Guides for Analyzing Works of Art:

Sculpture, Painting, and Architecture

Source: Professor L. Vergara, Hunter College CUNY, 2007
Keep in in! t"at interpretation of #or$s of art s"oul! first procee! from %isual anal&sis
toward "istorical anal&sis' once &ou "a%e a goo! grasp of t"e for, an! "a%e ac(uire!
"istorical inforation a)out t"e #or$ of art, t"e process of un!erstan!ing in%ol%es a constant
interpla& )et#een foral an! "istorical anal&sis.
Soe of t"e (uestions a)out for an! coposition a& see %er& a)stract, )ut t"e&
encourage an essential groun!ing in t"e iage as a #or$ of art. Cogent interpretations re(uire
s$ill in anal&*ing for, as #ell as "istorical an! t"eoretical copetence.
+egar! t"e (uestions "ere as suggestions fro #"ic" to c"oose #"ate%er is useful in
t"e special case t"at &ou are consi!ering, an! as ai!s in t"in$ing up ot"er pertinent (uestions.
,a$ing s$etc"es of t"e #or$ of art #ill "elp &ou to see it ore full&. Your o)ser%ations #ill
pro%i!e &ou #it" )asic aterial to s"ape into a rea!a)le coparison of #or$s in essay form.
-"en !escri)ing an! anal&*ing #or$s of art, al#a&s note &our first ipressions. .ut
ree)er t"at &ou ust )e a)le to /ustif& &our conclusions )& o)ser%ations t"at can )e
c"ec$e! )& ot"ers. Consi!er alternati%e c"oices t"at an artist ig"t "a%e a!e, an! "o# t"e&
ig"t "a%e affecte! t"e c"aracter of t"e #or$. Copare a gi%en #or$ #it" ot"ers of t"e sae
su)/ect or perio! an! tr& to sa& #"at a$es t"e !ifferent of siilar. +ee)er: an&t"ing t"at
is actuall& o)ser%a)le in t"e #or$ of art is #ort" !iscussing.
Guide for Analyzing Sculpture
Identification: 0Keep in in! t"at t"is )asic !ata a& )e %er& !ifficult to esta)lis"' e%en t"e
)rief !ata on t"e useu la)el a& represent t"e fruit of painsta$ing "istorical in%estigation.1
2. 3rtist
2. Su)/ect or title of t"e #or$.
4. -"ere it #as a!e.
5. -"en it #as a!e.
6. Present location 7cit& 8 useu, collection, or out!oor site.9
:. ;riginal location, if $no#n.
Technical ata:
2. Si*e of t"e #or$: in gi%ing !iensions, list t"e "eig"t first.
2. ,e!iu: fro #"at aterial7s9 is it constructe!< =s it car%e! out of stone< -oo!> if so,
#"at $in!< ,o!ele! in cla& an! t"en cast in )ron*e or gla*e!< -el!e! etal< ;t"er<
4. ?eneral con!ition: #"ole an! un!aage!< 3 fragent< -orn< etc.
5. @ispla&: -as t"e #or$ eant to )e seen on its o#n or as part of a copleA sculptural of
arc"itectural setting< BreeCstan!ing< ,ounte! on a pe!estal or a )ase< Stan!ing on t"e
groun!< 3gainst a #all< =n a nic"e< 7D"e #all la)el a& not inclu!e all t"is inforation.9
Su!"ect #atter: -"at is s"o#n< 3)stract or representational 7!epicting recogni*a)le people,
places, t"ings9< Take inventory of what is represented, beginning with the major motifs. Do
#"ic" culture an!Eor )elief s&ste !i! t"e su)/ect )elong 7t"e cult or &t"s of a particular tri)e,
clan, or court, t"e He)re# .i)le or t"e Ne# Destaent' classical literature' t"e li%es of t"e
saints' +enaissance literature' "istor&' e%er&!a& life' etc.9<
=f t"e "uan figure is represente!, to #"at categor& !oes t"e person )elong 7!eit&'
at"lete' #arrior' statesperson' pri%ate person' poet' p"ilosop"er' &t"ological figure, etc.9<
1
C"aracteri*ation: consi!er age' pose' o%eent' attire' )o!& )uil!' s$in (ualit&' facial
eApression' ps&c"ological focus' ep"asis on anatoical or ot"er parts' relations"ip of !raper&
or ot"er clot"ing to t"e )o!&< =f a group of figures, also consi!er: p"&sical an! ps&c"ological
relations"ips aong t"e figures' o%eent fro figure to figure> r"&t"ic, patterne!, !is/ointe!,
etc.
