Contextual Theories of Art Criticism Consider Art as a Product of a Culture and Value System

Final Updated on May 27, 2021

This article has been written for high school art students who are working upon a critical report of art, sketchbook notation or an essay-based creative person study. It contains a list of questions to guide students through the process of analyzing visual material of any kind, including drawing, painting, mixed media, graphic design, sculpture, printmaking, architecture, photography, textiles, fashion and then on (the word 'artwork' in this article is all-encompassing). The questions include a wide range of specialist art terms, prompting students to use subject-specific vocabulary in their responses. It combines communication from art analysis textbooks as well as from loftier school art teachers who have kickoff-hand experience teaching these concepts to students.

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How to analyse a piece of art — International GCSE artist analysis case: The image above shows part of an A* IGSCE Art and Design sketchbook folio analysing the piece of work of Jim Dine, by Rhea Maheshwari, ACG Parnell Higher.

Why do we report art?

Nearly all loftier school art students carry out critical analysis of creative person work, in conjunction with creating applied work. Looking critically at the work of others allows students to understand compositional devices and then explore these in their ain art. This is one of the best ways for students to acquire.

Instructors who assign formal analyses want you to look—and wait carefully. Retrieve of the object as a series of decisions that an artist fabricated. Your job is to effigy out and describe, explain, and translate those decisions and why the artist may have made them. – The Writing Center, University of North Carolina at Chapel Hill^ten

Fine art analysis tips

'I like this' or 'I don't similar this' without whatever further explanation or justification is not assay. Personal opinions must be supported with explanation, evidence or justification.
'Assay of artwork' does non mean 'description of artwork'. To gain high marks, students must move beyond stating the obvious and add together perceptive, personal insight. Students should demonstrate higher lodge thinking – the ability to analyse, evaluate and synthesize information and ideas. For example, if color has been used to create strong contrasts in certain areas of an artwork, students might follow this observation with a thoughtful assumption nigh why this is the case – peradventure a deliberate attempt by the artist to draw attention to a focal point, helping to convey thematic ideas.

Although description is an important part of a formal analysis, description is non enough on its own. You must introduce and contextualize your descriptions of the formal elements of the work then the reader understands how each chemical element influences the work's overall outcome on the viewer. – Sylvan Barnet, A Short Guide to Writing Most Art^two

Cover a range of dissimilar visual elements and design principles. It is common for students to become experts at writing about one or two elements of composition, while neglecting everything else – for example, simply focusing upon the use of color in every artwork studied. This results in a narrow, repetitive and incomplete analysis of the artwork. Students should ensure that they cover a broad range of art elements and design principles, as well as address context and meaning, where required. The questions beneath are designed to ensure that students comprehend a broad range of relevant topics within their analysis.
Write aslope the artwork discussed. In almost all cases, written analysis should be presented alongside the work discussed, so that it is clear which artwork comments refer to. This makes it easier for examiners to follow and evaluate the writing.
Support writing with visual assay. It is about e'er helpful for loftier schoolhouse students to support written cloth with sketches, drawings and diagrams that help the student understand and analyse the piece of art. This might include limerick sketches; diagrams showing the primary structure of an artwork; detailed enlargements of small sections; experiments imitating use of media or technique; or illustrations overlaid with arrows showing leading lines and then on. Visual investigation of this sort plays an important role in many artist studies.

Making sketches or drawings from works of art is the traditional, centuries-old way that artists take learned from each other. In doing this, yous volition engage with a work and an artist's approach even if you lot previously knew nil about it. If possible do this whenever yous can, not from a postcard, the cyberspace or a movie in a book, but from the actual work itself. This is useful because it forces y'all to look closely at the piece of work and to consider elements y'all might not have noticed before. – Susie Hodge, How to Look at Art⁷

Finally, when writing about art, students should communicate with clarity; demonstrate subject-specific cognition; use correct terminology; generate personal responses; and reference all content and ideas sourced from others. This is explained in more detail in our article almost high school sketchbooks.

What should students write near?

