Advance Placement Art History
Conducting Formal Analysis
Summer Assignment
Kyle Tinnes
FORMAL ANALYSIS ASSIGNMENT
Formal Analysis
A formal analysis is an examination of the formal structure, or the how certain visual elements have been arranged within a composition, in order to arrive at a greater understanding of the expression, message, or meaning of the object. In conducting a formal analysis, you do NOT focus on the subject matter, function, historical or cultural context. Instead, a formal analysis has its basis in a careful and thorough description of the object, as if you were describing the work of art to someone who has never seen it before so he/she can have a complete mental picture of what the work looks like. However, the formal analysis is more than just a description of the work. It should include your conclusions about the work, as the purpose of a formal analysis is to not simply describe the painting, but to help guide you through a careful reading and analysis of the work.
Things to consider when conducting a formal analysis:
Record your first impression(s) of the artwork. What stands out? Is there a focal point (an area to which the artist wants your eye to be drawn)? If so, what formal elements led you to this conclusion? These first impressions are important!
Line: Are the outlines (whether perceived or actual) smooth, fuzzy, or clear? Are the main lines vertical, horizontal, diagonal, or curved, or a combination of any of these? Are the lines jagged and full of energy? Sketchy? Geometric? Curvilinear? Bold? Subtle?
Light, Value, & Shadow: Are shadows visible? Where? Are there dark shadows, light shadows, or both? How do the shadows affect the work? How does the artist light the work?
Color: What type of colors are used in the work? Bright? Dull? Complimentary? Does the artist use colors to draw your attention to specific areas of the work? How? If a sculpture, examine the color(s) of the medium and how it affects the work.
Texture: If the work is a sculpture, is the surface smooth and polished or rough? Are there several textures conveyed? Where and How? If a painting, is there any texture to the paint surface? Are the brushstrokes invisible? Brushy? Sketchy? Loose and flowing? Or tight and controlled?
Shape & Pose: If the work has figures, are the proportions believable? Realistic? Describe the pose(s). Is the figure active, calm, graceful, stiff, tense, or relaxed? Does the figure convey a mood? If there are several figures, how do they relate to each other (do they interact? not?)?
Space: If the artist conveys space, what type of space is used? What is the relation of the main figure to the space around it? Are the main figures entirely within the space (if the artwork is a painting), or are parts of the bodies cut off by the edge of the artwork? Is the setting illusionistic, as if one could enter the space of the painting, or is it flat and two-dimensional, a space that one could not possibly enter?
Composition: How are the parts of the work arranged? Is this a stable or unstable composition? Is it dynamic? Full of movement? Or is it static?
Size: How big is the artwork? Are the figures or objects in the work life-sized, larger orsmaller than life? How does the size affect the work?
Scale & Proportions: Does the whole or even individual parts of the figure(s) or natural objects in the work look natural? Why did you come to this conclusion?
Mood: Do you sense an overall mood in the artwork? Perhaps several different moods? If so, describe them. How does the mood interpret how you view the work?
Once you have spent some time analyzing your work, notice if your first impression of the work has changed, now that you have taken a closer look. How have these impression changed?
Working through the above formal elements should help you arrive at your conclusions about the work of art. The following are some questions you can ask yourself to help you develop your conclusions:
• What do you 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?
Assignment
Write a 2-3 page visual analysis of one of the following works of art. You may choose the particular work, and if you so desire, see the work in person. Of course, attending a museum in person is NOT required. If you are not available to go in person, simply find a high resolution image(s) to view the work. The paper should be written in Times New Roman, 12 pt. font, with one-inch margins all around. The paper is due via email on Saturday, September 6th by 12 noon.
Remember, you have to use the specific formal elements you see in the work as evidence for your conclusions. To present a compelling formal analysis, I recommend that you
1) Develop and overall thesis that will unite your conclusions about this work.
2) Discuss and describe the formal elements.
3) Discuss the effects of these elements and how it serves as evidence to your conclusions regarding the meaning and message of this work.
Note: The essay should not simply be an incoherent listing of all of these formal elements. Rather it should be driven by how the artist uses specific techniques to achieve his/her goal. We will have time in class during the first week to discuss the essay and answer any questions you may have. If you have any questions in the mean times, please don’t hesitate to contact me.
Metropolitan Museum of Art
“Portrait of the Boy Eutyches,” 100 CE
“The Harvesters” Pieter Bruegel the Elder, 1565
“Head of a Queen Mother,” Iyoba c. 1750-1800
“Wheat Field with Cypresses,” Vincent van Gogh, 1889
Princeton University Museum of Art
“Stela of Vishnu and Attendants,”10th-11th centuries CE
“Drinking Contest of Dionysos and Herakles,” 3rd Century
“The Mocking of Christ,” Anthony Van Dyck, 1628-30
“Water Lilies and Japanese Bridge,” Claude Monet, 1899
“Ikenga,” Igbo Artist, 20th Century
“Blue Marilyn,” Andy Warhol, 1962
Philadelphia Museum of Art
“St. Francis of Assisi Receiving the Stigmata,” Jan Van Eyck, 1430-2
“Prometheus Bound,” Peter Paul Rubens, 1618
“Benjamin Franklin,” Jean-Antoine Houdon, 1779
“Improvisation No. 29,”Vasily Kandinsky, 1912
“A Wheatfield on a Summer’s Afternoon,” Marc Chagall, 1942