Pre$ailing A%is: Vertical' "ori*ontal' !iagonal' spiral<
&olumes: -"at $in! of t"reeC!iensional fors are )asic to t"e sculpture< ?eoetric 7conic'
cu)ic' p&rai!al' etc.9< =rregular 7organic>lifeli$e' /agge!, soot"9< 3 particular co)ination of
t"e irregular an! t"e geoetric< Ho# are t"ese fors organi*e! 7inclu!ing relati%e scale an!
proportion9<
Space: Do #"at !egree !oes t"e sculpture !isplace space< @o fors an! surroun!ing space
interpenetrate< =s it a relief t"at creates an illusion of space #it"in it< =s t"e sculpture frontal<
@oes it turn space< -as it eant to )e seen fro one point of %ie# onl&, or fro an&<
'ine: Ho# is line use! in t"e sculpture< Contour: !oes t"e #or$ "a%e an open or close!
sil"ouette< 3re t"e !oinant linear eleents seen in t"e fors t"esel%es, or are t"e& incise!
onto t"e surface< -"at is t"e relations"ip )et#een t"e linear an! %oluetric eleents<
(olor: =s color or gil!ing a!!e! to t"e sculpture< =s t"e color of t"e aterial of special
iportance< @oes t"e color "a%e a t"eatic significance< @oes it "a%e a !escripti%e or
eApressi%e function<
'ight: Has t"e artist consi!ere! t"e effect of lig"t upon t"e #or$< 3re t"e fors arrange! so
t"at a particular effect of lig"t an! s"a!e #ill )e attaine!< @o parts of t"e sculpture cast
s"a!o#s< 3re t"ere s"arp protrusions t"at catc" t"e lig"t< @eep poc$ets of s"a!o#<
)elation of Techni*ue and #aterial to +orm: 3re soe of t"e fors in"erent to t"e car%ing or
o!eling or t"e asse)ling process< Has t"e surface )een polis"e!< =s t"ere a pattern on t"e
surface<
+urther Iconographic Analysis ,i-e-, historical analysis of su!"ect matter.: =s t"e su)/ect
treate! in t"is sae #a& in conteporaneous #or$s< Has t"is )een a constant tra!ition, or "as
t"e t"ee %arie! o%er t"e centuries< =s it a ne# su)/ect altoget"er< Has a ra!icall& ne#
interpretation )een gi%en to an ol! o)/ect<
+unction: -as t"e #or$ inten!e! for pu)lic or pri%ate %ie#ing< -as its function priaril&
sepulc"ral' %oti%e' coeorati%e' political' !ecorati%e' etc.< -as it a!e as a cop& of an
a!ire! #or$<
(ontent: Ho# !i! t"e su)/ect, t"ee, an! for con%e& i!eas, %alues, sentients, )eliefs,
perceptions< -"at ig"t t"e #or$ of art sa& a)out t"e perio! an! culture in #"ic" it #as
create!<
2
Guide for Analyzing Painting
D"is list of (uestions to as$ #"en loo$ing at paintings #as a!opte! fro, an! augents a gui!e
#ritten )& F.S. Hel!, Professor Geritus, .arnar! College 72H0:C20049.