Although each aspect of limerick is treated separately in the questions beneath, students should consider the relationship between visual elements (line, shape, class, value/tone, color/hue, texture/surface, infinite) and how these collaborate to form design principles (such as unity, variety, emphasis, dominance, balance, symmetry, harmony, movement, contrast, rhythm, blueprint, scale, proportion) to communicate significant.

As complex as works of fine art typically are, there are really only three full general categories of statements one can make most them. A argument addresses form, content or context (or their various interrelations). – Dr. Robert J. Belton, Art History: A Preliminary Handbook, The University of British Columbia⁵

…a formal assay – the result of looking closely – is an analysis of the form that the artist produces; that is, an analysis of the work of art, which is fabricated up of such things as line, shape, color, texture, mass, composition. These things give the stone or canvas its form, its expression, its content, its meaning. – Sylvan Barnet, A Brusk Guide to Writing Nearly Artⁱⁱ

This video by Dr. Beth Harris, Dr. Steven Zucker and Dr. Naraelle Hohensee provides an splendid example of how to analyse a piece of art (it is important to notation that this video is an example of 'formal analysis' and doesn't include contextual assay, which is also required past many high school art exam boards, in addition to the formal analysis illustrated here):

Limerick analysis: a listing of questions

The questions beneath are designed to facilitate direct engagement with an artwork and to encourage a latitude and depth of agreement of the artwork studied. They are intended to prompt college order thinking and to assist students go far at well-reasoned assay.

It is not expected that students answer every question (doing then would result in responses that are excessively long, repetitious or formulaic); rather, students should focus upon areas that are almost helpful and relevant for the artwork studied (for example, some questions are appropriate for analyzing a painting, but not a sculpture). The words provided equally examples are intended to help students call up most appropriate vocabulary to use when discussing a detail topic. Definitions of more complex words have been provided.

Students should not attempt to copy out questions and so respond them; rather the questions should be considered a starting indicate for writing bullet pointed notation or sentences in paragraph grade.

How to write art analysis — A small-scale sample of the books that informed this commodity. Some of these were written for art history students learning how to write an art analysis; others provide data about composition. For more details, please refer to the bibliography below.

CONTENT, CONTEXT AND Meaning

Subject matter / themes / issues / narratives / stories / ideas

There tin can be different, competing, and contradictory interpretations of the same artwork.
An artwork is not necessarily about what the artist wanted it to exist about. – Terry Barrett, Criticizing Art: Understanding the Contemporary⁶

Our involvement in the painting grows merely when we forget its championship and take an involvement in the things that it does non mention…" – Françoise Barbe-Gall, How to Expect at a Painting^viii

Does the artwork fall inside an established genre (i.e. historical; mythical; religious; portraiture; landscape; even so life; fantasy; architectural)?
Are in that location any recognisable objects, places or scenes? How are these presented (i.e. idealized; realistic; indistinct; hidden; distorted; exaggerated; stylized; reflected; reduced to simplified/minimalist form; primitive; abstracted; curtained; suggested; blurred or focused)?
Have people been included? What can we tell nigh them (i.e. identity; age; attire; profession; cultural connections; health; family unit relationships; wealth; mood/expression)? What can nosotros learn from their pose (i.eastward. frontal; profile; partly turned; body language)? Where are they looking (i.e. direct eye contact with viewer; downcast; interested in other subjects within the artwork)? Can we work out relationships between figures from the style they are posed?

What do the clothing, furnishings, accessories (horses, swords, dogs, clocks, business ledgers and so forth), background, angle of the head or posture of the head and body, direction of the gaze, and facial expression contribute to our sense of the figure'due south social identity (monarch, clergyman, bays wife) and personality (intense, cool, inviting)? – Sylvan Barnet, A Curt Guide to Writing Nigh Art²

What props and of import details are included (drapery; costumes; adornment; architectural elements; emblems; logos; motifs)? How do aspects of setting back up the principal subject field? What is the result of including these items within the system (visual unity; connections between different parts of the artwork; directs attention; surprise; multifariousness and visual involvement; separates / divides / borders; transformation from one object to another; unexpected juxtaposition)?

