Not everything applies to every work of art, nor is it always useful to consider things in the order given. Some of these sources also give a lot of information about writing a research paper in art history, that is, a paper more ambitious in scope than a formal analysis. Getlein, Gilbert’s probably more useful for a research paper in art history, but parts of this outline relate to discussing the form of a work of art.In any analysis, keep in mind the following: HOW and WHY is this a significant work of art?
Not everything applies to every work of art, nor is it always useful to consider things in the order given. Some of these sources also give a lot of information about writing a research paper in art history, that is, a paper more ambitious in scope than a formal analysis. Getlein, Gilbert’s probably more useful for a research paper in art history, but parts of this outline relate to discussing the form of a work of art.In any analysis, keep in mind the following: HOW and WHY is this a significant work of art?Tags: Robert Frost Poems Comparison EssayRestaurant Evaluation EssayDisadvantages Of Living In A City EssaysWhere Is The Thesis In An EssayOver The Precipice An Essay On JourneyVoice Conversion ThesisGeorge Polya Problem Solving StrategiesMethodology Of A Research ProposalHow To Write A Good Paper In College
Knowing how to write a formal analysis of a work of art is a fundamental skill learned in an art appreciation-level class. This section is not an analysis of the work yet, though some terms used in Part III might be used here. Be sure and think about whether the work of art selected is a two-dimensional or three-dimensional work.
Students in art history survey and upper-level classes further develop this skill. Tell what the subject is and what aspects are emphasized. This section is primarily a few sentences to give the reader a sense of what the work looks like. This is the part of the paper where you go beyond description and offer a conclusion and your own informed opinion about the work.
Another type of line to keep in mind are the ones that cross a gap.
They are called Implied Lines and they take your eye across that gap, often into the subject.
Implied lines can also follow a “C” curve or an“S” curve line. Implied lines in this photo take your eye across the gap in Cobourg harbour past a pair low flying cormorants. From this wharf in Twillingate, Newfoundland, thick, thin and broken lines create an abstract featuring colour, line, and shape.
Using a slow shutter speed and camera motion, Gesture lines, as shown in the photo below, uses Christmas lights to capture these quick rapid lines that suggest movement and capture the energy of the objects.In summary, Lines, as illustrated by the various types; the “C” and “S curves”, the implied lines, the thick, broken and thin lines, and their direction are an important element to consider and include in your photography. In the photo above, a displaying peacock, and it can also be viewed as many circles and a triangle!Shapes, the second element, are a contained space and can be organic or geometric. Shapes are two dimensional while forms are three dimensional. Triangles, rectangles, and squares are found in a yacht’s masts moored in Cobourg’s harbour.The smooth curves of the human body offer pleasing lines and a sensual quality.While walking along a back street in Venice, in the above photo, the many curving lines captured my eye along with a triangular like shape in the bottom right corner.Rectangles, two walls and a curtain in Burano, Italy with their eye catching colours.Secondary shapes are the rectangle and the oval, ‘cousins’ of the square and circle.Think of medieval cathedrals and how the vertical lines suggest a spirituality.Today huge skyscrapers are equally impressive but perhaps without the spirituality.It is crucial to improving your photography by looking beyond the names of things and focus on the of things you are seeing.The more you pay attention to this, the sooner it will be automatic and the more effective your photography will be. Above, the solid geometric shapes and columns of a building in Havana, Cuba.