Identification: See un!er Sculpture
Technical ata:
2. Si*e of t"e #or$: in gi%ing !iensions, list t"e "eig"t first.
2. ,e!iu: -"at aterials are use! for support> #oo!, can%as, car!)oar!, paper, etc.< ,ore
t"an one aterial< -"at $in! of colors: oil, tepera, #atercolor, pastel<
4. ?eneral con!ition: #"ole an! un!aage!< 3 fragent< Surface a)rasion< etc. 7Usuall&,
useus #it" large collections onl& eA"i)it paintings t"at are in reasona)l& goo! con!ition.9
Su!"ect #atter: -"at is s"o#n< 3)stract or representational 7!epicting recogni*a)le people,
places, t"ings9< Da$e in%entor& of #"at is represente!, )eginning #it" t"e a/or otifs.
-"at t&pe of su)/ect is it: religious' "istorical' allegorical' genre> i.e. a scene #it"
anon&ous figures, usuall& in a situation fro e%er&!a& life' still life' portrait' lan!scape'
arc"itectural %ie#< =f t"e painting sees to )elong to ore t"an one categor&, tr& to !eterine
#"ic" is !oinant.
Do #"ic" culture an!Eor )elief s&ste !i! t"e su)/ect )elong 7t"e cult of &t"s of a
particular tri)e, clan, or court' t"e He)re# .i)le or t"e Ne# Destaent' classical literature' t"e
li%es of t"e saints' +enaissance literature' "istor&' e%er&!a& life' etc.9<
=f t"e "uan figure is represente!, to #"at categor& !oes t"e person )elong 7!eit&'
at"lete' #arrior' statesperson' pri%ate person' poet' p"ilosop"er' &t"ological figure, etc.9<
C"aracteri*ation: consi!er age' pose' o%eent' attire' )o!& )uil!' s$in (ualit&' facial
eApression' ps&c"ological focus' ep"asis on anatoical or ot"er parts' relations"ip of !raper&
or ot"er clot"ing to t"e )o!&< =f a group of figures, also consi!er: p"&sical an! ps&c"ological
relations"ips aong t"e figures' o%eent fro figure to figure> r"&t"ic, patterne!, !is/ointe!,
etc.
+unction: =s t"e #or$ an altarpiece' pri%ate !e%otional iage' pu)lic ural' ca)inet picture
7a!e priaril& for t"e !elig"t of a pri%ate person, a connoisseurC soeone %er& $no#le!gea)le
a)out art9< etc.<
Structure: /asic (onsiderations:
2. Brae: t"e )oun!aries of t"e support upon #"ic" t"e iage or !esign is painte! 0consi!er
else#"ere t"e actual #oo!en or etal frae> a separate o)/ect> place! aroun! t"e support1
an! pictorial area: -"at is t"e proportion of "eig"t to #i!t"< Ho# !o t"e !oinant s"apes an!
otifs relate to t"e frae 7#"ic" is usuall& a %ertical or "ori*ontal rectangle9' are t"e&
Irespecte!J )& t"e frae or clearl& croppe!<
2. Dec"ni(ue 7see I,e!iuJ a)o%e9. Ho# is t"e paint applie!: in stro$es or la&ers< t"ic$l& or
t"inl&< #it" a fine or a coarse )rus", or )& ot"er eans< 3re t"e colors transparent or opa(ue<
(onsiderations for ifferent (ategories of Su!"ect #atter
Portrait: KUseful #or$ing !efinition of a portrait: 3 #or$ of art #"ose priar& purpose is to
represent an actual "istorical person in suc" a #a& t"at t"e person portra&e! can )e recogni*e!
)& t"e inten!e! au!ience. D"roug" pose, gestures, costue, setting attri)utes, secon!ar&
3
figures, an! t"e a)stract properties of st&le 7color, space, lig"t, paint "an!ling, etc.9, t"e portrait
usuall& con%e&s #i!el&Cs"are! cultural i!eals of i!entit&, )ut soeties pri%ate ones as #ell.
Lifeli$eness is often, )ut not al#a&s, a goal.
Dec"nical points: Usuall& t"e figure in a portrait is referre! to as It"e sitter,J e%en if t"e
su)/ect !i! not actuall& IsitJ in person )efore t"e artist, or e%en if t"e su)/ect #as not ali%e at t"e
tie t"at t"e portrait #as painte! 7t"ere are an& post"uous portraits, for eAaple.9
Ho# uc" of t"e figure is s"o#n< Portraits are classifie! as fullClengt", t"reeC(uarter
lengt", "alfClengt", an! )ust lengt".