If a waiter served you a whole fish and a scoop of chocolate ice foam on the same plate, your surprise might be acquired past the juxtaposition, or the side-past-side contrast, of the 2 foods. – Vocabulary.com

A motif is an element in a composition or design that can be used repeatedly for decorative, structural, or iconographic purposes. A motif can be representational or abstract, and it can be endowed with symbolic meaning. Motifs tin exist repeated in multiple artworks and often recur throughout the life'south work of an individual artist. – John A. Parks, Universal Principles of Art¹¹

Does the artwork communicate an action, narrative or story (i.east. historical event or illustrate a scene from a story)? Has the arrangement been embellished, gear up up or contrived?
Does the artwork explore movement? Practice you gain a sense that parts of the artwork are well-nigh to change, topple or fall (i.e. tension; suspense)? Does the artwork capture objects in motion (i.eastward. multiple or sequential images; blurred edges; scene frozen mid-action; live performance art; video art; kinetic art)?
What kind of abstract elements are shown (i.due east. bars; shapes; splashes; lines)? Take these been derived from or inspired by realistic forms? Are they the result of spontaneous, adventitious creation or careful, deliberate system?
Does the work include the cribbing of piece of work by other artists, such as inside a parody or pop art? What effect does this have (i.eastward. copyright concerns)?

Parody: mimicking the appearance and/or manner of something or someone, merely with a twist for comic effect or critical annotate, as in Saturday Night Live'south political satires – Dr. Robert J. Belton, Art History: A Preliminary Handbook, The University of British Columbia⁵

Does the subject area captivate an instinctual response, such equally items that are informative, shocking or threatening for humans (i.e. dangerous places; abnormally positioned items; human being faces; the gaze of people; motion; text)? Heap map tracking has demonstrated that these elements catch our attention, regardless of where they are positioned –James Gurney writes more about this fascinating topic.
What kind of text has been used (i.e. font size; font weight; font family; stenciled; manus-drawn; computer-generated; printed)? What has influenced this choice of text?
Do key objects or images take symbolic value or provide a cue to meaning? How does the artwork convey deeper, conceptual themes (i.e. allegory; iconographic elements; signs; metaphor; irony)?

Allegory is a device whereby abstract ideas can be communicated using images of the concrete world. Elements, whether figures or objects, in a painting or sculpture are endowed with symbolic significant. Their relationships and interactions combine to create more complex meanings. – John A. Parks, Universal Principles of Art^eleven

An iconography is a particular range or system of types of paradigm used past an creative person or artists to convey particular meanings. For case in Christian religious painting there is an iconography of images such as the lamb which represents Christ, or the dove which represents the Holy Spirit. – Tate.org.uk

What tone of voice does the artwork accept (i.e. deliberate; honest; autobiographical; obvious; directly; unflinching; confronting; subtle; ambiguous; uncertain; satirical; propagandistic)?
What is your emotional response to the artwork? What is the overall mood (i.e positive; energetic; excitement; serious; sedate; peaceful; calm; melancholic; tense; uneasy; uplifting; foreboding; calm; turbulent)? Which discipline matter choices help to communicate this mood (i.eastward. weather and lighting atmospheric condition; color of objects and scenes)?
Does the title alter the way you lot interpret the work?
Were at that place whatsoever pattern constraints relating to the subject matter or theme/s (i.e. a sculpture commissioned to represent a specific subject, place or idea)?
Are at that place thematic connections with your own projection? What can you lot learn from the way the artist has approached this subject?

