This document outlines the process for critiquing a piece of artwork, including four main sections: description, analysis, interpretation, and judgment. It provides details on objectively describing the key elements of the artwork, analyzing how techniques were used, interpreting the possible intent and meaning, and making a judgment on the effectiveness and quality of the piece. The goal of an art critique is to help both artists and viewers gain a deeper understanding and appreciation of the work.
Traditional arts in the Philippines include folk architecture, maritime transport, weaving, carving, folk performing arts, folk (oral) literature, folk graphic and plastic arts, ornaments, textile or fiber art, pottery, and other artistic expressions of traditional culture.
The subject covers various contemporary arts practices of the region where the school is located. It aims to provide students with an appreciation of a broad range of styles in the various disciplines with consideration on their elements and principles and engage them to an integrative approach in studying arts. Through this subject, students will broaden and acquire the necessary creative tools that open opportunities in pursuing their individual career goals and aspirations.
Traditional arts in the Philippines include folk architecture, maritime transport, weaving, carving, folk performing arts, folk (oral) literature, folk graphic and plastic arts, ornaments, textile or fiber art, pottery, and other artistic expressions of traditional culture.
The subject covers various contemporary arts practices of the region where the school is located. It aims to provide students with an appreciation of a broad range of styles in the various disciplines with consideration on their elements and principles and engage them to an integrative approach in studying arts. Through this subject, students will broaden and acquire the necessary creative tools that open opportunities in pursuing their individual career goals and aspirations.
Art Criticism Take a field trip to a museum, gallery.docxdavezstarr61655
Art Criticism
Take a field trip to a museum, gallery, etc. to view works of art in order to find something you would
be interested in writing about in the mode of art criticism, including how the artwork relates to a
topic or theory we have covered in class, and using at least two sources (at least one of which should
be a scholarly article NOT from our course). 6 pages minimum.
Describe: Tell what you see (the visual facts).
Questions to consider:
1. Where did you see the art? (Name gallery/museum/etc., geographical location, etc.)
2. What is the name of the artist who created the artwork?
3. What kind of an artwork is it?
4. What is the name of the artwork?
5. When was the artwork created?
6. Name some other major events in history that occurred at the same time this artwork was
created.
7. List the literal objects in the painting (trees, people, animals, mountains, rivers, etc.).
8. What do you notice first when you look at the work(s)? Why?
9. What kinds of colors do you see? How would you describe them?
10. What shapes can we see? What kind of edges do the shapes have?
11. Are there lines in the work(s)? If so, what kinds of lines are they?
12. What sort of textures do you see? How would you describe them?
13. What time of day/night is it? How can we tell?
13. What is the overall visual effect or mood of the work(s)?
Analyze: Mentally separate the parts or elements, thinking in terms of textures, shapes/forms,
light/dark or bright/dull colors, types of lines, and sensory qualities. In this step consider the
most significant art principles that were used in the artwork. Describe how the artist used them
to organize the elements. Suggested questions to help with analysis:
Questions to consider:
1. How has the artist used colors in the work(s)?
2. What sort of effect do the colors have on the artwork?
3. How as the artist used shapes within the work of art?
4. How have lines been used in the work(s)? Has the artist used them as an important or
dominant part of the work, or do they play a different roll?
5. What role does texture play in the work(s)? Has the artist used the illusion of texture or has
the artist used actual texture? How has texture been used within the work(s).
6. How has the artist used light in the work(s)? Is there the illusion of a scene with lights and
shadows, or does the artist use light and dark values in a more abstracted way?
7. How has the overall visual effect or mood of the work(s)? been achieved by the use of
elements of art and principles of design.
8. How were the artists design tools used to achieve a particular look or focus?
Interpret: An interpretation seeks to explain the meaning of the work based on what you have
learned so far about the artwork, what do you think the artist was trying to say?
Questions to consider:
1. What was the artist’s statement.
2Guide to Writing a Formal AnalysisDescription A fo.docxlorainedeserre
2
Guide to Writing a Formal Analysis
Description: A formal analysis includes an analysis of the forms appearing in the work you have chosen. These forms give the work its expression, message, or meaning. A formal analysis assumes a work of art is (1) a constructed object (2) that has been created with a stable meaning (even though it might not be clear to the viewer) (3) that can be ascertained by studying the relationships between the elements of the work. To aid in writing a formal analysis, you should think as if you were describing the work of art to someone who has never seen it before. When your reader finishes reading your analysis, she/he should have a complete mental picture of what the work looks like. Yet, the formal analysis is more than just a description of the work. It should also include a thesis statement/theme that reflects your conclusions about the work. The thesis statement may, in general, answer a question like these: What do I think is the meaning of this work? What is the message that this work or artist sends to the viewer? What is this work all about? The thesis statement is an important element. It sets the tone for the entire paper, and sets it apart from being a merely descriptive paper.