Ho# large is t"e figure #it"in t"e frae 7i.e., "o# uc" of t"e pictorial space !oes t"e
figure occup&<9 -"at $in! of )ac$groun! or setting' pose' gestures' facial eApression' action<
=s t"e figure at an angle to t"e picture plane, turne! in space, or frontal<
-"at attri)utes are inclu!e!< 3n& in!ication of tra!e, profession, class, fail&
relations"ip, etc.< Ps&c"ological relations"ip to t"e spectator' note t"e ga*e' if it is !irecte!
to#ar! t"e spectator, is it intiate, e.g. or aloof< -"at $in! of clot"ing: ric" or plain, tig"t or
looseCfitting, IcorrectJ or casual, etc.< -"at aspects are stresse!< Can &ou !etect
eAaggeration or !e%iation fro esta)lis"e! nors<
+ee)er t"at #"at &ou see in a portrait is a)o%e all an artistic construction and
interpretation, #"ic" stresses aspects iportant to t"e painter an! au!ience. D"e primary
o)/ect of &our anal&sis, t"en, is not t"e "istorical person #"o is represente!, but the personage
that the artist has created. Bor an un!erstan!ing of t"is personage a stu!& of suc" eleents as
costue or )ac$groun! are pro)a)l& uc" ore re%ealing t"an Ip"&siognoic guessingJ>, i.e.,
tr&ing to rea! c"aracter t"roug" facial eApression.
+igural Scenes: -"at $in! of su)/ect !oes t"e stor& or inci!ent represent 7religious,
&t"ological, "istorical, allegorical, e%er&!a& life, etc.<9 =s t"e action (uiet or full of p"&sical
o%eent< ,an& figures or fe#< Sall or large in relation to t"e si*e of t"e picture< BullC
lengt" or cut )& t"e frae< -"at $in! of setting< =n!oors or out< -"at role !oes t"e setting
pla&< ,ain action stresse!, or o)scure!<
@efinition of "istor& painting 7fro t"e =talian istoria, eaning stor& or narrati%e9: figure painting
t"at represents a stor& t"at is tol! in ters of figural poses, facial eApressions, setting,
attri)utes, an! t"e a)stract structure of t"e painting itself. Suc" stories are usuall& !ra#n fro
t"e .i)le, li%es of t"e saints, classical "istor&, an! &t"olog&. =n -estern art t"eor& fro t"e
+enaissance to t"e later 2H
t"
centur&, "istor& painting generall& "as )een regar!e! as t"e ost
c"allenging an!, )& eAtension, t"e ost iportant $in! of painting.
'andscape: Su)/ect atter: -"at $in! of place is !epicte!: culti%ate! fiel!s, #oo!s, ri%er )an$,
etc.< Can t"e season, #eat"er, or tie of !a& )e !eterine!< -"at $in! of "uan acti%it& or
signs of "uan acti%it& are s"o#n< -"at $in! of arc"itectural eleents appear an! #"at is
t"eir t"eatic relations"ip to t"e site< 7;ne can soeties fin! a teAtual source or a literar&
categor& or lan!scape for e%en t"e ost naturalCloo$ing %ie#s.9 @oes it represent a specific
place> an i!entifia)le to#n on t"e "ori*on, for eAaple< =f so, can &ou !eterine to #"at
!egree topograp"ical accurac& "as )een soug"t<
Bor: Consi!er t"e si*e of t"e area s"o#n an! t"e spectatorLs %ie#point. Ho# !o #e
%isuall& Igain entr&J into t"e picture, an! "o# far can #e see into t"e !istance< -"at is t"e
proportion of eart" to s$&, plain to ele%ation, #ater to lan!, open to close! areas< 3re t"e otifs
concentrate! or !iffuse< =s t"e picture painte! in a suar& st&le or is it full of o)/ecti%el&
ren!ere! !etail<
4
-"at is t"e general c"aracter of t"e scene: attracti%e, for)i!!ing, cal, tur)ulent,
spectacular, intiate, etc.< -"at eleents !eterine t"e effect< Consi!er all t"e otifs> as
#e as lig"ting, spatial construction, an! color sc"ee, an! t"eir eApressi%e (ualities.