Wider contexts

All art is in function about the world in which information technology emerged. – Terry Barrett, Criticizing Art: Understanding the Contemporary^half-dozen

Supported by research, can you identify when, where and why the piece of work was created and its original intention or purpose (i.e. private sale; commissioned for a specific owner; commemorative; educational; promotional; illustrative; decorative; confrontational; useful or practical utility; communication; created in response to a design brief; private viewing; public viewing)? In what way has this background influenced the outcome (i.e. availability of tools, materials or time; expectations of the patron / audition)?
Where is the place of construction or design site and how does this influence the artwork (i.eastward. reflects local traditions, craftsmanship, or customs; complements surrounding designs; designed to accommodate weather conditions / climate; congenital on historic site)? Was the artwork originally located somewhere different?
Which events and surrounding environments have influenced this work (i.e. natural events; social movements such as feminism; political events, economic situations, celebrated events, religious settings, cultural events)? What upshot did these accept?
Is the work feature of an artistic style, movement or time menstruum? Has it been influenced by trends, fashions or ideologies? How can you tell?
Can you lot make whatsoever relevant connections or comparisons with other artworks? Have other artists explored a similar bailiwick in a similar style? Did this occur before or afterwards this artwork was created?
Tin can you make any relevant connections to other fields of study or expression (i.eastward. geography, mathematics, literature, film, music, history or science)?
Which key biographical details about the artist are relevant in understanding this artwork (upbringing and personal state of affairs; family and relationships; psychological state; health and fitness; socioeconomic status; employment; ethnicity; civilization; gender; education, faith; interests, attitudes, values and beliefs)?
Is this artwork part of a larger trunk of work? Is this typical of the work the artist is known for?
How might your own upbringing, behavior and biases distort your interpretation of the artwork? Does your own response differ from the public response, that of the original audition and/orinterpretation by critics?
How do these wider contexts compare to the contexts surrounding your own work?

COMPOSITION AND FORM

Format

What is the overall size, shape and orientation of the artwork (i.east. vertical, horizontal, portrait, landscape or square)? Has this format been influenced past practical considerations (i.e. availability of materials; display constraints; design cursory restrictions; screen sizes; common aspect ratios in film or photography such as 4:3 or 2:3; or paper sizes such as A4, A3, A2, A1)?
How do images fit within the frame (cropped; truncated; shown in full)? Why is this format appropriate for the subject matter?
Are different parts of the artwork physically divide, such every bit within a diptych or triptych?
Where are the boundaries of the artwork (i.eastward. is the artwork cocky-contained; meaty; penetrating; sprawling)?
Is the artwork site-specific or designed to be displayed beyond multiple locations or environments?
Does the artwork take a fixed, permanent format, or was information technologymodified, moved or adapted over time? What causes such changes (i.eastward. weather and exposure to the elements – melting, erosion, discoloration, decaying, wind motility, surface abrasion; structural failure – cracking, breaking; damage caused by unpredictable events, such as burn or vandalism; intentional movement, such every bit rotation or sensor response; intentional impermanence, such as an installation assembled for an exhibition and removed afterwards; viewer interaction; additions, renovations and restoration past subsequent artists or users; a project so expansive it takes years to construct)? How does this change affect the artwork? Are in that location stylistic variances between parts?
How does the scale and format of the artwork chronicle to the environment where information technology is positioned, used, installed or hung (i.eastward. harmonious with mural typography; sensitive to adjacent structures; imposing or dwarfed by surroundings; human scale)? Is the artwork designed to be viewed from one vantage betoken (i.e. front end facing; viewed from below; approached from a principal entrance; set at human eye level) or many? Are images taken from the best angle?
Would a like format benefit your own project? Why / why not?

Construction / layout

Has the artwork been organised using a formal system of arrangement or mathematical proportion (i.e. rule of thirds; aureate ratio or spiral; grid format; geometric; dominant triangle; or circular composition) or is the arrangement less predictable (i.e. chaotic, random, adventitious, fragmented, meandering, scattered; irregular or spontaneous)? How does this system of arrangement help with the communication of ideas? Tin you draw a diagram to bear witness the basic structure of the artwork?
Can you see a clear intention with alignment and positioning of parts within the artwork (i.e. edges aligned; items spaced as; simple or complex organisation; overlapping, clustered or concentrated objects; dispersed, separate items; repetition of forms; items extending beyond the frame; frames within frames; bordered perimeter or patterned edging; broken borders)? What effect do these visual devices take (i.e. imply hierarchy; assistance the viewer understand relationships between parts of artwork; create rhythm)?
Does the artwork have a primary axis of symmetry (vertical, diagonal, horizontal)? Can you locate a center of balance? Is the artwork symmetrical, asymmetrical (i.e. stable), radial, or intentionally unbalanced (i.eastward. to create tension or unease)?
Tin you lot depict a diagram to illustrate accent and dominance (i.due east. 'blocking in' mass, where the 'heavier' dominant forms appear in the composition)? Where are dominant items located within the frame?
How do your eyes move through the limerick?
Could your own artwork use a like organisational structure?