Format for the Paper: Two pages, double-spaced, 10 or 12 pt font, 1” borders. Make sure you proofread your papers for adhering to the information listed above, as well as incorrect grammar, spelling, punctuation, and other errors.
In the first paragraph, called the introduction, you will include:
•the name of the artist (if known), title (which is underlined or italicizedevery time you use the title in your paper), date
•what you think is the subject
•a very brief description of the work
•thesis statement - usually the last line or so of your first paragraph.
From that point, the rest of the formal analysis should include not only a description of the piece, but especially those details of the work that have led you to come to your conclusion. Yet, your paper should not be a random flow of ideas about the work (i.e. stream of consciousness writing). Rather, your paper should have a sense of order, moving purposefully through your description with regard to specific elements (ex: one paragraph may deal with composition, another with a description of the figures, another with the background, another about line, etc.). Finally, in your conclusion (the final paragraph) you should end your paper by pulling your threads together in a conclusion that in some way bears a relationship with your stated theme.
NO RESEARCH IS TO BE USED IN THIS PAPER. In other words, you are strictly relying on your ability to visually ‘read’ a work of art and make interpretations about it based on your analysis of it. Remember too that your analysis should not be just a mechanical, physical description. Please use descriptive language and adjectives to describe your work. Begin with a general description of the work, and then move on to ...
3Art 110 Art Appreciation - Formal Analysis Paper Assign.docxtamicawaysmith
3
Art 110 Art Appreciation - Formal Analysis Paper Assignment
-Remember - Late papers and emailed papers will NOT be accepted.
Description: A formal analysis includes an analysis of the forms appearing in the work you have chosen. These forms give the work its expression, message, or meaning. A formal analysis assumes a work of art is,
(1) a constructed object
(2) that has been created with a stable meaning (even though it might not be clear to the viewer)
(3) that can be ascertained by studying the relationships between the elements of the work.
You must include an image of yourself at the museum at the end of the paper. To aid in writing a formal analysis, you should think as if you were describing the work of art to someone who has never seen it before. When your reader finishes reading your analysis, she/he should have a complete mental picture of what the work looks like. Yet, the formal analysis is more than just a description of the work. It should also include a thesis statement that reflects your conclusions about the work. The thesis statement may, in general, answer a question like these: What do I think is the meaning of this work? What is the message that this work or artist sends to the viewer? What is this work all about? The thesis statement is an important element. It sets the tone for the entire paper, and sets it apart from being a merely descriptive paper.
Format for the Paper: Two and a half to three pages (not including title page, if you use one), , double spaced, 10 or 12 pt type (Times only), 1” borders. Make sure you proofread your papers for adhering to the information listed above, as well as incorrect grammar, spelling, punctuation, and other errors. In addition, make sure your paper includes a thesis statement. Your grade will reflect your ability to follow these guidelines.
In the first paragraph, called the introduction, you will include:
•the name of the artist (if known), title (which is underlined or italicizedevery time you use the title in your paper), date, and medium (if known).
•what you think is the subject
•a description of the work (using the elements of art and principles of design)
•thesis statement - usually the last line or so of your first paragraph.
From that point, the rest of the formal analysis should include not only a description of the piece, but especially those details of the work that have led you to come to your thesis. Yet, your paper should not be a random flow of ideas about the work (i.e. stream of consciousness writing). Rather, your paper should have a sense of order, moving purposefully through your description with regard to specific elements (ex: one paragraph may deal with composition, another with a description of the figures, another with the background, another about line, etc.). Finally, in your conclusion (the final paragraph) you should end your paper with a restatement of your thesis.
It is important to remember that your interest here is strictly ...
