Formal Analysis of an Artwork.
WHAT IS A FORMAL ANALYSIS? A formal analysis is a visual analysis of the significant formal elements and principles of design of an artwork. These elements 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 help in writing a formal analysis, you should think about how you would describe the work to someone who has never seen it before. When your reader finishes reading your essay, they should have a complete mental picture of what the work looks like. Your formal analysis, however, is more than just a description of the work. It should also include a thesis statement (main argument) that reflects your conclusions about the work. The thesis statement may, for example, answer a question, such as: What is one significant 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 component. It sets the tone for the entire paper, and sets it apart from being a merely descriptive paper. This is not a research paper. Your main form of evidence should be specific, concrete visual examples that demonstrate close looking, and a reflection on how the formal elements work together and create meaning. FORMAL ELEMENTS/PRINCIPLES OF DESIGN TO CONSIDER Formal Elements ● Line (rectilinear, curvilinear, angular, flowing, horizontal, vertical, diagonal, contour, outline, thick, thin, implied, etc.) ● Shape (what shapes are created and how) ● Composition (arrangement of elements/parts) ● Light and Shadow (light source, strong, raking, contrasting, even, emphasis, shadows, chiaroscuro, natural light, artificial light, etc) ● Color (primary, secondary, complementary, warm, cool, values, saturated, etc) ● Texture and Pattern (real, implied, repeating) ● Space (foreground, middleground, background, depth, overlapping, types of perspective) ● Time and Motion Principles of Design ● Unity/Variety ● Balance (symmetry, asymmetry) ● Emphasis/Subordination ● Scale/Proportion (how objects or figures relate to each other and the setting) ● Mass/Volume (three-dimensionality, weight) ● Rhythm ● Function/Setting (especially for architecture/sculpture/decorative arts) You do NOT have time to discuss every formal element or principle of design in your paper, nor would you want to. Choose the elements that are most relevant to your particular artwork, and that best support your thesis statement (main argument). In your supporting paragraphs, be sure to have a directed point and not merely list descriptive attributes. STRUCTURING YOUR PAPER (part II: Think of your paper as having three main parts: an introduction, body, and conclusion. In each section, your paragraph should move logically and should all help prove your thesis statement (main argument). Each body paragraph should have a strong, clear topic sentence to orient the reader. A clear outline of your main arguments in your introduction will also go a long way for your reader. I. TITLE Include an original title for your paper. You may include this in a cover page if you like. The title should tell your reader something about your paper. Try to come up with something intriguing or informative (versus something very general, like “ART 102 Paper” or “Term Paper” or “Formal Analysis Paper,” etc.) II. INTRODUCTION In the first paragraph of your paper, called the introduction, you will introduce your topic and main points to your reader. You should include the following components: • Identify the artwork fully: List the artist (if known), title of the work, medium (what the work is made from), date, place of origin/original location (if known). • Very brief description of the artwork and what is depicted, to orient your reader. • Thesis statement (main argument/ point of paper). Your thesis is your anchor. It should state what you think is the most important idea behind the work or how a viewer is affected by the work. There is no one “right” thesis statement: choose what you believe/want to argue most strongly, and that a general, intelligent viewer might reasonably conclude. • List the formal elements/principles of design you will focus on in the paper and that tie directly to your thesis statement (you should discuss about 3-5 formal elements). I suggest being as clear and specific and as possible (e.g., “bold color” vs. “color”; “curvilinear lines” vs. “line”), as this gives your reader a sense of what you will discuss in your paper. Your outline/draft, as well as the final draft of your paper, MUST include a clearly articulated thesis statement. (Remember, there are several possible–and perfectly valid–thesis statements; it’s about how well you argue and support your points.) Consult the instructor if you would like help formulating a thesis statement. SAMPLE THESIS STATEMENT: Sample thesis statement: Raphael’s Madonna of the Meadow depicts a tender and serene moment between the Madonna, Christ child, and John the Baptist as they interact in an idyllic landscape setting. The artist employs aerial perspective, a strong pyramidal composition, and striking color contrasts to create a harmonious and visually pleasurable scene. Sample formal elements: Perspective/Space, Composition, Line, Color, Mood. Raphael, Madonna