Line

What types of linear mark-making are shown (thick; thin; short; long; soft; bold; fragile; feathery; indistinct; faint; irregular; intermittent; freehand; ruled; mechanical; expressive; loose; blurred; dashing; cross-hatching; meandering; gestural, fluid; flowing; jagged; spiky; precipitous)? What atmosphere, moods, emotions or ideas do these evoke?
Are there any interrupted, suggested or implied lines (i.e. lines that can't literally be seen, merely the viewer's encephalon connects the dots between separate elements)?
Where are the dominating lines in the composition and what is the effect of these? Can you overlay tracing newspaper upon an artwork to illustrate some of the important lines?
- Repeating lines: may simulate material qualities, texture, blueprint or rhythm;
- Boundary lines: may segment, divide or split up different areas;
- Leading lines: may manipulate the viewer's gaze, directing vision or lead the eye to focal points (eye tracking studies indicate that our eyes leap from ane betoken of interest to some other, rather than motion smoothly or predictably along leading lines^ix. Lines may nonetheless help to establish emphasis by 'pointing' towards certain items);
- Parallel lines: may create a sense of depth or motion through space within a mural;
- Horizontal lines: may create a sense of stability and permanence;
- Vertical lines: may suggest height, reaching upwards or falling;
- Intersecting perpendicular lines: may advise rigidity, force;
- Abstract lines: may balance the composition, create contrast or emphasis;
- Angular / diagonal lines: may suggest tension or unease;
- Cluttered lines: may propose a sense of agitation or panic;
- Underdrawing, construction lines or contour lines: describe grade (learn more than virtually contour lines in our commodity about line cartoon);
- Curving / organic lines: may suggest nature, peace, motion or energy.
What is the relationship between line and 3-dimensional form? Areoutlines used to define course and edges?
Would it be appropriate to use line in a similar way within your own artwork?

Shape and form

Can you lot place a dominant visual linguistic communication within the shapes and forms shown (i.due east. geometric; angular; rectilinear; curvilinear; organic; natural; fragmented; distorted; free-flowing; varied; irregular; circuitous; minimal)? Why is this visual language advisable?
How are the edges of forms treated (i.e. do they fade away or mistiness at the edges, as if melting into the page; ripped or torn; distinct and difficult-edged; or, in the words of James Gurney⁹, do they 'dissolve into sketchy lines, paint strokes or drips')?
Are there whatsoever three-dimensional forms or relief elements inside the artwork, such as carved pieces, protruding or sculptural elements? How does this bear on the viewing of the work from dissimilar angles?
Is at that place a variety or repetition of shapes/forms? What effect does this take (i.eastward. repetition may reinforce ideas, residue composition and/or create harmony / visual unity; variety may create visual interest or overwhelm the viewer with chaos)?
How are shapes organised in relation to each other, or with the frame of the artwork (i.e. grouped; overlapping; repeated; echoed; fused edges; touching at tangents; contrasts in calibration or size; distracting or bad-mannered junctions)?
Are silhouettes (external edges of objects) considered?

All shapes have silhouettes, and vision research has shown that one of the start tasks of perception is to be able to sort out the silhouette shapes of each of the elements in a scene. – James Gurney, Imaginative Realism⁹

Are forms designed with ergonomics and human calibration in listen?