Grading Rubric, Museum Visit Paper, Raymond VOICE.docxwhittemorelucilla
Grading Rubric, Museum Visit Paper, Raymond
V
O
IC
E
Voice is strong & clear
Writer is engaged with topic
Descriptions are substantive & articulate
Ideas flow logically with smooth transitions
Voice is clear
Writer is engaged with topic
Descriptions are articulate
Ideas flow logically
Voice is clear, but developing
Writer is moderately interested in topic
Descriptions are detailed
Ideas appear as a list
Voice is inconsistent
Writer seems disinterested with
topic
Descriptions are weak
20-- 18-- 16-- 14--
S
T
R
U
C
T
U
R
E
Paper is organized & cohesive, with an
introduction, body & conclusion
Information is well ordered & creates
momentum
Prose shows attention to clarity, word
choice, grammar, & spelling
Paper is organized with an introduction,
body & conclusion
Information is ordered
Paper is 3-4 pages, double-spaced, with
page numbers
Prose is clear; there are a few grammatical
& spelling mistakes
Paper has an introduction & body
Information is ordered according to
writer’s interest
Prose has several grammatical & spelling
mistakes
Paper lacks structure
Information is poorly ordered
Prose needs attention to clarity,
grammar and spelling
20-- 18-- 16-- 14--
GRADE & COMMENTS
A
EXEMPLARY
B
VERY GOOD
C
DEVELOPING
D
NOT ADEQUATE
F
IE
L
D
I
N
F
O
Field information is clearly stated in
introduction
Description of the exterior, interior and
atmosphere is articulate and succinct
Attraction to selected art work is described
with pertinent information
Field information is stated in introduction
Description of the exterior, interior and
atmosphere is articulate and clear
Interest in selected art work is described
with pertinent information
Field information is stated in essay
Description of the exterior, interior and
atmosphere is adequately described
Basic facts about the chosen object are
included
Field information?
Description of the area is not
clearly expressed
Some facts about the chosen object
are included
20-- 18-- 16-- 14--
A
N
A
L
Y
S
IS
Initial formal analysis is perceptive &
informed
Observations are insightful and descriptions
are engaging and vivid
In-depth analysis is meaningful & compelling
Initial formal analysis is perceptive
Observations are smart and accurate
In-depth analysis is meaningful
Initial formal analysis is accurate
Descriptions are clear
In-depth analysis is basic to coursework
and reflects some thought on topic
Initial formal analysis is plausible
Descriptions are simple
In-depth analysis is unclear or
superficial
40-- 35-- 31-- 27--
How do we talk about art?
Context & Composition
Geographic Context
Architectural Context
Socio-historical Context
Style & Subject Matter
Personality
Event & Narrative
Emotional Content
Iconography & Symbolism
...
1
Islamic Art History
Guideline
The 4-part analysis method
The 4-part analysis method that art historians use:
• physical properties
• formal or visual structure (also known simply as form)
• subject matter and symbolism (also known as content or meaning)
• cultural context
•
1-The first part of the four-part analysis considers physical properties.
Questions:
Here are some questions we ask when we examine physical properties:
• What type of artwork is it: painting, sculpture, architecture, textile, woodwork?
• What is the work made of: stone, crushed minerals, inlaid lapis lazuli?
• How is that material visible? Is it smooth and hard or textured and rough?
• How has the material been handled? What technique was used to manipulate the
material?
• How big is the work? How does it compare to the size of a human body? Hint: The
textbook provides scale comparisons for all illustrations.
Evidence:
When we answer those questions, we provide evidence as it appears in the work of art.
2- Form
Form refers to the appearance of the work of art. We also call it the visual structure or style of
the work of art.
Form consists of how the artist uses the materials to create visual expression. This expression
comes through the building blocks of the work of art known as the visual elements (color, line,
light, texture, shape, space) and composition (organization of shapes, balance, and proportion).
The choice of how to handle these building blocks of the work of art--known as formal elements
and principles of design--is sometimes dictated by how all artists of a particular time and place
work. We call this a period or cultural style. In other cases, especially in the modern era, the
choice of formal characteristics is individual and the artist has a personal style.
2
What about form in architecture? This refers to the building blocks of floor plan, structural
elements like columns and domes, and the decorative elements that adorn the building.
Artists of a particular period and culture typically share similar forms or style. Knowing the
formal characteristics of this style an essential part of art history.
Questions:
When you analyze form or visual structure, here are some questions to ask.
• Is the work naturalistic? Does it look like things do in nature or does it depart from
visible forms? How?
• How is space presented? Does it create an illusion of three dimensions or is it flatter?
• How is color handled? Do the colors look like they do in nature? Do they repeat
throughout the image?
• How is line handled? Are things outlined? Are there real lines (like a road) or implied
lines (like a line of sight)?
• How are light and shadow handled? Is everything bathed in an even light or are there
dramatic highlights and deep shadows? Does shading help make things look three-
dimensional?