of the Meadow, oil on canvas, 1505, 44” high. (High Renaissance, Italy) II. BODY The body paragraphs lay out the evidence supporting your thesis statement (main argument). After observing your artwork carefully, and brainstorming a list of notable formal aspects, choose about 3-5 major elements that you would like to focus on in your paper. Organize your ideas: 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 might deal with composition, another with a description of the figures/landscape, another with the background, another with line, another with color, etc.) A solid outline planned beforehand will help immensely. Trust me. THIS IS NOT A RESEARCH PAPER. You may briefly state information about subject matter, medium, artist bio, etc., but should largely restrict this to your introduction. This information is what you discussed in Part I of this paper. Your body paragraphs should concentrate on visual observation and interpretation (what you see and what it means). In other words, you are relying on your ability to visually ‘read’ a work of art and make interpretations based on the critical toolbox we’ve been building together (art vocabulary, techniques, formal elements, principles of design, methods of analysis). Move from description to analysis and interpretation. SUPPORT YOUR STATEMENT WITH SPECIFIC VISUAL EXAMPLES. The main form of evidence for a formal analysis paper should be concrete examples of visual details. Be as specific as possible, as this is more convincing to the reader, and also much more interesting to read. Guide your reader through looking at the artwork. Your reader should get the sense that you have looked at the artwork carefully, and that you have really thought about how the visual elements affect a viewer’s interaction with the work. You are required to look carefully at your artwork in person. When looking at the work note down your impressions, and make a quick sketch (this can be extremely helpful in really looking at the work and noticing details.) 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? Your impressions can help you reach your thesis. Please note that your essay MUST include evidence of close, in-person looking. Note down specific details from the work that jump out at you. This could be something like brushwork, texture, color–really, any number of things! Things to consider when writing a formal analysis (in no particular order): ● What is the subject of the artwork? ● Composition: How are the parts of the work arranged? Is there a stable or unstable composition? Is it dynamic? Full of movement? Or is it static? ● 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?)? ● 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? ● Line: Are the outlines (whether perceived or actual) smooth, fuzzy, 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? ● 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? ● Texture: If a sculpture, is the surface smooth and polished, or rough? Are there different textures? 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? ● Light and Shadow: Are shadows visible? Where? Are there dark shadows, light shadows, or both? How do the shadows affect the work? ● Size: How big is the artwork? Are the figures or objects in the work life-sized, larger or smaller than life? How does the size affect 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. ● Mood: Do you sense an overall mood or emotion 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 time analyzing your artwork, ask yourself if your first impression of the work has changed now that you’ve taken a closer look. How has it changed? If you came up with a thesis statement before doing this in-depth analysis, you may want to revise it if your impression has changed. Your thesis statement should reflect your view of the object. III. CONCLUSION Briefly summarize your main points. This is where you should go beyond description and offer a conclusion and your own informed opinion about the work. Any statements you make about the work should be based on the analysis in the body of your paper. In this section, discuss how and why the key elements and principles of art used by the artist create meaning. Support your discussion of content with visual facts about the work. PROTIPS ● Avoid very off-topic analogies, very personally-oriented statements, or anachronistic statements (e.g., “this altarpiece of the Madonna Enthroned with Angels is so bright, it reminds me of a day at the pool in Acapulco!”). You don’t need them, and they can keep you from pushing yourself to clearly explain what you mean. This is not appropriate for this type of college essay. ● Write in the third person point of view (this is not a hard and fast rule, but is generally preferable). It is easiest to avoid the issues of style and content listed above by writing in the third-person, rather than the first-person (avoid “I think…, “I feel…”, etc–we know you think this, because it’s your paper.) ● When referring generally to an artwork, refer to it as an artwork or work. Terms to avoid: piece, art piece, piece of art, piece of work