(omposition
(arrangement of the parts that form the whole; pictorial structure)
;rgani*ation: Siple or copleA< ?eoetricall& or!ere! or free an! seeingl& acci!ental< @o
soe fors an! otifs !oinate o%er ot"ers< =s t"ere s&etr& or not< Cro#!e!ness of
spaciousness< Variet& or repetition< .alance or lac$ of )alance<
Line: Contours of otifs as clear or o)scure!< Su)ser%ient or Iasserti%e<J 3ngular or cur%e!<
=f )ot", in #"at proportion an! relations"ip< =s line>!ra#ing> !iscerna)le at all<
=n!i%i!ual Units: ,an& or fe#< Large or sall 7)ot" in relation to t"e outsi!e #orl! an! to t"e
picture area9< -"at range of si*es< +egular or irregular s"apes< -"at $in! of patterns !o
t"e& for< -"at proportion of soli! an! I)ro$en upJ areas< Gp"asis on center or arginal
areas< @egree of ornateness< 3re fors )ulging or flat< =f t"ere are arginal areas, "o# are
t"e& treate!<
Colors: .rig"t or su)!ue! 7Isaturate!J or Ilo# $e&J9< 3re t"e& IplainJ or IrareJ< ,an& colors or
fe# 7Iliite!J or I#i!eJ palette<9 3n& one !oinant< -ar 7t&picall&, re!s, oranges, &ello#s9 or
cool 7t&picall&, )lues, gre&s, greens9< ,o!erate or eAtree contrasts< Large areas or sall
patc"es< +epetitious or ec"oing<
Lig"t: =s t"ere a consistent source< =nsi!e or outsi!e t"e picture or )ot"< Strong or ute!
contrasts< @egree of clarit&: "o# uc" s"a!o#< -"at is t"e function of t"e s"a!o#s:
clarif&ing for or space' ep"asi*ing certain parts of a picture at t"e eApense of ot"ers,
creating oo!, etc.<
Space: @egree of flatness or !ept"< ;pen or screene! off< Gp"asis on soli!s or %oi!s 7i.e.
inter%als9< -"at $in! of perspecti%e 7linear, aerial, etc.<9 =s t"e ain interest near or far, or is
t"ere o%erlapping of fors< -"at is t"e !egree an! $in! of spatial illusion<
General 0ualitati$e 1!ser$ations: Ho# consistent is t"e structure of t"e #"ole< -"at !egree
of %ariet& or saeness< @oes t"e #or$ see spontaneous or calculate!< IBelicitousJ or
contri%e!< Ho# eaningful are t"e %arious foral eleents an! t"eir organi*ation for t"e
interpretation of t"e t"ee for con%e&ing oo!, for creating sustaine! I%isual interestJ< =s t"e
effect lou! or intiate, onuental or trifling, solen or lig"t"earte!, ascetic or opulent< -"at
are &our criteria for /u!gents of t"is $in!<
(ontent ,2istorical knowledge is essential to answer these *uestions-.: -"at are t"e ost
li$el& i!eas, %alues, sentients, an! perceptions #it" #"ic" t"e #or$ #as originall& concerne!<
Ho# ig"t function "a%e affecte! t"e for< Ho# !oes t"e foral structure of t"e #or$ of art act
toget"er #it" its su)/ect an! t"ee< @oes t"e picture attept to esta)lis" e(ui%alences
)et#een pictorial for an! ot"er cultural nors< @oes it tr& to un!ercut or su)%ert t"e
ainstrea i!eolog& of a culture< =s it possi)le to a$e a reasone! stateent a)out t"e artistLs
ais< @oes t"e artist #is" to ele%ate t"e spirit, instruct, orali*e, entertain, satisf& "is or "er
o#n nee! for eApression, etc.< Ho# ig"t t"e original au!ience7s9 "a%e s"ape! t"e #or$<
Percei%e! t"e #or$< Ho# ig"t &our o#n eAperiences, nors, an! i!eological )iases affect t"e
#a&s in #"ic" &ou %ie# t"e #or$<
5
Guide for Analyzing Architecture
Identification: 3rc"itect 7if $no#n9' nae of )uil!ing' location' !ate 7an& )uil!ings #ere
constructe! o%er an eAten!e! perio! of tie. -"at parts #ere )uilt at #"at !ates< @i!
c"anges in st&le occur o%er tie<9.