• How is the work organized? Is everything lined up in a row or are they grouped in a
pyramid ...
2137ad Merindol Colony Interiors where refugee try to build a seemengly norm...luforfor
This are the interiors of the Merindol Colony in 2137ad after the Climate Change Collapse and the Apocalipse Wars. Merindol is a small Colony in the Italian Alps where there are around 4000 humans. The Colony values mainly around meritocracy and selection by effort.
Hadj Ounis's most notable work is his sculpture titled "Metamorphosis." This piece showcases Ounis's mastery of form and texture, as he seamlessly combines metal and wood to create a dynamic and visually striking composition. The juxtaposition of the two materials creates a sense of tension and harmony, inviting viewers to contemplate the relationship between nature and industry.
Explore the multifaceted world of Muntadher Saleh, an Iraqi polymath renowned for his expertise in visual art, writing, design, and pharmacy. This SlideShare delves into his innovative contributions across various disciplines, showcasing his unique ability to blend traditional themes with modern aesthetics. Learn about his impactful artworks, thought-provoking literary pieces, and his vision as a Neo-Pop artist dedicated to raising awareness about Iraq's cultural heritage. Discover why Muntadher Saleh is celebrated as "The Last Polymath" and how his multidisciplinary talents continue to inspire and influence.
2137ad - Characters that live in Merindol and are at the center of main storiesluforfor
Kurgan is a russian expatriate that is secretly in love with Sonia Contado. Henry is a british soldier that took refuge in Merindol Colony in 2137ad. He is the lover of Sonia Contado.
3. •Is a systematic study and assessment
of a piece of art.
•Although no two people can have the
same reaction to, or view, a work of
art in the same way, there are a few
simple principles that can be followed
to produce a critical, detailed critique.
(Crafted: https://www.Wikihow.Com/critique-artwork)
5. •It is the sort of stuff on the
label of a museum or gallery,
or in an art book.
•Knowing the history of a piece
will make a major difference in
6. START YOUR CRITICISM BY PROVIDING THE
FOLLOWING INFORMATION:
•TITLE OF THE WORK
• ARTIST’S NAME
• WHEN THE PIECE WAS CREATED
• WHERE IT WAS MADE
• THE TYPES OF MEDIA USED TO CREATE THE
WORK (E.G., OIL PAINT ON CANVAS)
• THE EXACT SIZE OF THE WORK
7.
8. 1. DESCRIBE WHAT YOU
SEE
•Describe the artwork using fair
words.
•For example, you might say, "this
is a small-scale portrait painting
of a young woman, seen from the
9. •She clasps her hands in front of her
chest and looks up slightly to the
right of the audience.
•She wears a pink dress and a long veil
that falls behind her head. “
•Avoid using words like "beautiful,"
"ugly," "good" or "evil."
10. 2. DISCUSS THE WORK'S
ELEMENTS.
•Describe the work in details.
•Talk about how art uses these five
basic elements in art and design:
line, color, space, light, and form.
11. 3. DESCRIBE HOW TO USE
THE LINE.
•Lines in a piece of art may be either
explicit or symbolic.
•Different types of lines may produce
various moods or effects.
12. •The rough, sketchy lines build a sense
of movement and independence, while
the smooth, firm lines sound more still
and carefully designed.
•The arrangement of figures and objects
within a scene can indicate a line of
sight or action.
13. 4. SPEAK ABOUT HOW
COLOR IS USED.
•Note characteristics such as hue
(red, green, blue, etc.), Color
(lightness or darkness) and strength.
•Look at the overall color scheme and
think about how colors fit together.
14. •For example, do the colors clash, or
are they harmonious?
•Does the work use a variety of
colors, or is it monochromatic (all
shades of blue, for example)?
15. 5. DESCRIBE THE USE OF
SPACE IN THE WORK.
•"Space" refers to the areas
around and within objects inside
a job.
16. •When thinking about space,
concentrate on issues like depth
and perspective, overlapping
objects, and using empty space
versus space filled with details.
17. •When you present a two-
dimensional piece of art, like a
painting, think about whether the
piece produces the impression of
three-dimensional space and depth.
18. 6. DESCRIBE THE USE OF
LIGHT IN THE WORK.
•Light in a work of art may be warm
or cold, bright or dark, natural or
artificial.
•Take some time to think about the
role of light and shadow in the work.
19. •When you are thinking about a two-
dimensional work, like a painting, the
attention may be on how the artist
creates the illusion of light.
