Critique Essay On Art

This should give you a sense, even without seeing the artwork described, of the kind of analysis you should carry out and the way in which you should employ course vocabulary.

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Medium of work whether clay, stone, steel, paint, etc., and technique (tools used) c. Interpretive Statement: Can I express what I think the artwork is about in one sentence? Evidence: What evidence inside or outside the artwork supports my interpretation? Artworks have "aboutness" and demand interpretation.

Size and scale of work (relationship to person and/or frame and/or context) d.

Good interpretations of art tell more about the artwork than they tell about the critic.

There can be different, competing, and contradictory interpretations of the same artwork.

No single interpretation is exhaustive of the meaning of an artwork. The meanings of an artwork may be different from its significance to the viewer.

This article was co-authored by our trained team of editors and researchers who validated it for accuracy and comprehensiveness.Together, they cited information from 14 How's Content Management Team carefully monitors the work from our editorial staff to ensure that each article meets our high How marks an article as reader-approved once it receives enough positive feedback.Public critiques may be a very intimidating experience, especially if you are shy or do not like public speaking.I’ve always preferred written critiques, since I have the time to gather thoughts, and form my own opinions on the piece.Elements or general shapes (architectural structural system) within the composition, including building of post-lintel construction or painting with several figures lined up in a row; identification of objects e. Texture of surface or other comments about execution of work k. Determination of subject matter through naming iconographic elements, e.g., historical event, allegory, mythology, etc. Selection of most distinctive features or characteristics whether line, shape, color, texture, etc. Analysis of the principles of design or composition, e.g., stable, repetitious, rhythmic, unified, symmetrical, harmonious, geometric, varied, chaotic, horizontal or vertically oriented, etc. Discussion of how elements or structural system contribute to appearance of image or function e. Your perceptions of balance, proportion and scale (relationships of each part of the composition to the whole and to each other part) and your emotional j. Description of axis whether vertical, diagonal, horizontal, etc. Description of line, including contour as soft, planar, jagged, etc. Description of how line describes shape and space (volume); distinguish between lines of objects and lines of composition, e.g., thick, thin, variable, irregular, intermittent, indistinct, etc. Relationships between shapes, e.g., large and small, overlapping, etc. Analysis of use of light and role of color, e.g., contrasty, shadowy, illogical, warm, cool, symbolic, etc. Treatment of space and landscape, both real and illusionary (including use of perspective), e.g., compact, deep, shallow, naturalistic, random g. Christie’s reworking of Boilly’s the Arrival of the Stagecoach is an exceptional example of how a classic work of art can be manipulated to reflect a contemporary urban street scene.To begin, Christie creates a TWO-DIMENSIONAL scene that seems to consist of two PLANES, one being the NEGATIVE AREA, representing the buildings above the sidewalk, while the POSITIVE AREA represents the activity on the street.She does a great job of keeping intact the same themes and elements as the original; however, she portrays these elements in a contemporary light.Again, she uses LOCAL COLORS, but they are INTENSE and of HIGH-KEY HUE, HIGHLIGHTING and drawing the viewer’s attention to the POSITIVE AREA and further accentuating the symbolic themes running throughout her piece that now take on a modern day significance.


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