropriateness of the utilized technology in
learning.
Beginning Saturday, February 7, 2015, post your responses to
the appropriateDiscussion Area. Continue to get to know your
fellow classmates and contribute to our discussion of
technology in training.
Through Wednesday, February 11, 2015, comment on at least
two of your peers’ responses.
Write your initial response in 300–500 words. Your response
should be thorough and address all components of the
discussion question in detail, include citations of all sources,
where needed, according to the APA Style, and demonstrate
accurate spelling, grammar, and punctuation
Do the following when responding to your peers:
Read your peers’ answers.
Provide substantive comments by
contributing new, relevant information from course readings,
Web sites, or other sources;
building on the remarks or questions of others; or
sharing practical examples of key concepts from your
professional or personal experiences
Respond to feedback on your posting and provide feedback to
other students on their ideas.
35. Make sure your writing
is clear, concise, and organized;
demonstrates ethical scholarship in accurate representation and
attribution of sources; and
displays accurate spelling, grammar, and punctuation
With in text citation.
Formal Analysis
Write an essay describing an art object (mural, painting,
sculpture, installation, video art, photograph) of your choice.
The object must have been created by an American artist after
1860. It cannot be a craft object, e.g rug, pottery vessel, woven
basket, clothing, jewelry, furniture, etc. You must be able to see
this object in person, not from a digital image found online. It
must be an original work of fine art. If you have any doubts
please discuss it with me before you are downgraded or have to
rewrite the analysis on account of your choice of art object.
I. “Data Collection (observation and collection of visual facts)”
A. Take photos of the work and of what’s around it. Include
some detail photos and different views (different distances,
angles, lighting, etc.). Include these with your paper.
B. What is my first response to the work? Trust yourself.
C. Sketch the work.
D. What do the physical properties and the form contribute?
Take into account
1. The material – is the paint thick or thin? Is the marble
polished and reflective? Texture?
2. The size – how do you feel standing before this object?
Scale?
3. The color – realistic? Symbolic?
4. The composition (arrangement of forms) – balanced?
Symmetrical? Densely patterned?
5. Location and context of site (especially in public art)
6. Where is the best place to stand and look at the work? Do you
36. need to move when you look at this work?
7. Light: Role of light in the work? Role of light on the work?
8. What is the title? Does it say something about the work?
9. Who or what can we identify in the work? How does this
figure or form relate to other elements in the work? Why is this
figure or form place here and not there? What would happen if
you moved or took out a form?
10. What is the chief interest in the work?
II. Focus on creating a logical order so that your reader doesn’t
get lost. Think about your description in terms of a spatial map
of the artwork.
A. Summarize what is going on overall in the work before
moving on to describe the details of the object.
B. Describe the composition - Describe components in an order
that makes sense. Maybe the components lead to a focal point.
Maybe the components tell a story or forward an argument.
Maybe there is no visual/formal focus.
C. Break down the artwork into its major sections, EX:
foreground, middle-ground, and background. Or discuss one
side of the work and then move across the object and discuss
the other side.
D. Use spatially-orienting prepositional phrases like “on the left
side one sees,” “to the lower right the artist has depicted,” “in
the foreground there are,” “within the top third,” “at the
center,” “between the,” “towards the,” “above this section,” etc.
E. Check your work: If you were to give your written formal
analysis to a friend who had never seen the object, s/he would
be able to describe or draw the object for you, or at least pick it
out of a lineup.
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