This document provides instructions for conducting a formal analysis of an artwork. It outlines a 4-step process: 1) Experiencing the artwork without preconceptions, 2) Identifying the genre, 3) Identifying the medium, and 4) Considering the dimensions. It then discusses focusing the analysis on specific formal elements like line, color, shape, texture and size. Finally, it provides context on the historical emphasis placed on line and color as the most basic elements of 2-dimensional art.

1. Class 4.2
FORMAL
ANALYSIS

2. agenda 9.15.16
• beginning the process of formal analysis
• formal elements
• color
• line

3. What is Formal Analysis?
Breaking a work down into component parts for
purposes of systematic observation and
understanding.
When the parts are put back together, you do so
with a richer understanding of each part and
how they fit together.

4. Step 1
Experiencing the Effects. Give yourself time simply
to look at the work, without preconceptions. Just
look. See what you see, feel what you feel, think
what you think.
When you've done this and really given yourself a
bit of time, then you're ready to move on to the
next step.

5. Step 2
• Identify the genre of the work, if possible.
• Examples:
• still life
• landscape
• portrait

6. Paul CÉZANNE
The Peppermint Bottle
1893/5
oil on canvas
25.9 × 32.3 in

7. Frederic Edwin CHURCH, Cotopaxi, 1855.
Oil on canvas, 30 x 46-7/16 inches.

8. Thomas Gainsborough, Mr. and Mrs. Andrews, 1750, oil on canvas, 27.20 x 46.87 in

9. Thomas RUFF
Porträt (T. Ruff)
1991
c-print
73 ¼ x 71 ¼ in

10. Step 3
Identify the medium of the work. This is often, but not
always, given in the caption or label. Is it a:
• Drawing?
• Painting?
• Photograph?
• Sculpture?
If any more specific information is given, take this into
account (e.g., watercolor on paper, acrylic on
masonite, oil on canvas, etc.)

11. Step 4
Consider the dimensions of the actual work.
Photographs can be quite deceptive, so look at the
caption for information about size. Try to envision
how large or small the work is. Take out a ruler or
tape measure to help if you aren't good at
visualizing size.

12. Formal Analysis
You are going to examine this object closely in
terms of:
• line
• color
• shape
• pattern
• light
• texture
• size
• orientation

13. KEEP IN MIND
Not all of these will apply equally to every work of
art. Based upon the actual work you are analyzing,
you will choose a few of these to focus your
energies on.

14. LINE and COLOR
• Long history of talking about these two properties
• Disegno versus colore (in Italy)
• Dessin vs. couleur (in France)
Are considered the two most
basic elements of two-
dimensional art

15. LINE
Line/design can mean
several things:
(It’s clearer if we use a
more direct translation:
design)
Design could mean:
A drawing
A plan to make something

16. Ingres,
Apotheosis of
Homer,
c. 1827,
brush,
gouache, and
gray wash on
paper, Louvre

17. This is both a “drawing” and
a “plan’ for how to make the
work. It comes first.

18. The painting comes second.

19. So color was thought to be
secondary.
Except that some artists defied this rule.
They said, actually paint is what paintings are made of, and
paint is pigment (a color) suspended in a medium (some
sort of binder).

20. Jan van der Straet (Dutch, 1523 – 1604) The Painter's Studio

21. Assistant grinding colors for use in a Diego Rivera fresco

22. Pierre Bonnard’s worktable, 1945

23. Henri MATISSE
Open Window, Collioure
1905
oil on canvas
21 3/4 x 18 1/8 in