Purpose: Deple, C"ristian c"urc", to), "ouse, palace, eeting "all, office )uil!ing, etc.<
Usuall& t"ere are furt"er !istinctions> e.g., if it is a Cat"olic c"urc", is it a cat"e!ral, a
pilgriage c"urc", a palace c"apel, etc.< -as it )uilt on an iportant site 7e.g. St. PeterLs in
+oe is )uilt o%er t"e purporte! gra%e of St. Peter, t"e first pope of t"e -estern c"urc"9< -"at
#as t"e status of t"e people #"o originall& use! t"e )uil!ing<
Structure: -"at fors "elp "ol! up t"e )uil!ing< -"at aterials #ere use!, an! #ere t"e&
easil& a%aila)le to t"e )uil!ers< Ho# is t"e )uil!ing lit< -"at is t"e si*e of t"e #in!o#s an!
!oors< 3re t"e& ela)orate! t"roug" !ecoration< Ho# are t"e& space!< @oes t"e s"ape or
"eig"t of t"e site affect t"e for of t"e )uil!ing< =s t"e ceiling flat, or %aulte!, or a !oe< =s it
a!e out of #oo! or stone< -"at sort of )uttresses #ere use! to "ol! up t"e roof< -"ere are
t"e supports place!<
3re t"ere columns or piers in t"e )uil!ing< -"ere< -"at t&pe are t"e&< 3re t"e& siple or
ornate, assi%e, or slen!er<
=s sculpture place! on t"e )uil!ing< ;n #"ic" parts< -"& at t"ose particular places<
Eterior in relation to the interior! 3re t"e %arious le%els of t"e interior reflecte! on t"e outsi!e<
Ho#< -"ic" is ore ornate, t"e outsi!e or t"e insi!e< =s t"e front of t"e )uil!ing flat an!
soot" or is it rusticate! or full of protrusions< @i! t"e arc"itect !eli)eratel& contrast t"e
outsi!e an! t"e insi!e< =f so,#"&<
+unction and Structure: @i! t"e )uil!ing "a%e to accoo!ate large nu)ers of people< =s
t"e )uil!ing eant to )e coeorati%e, or is it a eeting place, or )ot"< 3re !ifferent parts of
t"e )uil!ing eant for !ifferent functions or !ifferent t&pes of people< Ho# are t"ese areas
arrange!< -"ic" area is t"e ost iportant< Ho# !i! t"e arc"itect ep"asi*e t"at t"is area is
t"e ost iportant<
2istory and Geography in )elation to Architectural +orms: 3re t"e arc"itectural fors of
t"is )uil!ing siilar to ot"er )uil!ings in t"e sae area< -"ic" eleents reflect a local
tra!ition< 3re t"ese fors a (uestion of practicalit& 7e.g., t"e s"ape of t"e roof a& )e a
response to #eat"er con!itions in t"at area9< ;r are t"e fors relate! to local custos 7e.g.,
.&*antine c"urc"es al#a&s "a! )alconies for t"e #oen9< 3re arc"itectural fors relate! to
foreign o!els< -"& #oul! suc" o!els )e c"osen< -"ic" eleents are !ifferent< @o t"e
arc"itectural fors iitate an earlier arc"itectural %oca)ular& 7e.g. ?ot"ic +e%i%al arc"itecture,
li$e St. Patric$Ls Cat"e!ral in NYC9< -"& are earlier o!els iitate!<
-"at stateents !oes t"e )uil!ing a$e a)out "uan %alues, i!eas, )eliefs, sentients<
6