Ergonomics: an engineering science concerned with designing and arranging things people utilise so that the people and things interact most efficiently and safely – Merriam-webster.com

Tin can y'all identify which forms are functional or structural, versus ornamental or decorative?
Accept any forms been disassembled, 'cut away' or exposed, such as a sectional drawing? What is the purpose of this (i.e. to explain construction methods; communicate information; dramatic issue)?
Would it be appropriate to apply shape and course in a similar way within your own artwork?

Value / tone / calorie-free

Has a broad tonal range been used in the artwork (i.eastward. a broad range of darks, highlights and mid-tones) or is the tonal range limited (i.e. pale and faint; subdued; irksome; heart-searching and nighttime overall; strong highlights and shadows, with little mid-tone values)? What is the event of this?
Where are the low-cal sources within the artwork or scene? Is there a single consistent light source or multiple sources of low-cal (sunshine; light bulbs; torches; lamps; luminous surfaces)? What is the effect of these choices (i.due east. mimics natural lighting conditions at a certain fourth dimension of mean solar day or night; figures lit from the side to analyze course; contrasting background or spot-lighting used to accentuate a focal surface area; soft and diffused lighting used to mute contrasts and minimize harsh shadows; dappled lighting to bespeak sunshine broken by surrounding leaves; chiaroscuro used to exaggerate theatrical drama and impact; areas cloaked in darkness to minimize visual complication; to raise our understanding of narrative, mood or meaning)?

Ane of the most of import ways in which artists can apply lite to achieve item effects is in making strong contrasts between light and dark. This contrast is frequently described as chiaroscuro. – Matthew Treherne, Analysing Paintings, University of Leedsⁱⁱⁱ

Are representations of three-dimensional objects and figures flat or tonally modeled? How do different tonal values alter from one to the next (i.e. gentle, smooth gradations; precipitous tonal bands)?
Are at that place any unusual, cogitating or transparent surfaces, mediums or materials which reflect or transmit light in a special style?
Has tone been used to aid communicate atmospheric perspective (i.eastward. paler and bluer as objects get further away)?
Are gallery or ecology light sources where the artwork is displayed fixed or fluctuating? Does the work appear different when viewed at different times of day? How does this affect your estimation of the work?
Are shadows depicted within the artwork? What is the outcome of these shadows (i.e. anchors objects to the folio; creates the illusion of depth and space; creates dramatic contrasts)?
Do sculptural protrusions or relief elements grab the light and/or create bandage shadows or pockets of shadow upon the artwork? How does this influence the viewer's experience?
How has tone been used to help straight the viewer's attention to focal areas?
Would information technology be advisable to utilise value / tone in a similar manner within your own artwork? Why / why non?

Color / hue

Tin y'all view the true colour of the artwork (i.e. are you viewing a low-quality reproduction or examining the artwork in poor lighting)?
Whichcolour schemes have been used within the artwork (i.e. harmonious; complementary; chief; monochrome; earthy; warm; cool/cold)? Has the creative person used a broad or limited colour palette (i.e. diversity or unity)? Which colors boss?
How would y'all draw the intensity of the colors (vibrant; bright; vivid; glowing; pure; saturated; strong; dull; muted; pale; subdued; bleached; diluted)?
Are colors transparent or opaque? Can you see reflected color?
Has color contrast been used within the artwork (i.e. extreme contrasts; juxtaposition of complementary colors; garish / clashing / jarring)? Are there any abrupt color changes or unexpected uses of color?
What is the outcome of these color choices (i.e. expressing symbolic or thematic ideas; descriptive or realistic delineation of local color; emphasizing focal areas; creating the illusion of aerial perspective; relationships with colors in surrounding surround; creating residuum; creating rhythm/design/repetition; unity and multifariousness inside the artwork; lack of colour places emphasis upon shape, particular and course)? What kind of atmosphere practise these colors create?

It is often said that warm colors (red, orange, yellow) come forward and produce a sense of excitement (yellow is said to advise warmth and happiness, as in the smiley face), whereas cool colors (blue, green) recede and take a calming upshot. Experiments, withal, accept proved inconclusive; the response to color – despite clichés about seeing red or feeling bluish – is highly personal, highly cultural, highly varied. – Sylvan Barnet, A Short Guide to Writing Nigh Art^two

Would information technology be appropriate to use colour in a similar mode within your own artwork?