•In a three-dimensional work, like a
sculpture, you might explore how real
light interacts with the work. Is the
20. 7. MAKE NOTE OF THE WAY
SHAPE IS USED IN THE
WORK
•Were the shapes linear, straight lines and
perfect curves in the work, or are they
more natural?
•Is the work dominated by some single
form of shape, or do you see several
22. 1. DISCUSS HOW THE WORK
USES THE PRINCIPLES OF
COMPOSITION.
•When you've described the work, it's
time to examine it or explain how it all
comes together.
•Start by thinking about how the work
is made up, keeping a few simple
23.
24. BALANCE:
•How do the colors, shapes and
textures of the piece fit together?
•Should they produce a balanced or
harmonious effect, or is the piece in
some way unbalanced?
25. CONTRAST:
•Does the job use contrasting colors,
textures, or lighting?
•Contrast can also be seen in the use
of various shapes or contours, such as
jagged vs. Curved lines or geometric
26. MOVEMENT:
•Why is the work generating
a sense of movement is your
eye drawn in a specific way
through the composition?
27. PROPORTION:
•Do the proportions of the different
elements appear as you might expect, or
are they surprising?
•For example, if the research depicts a
group of people, do all of the figures
look bigger or smaller than they would
28. 2. IDENTIFY THE SUBJECT
OF THE JOB
•Many of the works of art have one or
more points designed to attract your
attention and draw your gaze.
29. •For a portrait, this may be the subject's
face or eyes.
•It may be a centrally located or well-lit
object in a still-life.
30. 3. SEARCH FOR PATTERNS
AT WORK.
•Identify a few main themes
and explain how the artist
used design elements (color,
light, room, form, and line) to
31. •Themes could include things
like:
•A. The use of a color scheme to
give the work a particular mood
or meaning.
•B. Symbolism and religious or
mythological imagery.
34. 1. TRY TO IDENTIFY THE
PURPOSE OF THE WORK
•In other words, what do you think the
artist was trying to say with the work?
•Why did they create the work?
•Try to summarize the overall meaning of
the work, as you see it.
35. 2. DESCRIBE YOUR OWN
APPROACH TO WORK
•Talk about how you feel when you're looking at
work.
•What do you think is the overall mood of the job?
•Does that remind you of something (ideas,
memories, certain works of art)?
•Use descriptive language to speak about your
36. •Was the mood at work sad?
•Hopeful?
•Peaceful?
•Perhaps you'd like to describe
the work as stunning, or ugly?
37. 3. BACK UP YOUR
INTERPRETATION/ DEFINITION
WITH EXAMPLES
•Using examples from your job summary and
review to illustrate why you think and feel
the way you do it.
• Example, “I believe that James Sant’s
portrait of a young bride is intended to give
a sense of the bride’s spiritual devotion.
38. •This is indicated by the line of the
composition, which draws the viewer’s
eye upward, following the upward gaze
of the subject.
•It is also suggested by warm light,
coming from a source somewhere
above the young woman.”
41. 1. DECIDE WHETHER YOU
THINK THE WORK IS GOOD
•Your aim here is not simply to
determine if the art is "good "or
"bad."
•Rather, concentrate on whether
you think the work is
42. THINK, FOR EXAMPLE, OF THE FOLLOWING:
•Do you think the illustration expresses
what the artist wanted to say?
• Did the artist make effective use of
their knowledge and techniques?
• Is art original, or is it imitating other
43. 2. EXPLAIN HOW YOU
JUDGE THE JOB.
•When you have agreed on a few elements of the
work to be assessed, clearly demonstrate the
focus of your evaluation.
•You may suggest, for example, that you judge
the piece on how well structured it is, how well
done it is technologically, and how well it
44. 3. SUMMARIZE WHY YOU THINK THE
WORK HAS BEEN SUCCESSFUL OR
INEFFECTIVE.
•Explain your decision on the job in a
few sentences.
•Please offer clear reasons for your
decision, using your understanding
and analysis of the work.
45. •For example, “I believe this work is
successful because the use of light,
shape, gesture, and line all work
together harmoniously to portray the
mood of the subject.”
46. •As presented above, the different
principles and steps in critiquing the
artwork,
•Are you now ready to critique?
•What do you think is the significance
of an art critiques?
•Are they really helpful?
47. •Basically, an art critique allows the artist
to understand how they influence their
audience.
•It also allows the audience/viewer to
gain a better understanding of that
artists' work.
•Moreover, it is also a spur to deciding
what you really think is the meaning,