Texture / surface / design

Are there whatever interesting textural, tactile or surface qualities inside the artwork (i.e. bumpy; grooved; indented; scratched; stressed; crude; smooth; shiny; varnished; burnished; glossy; polished; matte; sandy; grainy; gritted; leathery; spiky; silky)? How are these created (i.e. inherent qualities of materials; impasto mediums; sculptural materials; illusions or implied texture, such as cantankerous-hatching; finely detailed and intricate areas; organic patterns such every bit foliage or small stones; repeating patterns; ornamentation)?
How are textural or patterned elements positioned and what effect does this have (i.e. used intermittently to provide variety; repeating design creates rhythm; patterns cleaved create focal points; textured areas create visual links and unity between separate areas of the artwork; balance between detailed/textured areas and simpler areas; glossy surface creates a sense of luxury; imitation of texture conveys information about a subject, i.e. softness of fur or strands of hair)?
Would it exist appropriate to use texture / surface in a similar way inside your own artwork?

Space

Is the pictorial space shallow or deep? How does the artwork create the illusion of depth (i.eastward. layering of foreground, heart-ground, background; overlapping of objects; use of shadows to anchor objects; positioning of items in human relationship to the horizon line; linear perspective – acquire more than about 1 indicate perspective here; tonal modeling; relationships with next objects and those in shut proximity – including the human grade – to create a sense of scale; spatial distortions or optical illusions; manipulating scale of objects to create 'surrealist' spaces where true calibration is unknown)?
Has an unusual viewpoint been used (i.e. worm'due south view; aerial view, looking out a window or through a doorway; a scene reflected in a mirror or shiny surface; looking through leaves; multiple viewpoints combined)? What is the effect of this viewpoint (i.due east. allows sure parts of the scene to exist dominant and overpowering or squashed, condensed and foreshortened; or suggests a narrative between two separate spaces; provides more information about a space than would normally be seen)?
Is the emphasis upon mass or void? How densely arranged are components inside the artwork or picture plane? What is the relationship betwixt object and surrounding space (i.e. compact / crowded / busy / densely populated, with little surrounding space; spacious; careful interplay between positive and negative infinite; objects amassed to create areas of visual involvement)? What is the effect of this (i.e. creates a sense of emptiness or isolation; business organization / visual clutter creates a feeling of chaos or claustrophobia)?
How does the artwork engage with existent space – in and around the artwork (i.e. self-contained; closed off; middle contact with viewer; reaching outwards)? Is the viewer expected to move through the artwork? What is the relationship between interior and exterior infinite? What connections or contrasts occur betwixt inside and out? Is it comprised of a serial of separate or linked spaces?
Would it be advisable to apply space in a like mode within your ain artwork?

Use of media / materials

What materials and mediums has the artwork been synthetic from? Have materials been concealed or presented deceptively (i.due east. is in that location an authenticity / honesty of materials; are materials celebrated; is the structure visible or exposed)? Why were these mediums selected (weight; colour; texture; size; strength; flexibility; pliability; fragility; ease of use; toll; cultural significance; immovability; availability; accessibility)? Would other mediums take been appropriate?
Which skills, techniques, methods and processes were used (i.e. traditional; conventional; industrial; gimmicky; innovative)? It is important to note that the examiners do non want the regurgitation of long, technical processes, but rather to meet personal observations about how processes effect and influence the artwork in question. Would replicating office of the artwork help you gain a better understanding of the processes used?
Has the artwork been built in layers or stages? For instance:
- Painting: gesso footing > textured mediums > underdrawing > blocking in colors > defining form > concluding details;
- Compages: brief > concepts > development > working drawings > foundations > structure > cladding > finishes;
- Graphic pattern: brief > concepts > development > Photoshop > proofing > press.
How does the use of media help the artist to communicate ideas?
Are these methods useful for your own projection?

Finally, call up that these questions are a guide merely and are intended to brand you start to recall critically about the art you are studying and creating.