Visual Elements
Line
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Describe the location of lines in the composition? Are they along edges of shapes or are
they implied between shapes and spaces?
Are lines suggested by the direction of a person’s glance?
Describe the line quality? Are lines active or static, aggressive or passive, thick, thin or
varied? Do they disappear in places? Are they jagged or smooth, light or heavy, flowing or
rhythmic, regular or irregular?
Are directional lines vertical, horizontal or diagonal? Do they suggest motion?
Describe how the lines are grouped to depict light and shadow, patterns and textures?
Shape
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Describe the relationship between figure and ground, or positive and negative shapes.
Are the positive shapes dominant or are they equally important to negative shapes?
Did the artist pay adequate attention to the negative shapes? Are they interesting?
Are the shapes geometric or organic?
Are they the same or different sizes?
Are similar shapes used throughout the composition to suggest a pattern or motif?
Value
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Are subjects rendered with value modeling or chiaroscuro?
Is there strong dramatic value contrast or tenebrism?
Is there a full range of value from light to dark?
Did the artist work within a limited value range, such as high-key or low-key?
Is the overall composition close in value?
Does the use of value evoke a sense of light or contribute to the overall mood?
Do the underlying value patterns unify the work from a distance?
Color
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Describe the colors that the artist uses.
Is there a wide range of hues or just a few colors?
Are colors warm or cool? Intense or dull? Light or dark?
Are colors analogous or complementary?
Are colors monochromatic, achromatic, or neutral?
Describe the use of primaries, secondaries and intermediates.
Are different hues close in value?
Are the colors applied in separate layers or were they mixed into each other wet?
Identify and describe any optical color mixing which is used?
Do the colors in the negative areas affect the positive colors and shapes?
Do the colors advance or recede in space?
Do colors naturalistically describe their subjects or are they subjective or expressive?
Do colors represent states of feeling such as anger, sexual passion or religious feeling?
What mood do they evoke? Are they calm or dramatic?
Texture
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Describe the surface quality of the work of art (actual texture).
Describe how the artist simulated textures in the work of art (implied texture).
Are the textures and patterns more noticeable from a distance or from up close?
How does the use of texture add richness, depth or complexity to the image?
Does the particular use of texture contribute to its expressive power?
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Mass and
Volume
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Does the sculpture emphasize its physical bulk or the space it encloses?
Do shapes or figures interact with the space around them (open form)?
Are the shapes or figures self-contained (closed form)?
How does the drawn or painted image simulate mass or volume?
What does the emphasis on mass or volume contribute to the expressive power?
Space
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Describe the implied depth, overlapping, diminishing size and vertical placement.
Describe the atmospheric (or aerial) perspective in the painting, including color intensity,
value contrast and detail in areas close and far.
Describe the use of linear (or scientific) perspective in the painting.
Is the vantage point above or below eye level?
Is the image constructed from multiple vantage points (cubism)?
Is there an illusion of great depth or does the image suggest a shallow space?
Is the flatness of the picture plane emphasized (its physicality as an object)?
Does the figure stand out separately from the background?
Do negative ground spaces merge into the figure (open composition)?
Do positive shapes sometimes look like negative shapes (figure-ground reversal)?
Is the space highly structured or is it fluid?
How does the use of space contribute to the meaning or expressive power?
Time and
Motion
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Has the artist frozen a moment in time?
Are events which occurred in succession depicted at once (continuous narrative)?
Is the time linear (Western) or cyclical?
Describe how the artist creates a sense of movement in a still image (implied motion).
Is the art object kinetic, using actual motion?
What does the sense of motion contribute to the expressive quality of the art?
Light
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Describe how the artist used chiaroscuro to model form.
Is the light even throughout the composition or is it dramatic (tenebrism)?
Does the image suggest an external or internal light source?
How is color used to suggest different qualities of light, such as warm or cool?
How does light evoke mood in the image?
Has the artist used actual light as in additive color?
Principles of Design
Repetition and
Similarity
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Are similar kinds of shapes, colors, lines or textures repeated throughout the artwork?
Are they grouped together or isolated?
Is there a regular recurrence of themes or motifs which creates unity?
Are there similarities in the types of variations seen in the artwork?
Does the repetition of similar shapes, colors, and textures make the image stronger?
Variety and
Contrast
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Describe the variety of contrasts of shapes, lines, values, colors and textures.
Are they thick or thin, dark or light, bright or dull, geometric or organic, hard or soft?
How are they varied to create compositional interest?
Are transitions between different areas subtle or abrupt?
Describe the different areas in terms of paint handling or layering.
Does the variety and contrasts of shapes, colors, lines and textures make it stronger?
Emphasis and
Subordination
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Which shapes, colors or visual themes are dominant overall?
Which specific passages of the artwork stand out over others?
Do dark shapes stand out from a light composition or vice versa?
Do bright colors stand out from a dull overall composition or vice versa?
Do small shapes stand out from a composition of mostly large shapes?
Do naturalistic subjects stand out from geometric subjects?
Do shapes physically touch in close proximity, or are they isolated to get our attention?
Does the focal point maintain the viewers attention? Is there more than one focal point?
Describe how the artist subordinated or downplayed various parts of the composition.
Balance
and Placement
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Is the balance symmetrical or asymmetrical ?
Explain why different shapes and colors attract your attention equally.
Where are the large and small, the complex and simple shapes?
Where are the light and dark, the bright and dull colors?
Where are the warm and cool colors? Do they advance or recede?
Where are the small or large areas of intense color? Are they balanced somehow?
Are elements balanced from top to bottom (vertical) or from left to right (horizontal)?
Is a large element placed near the center balanced by a smaller item placed on the edge?
Are complex areas and subjects balanced with areas of empty space or rest?
Did the artist seem to use intentional imbalance to evoke discomfort or discord?
Directional
forces
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Describe the “paths” which the eye follows through the work.
Are these paths created by actual or implied lines?
Do adjacent or similar shapes or colors seem to follow a line?
Are the directional axis lines of subjects vertical, horizontal or diagonal?
Does the art object give you a sense of standing still, being at rest, or being in motion?
Does your eye move from left to right, top to bottom, front to back or vice versa?
Do themes and motifs recur in regular or irregular patterns (visual rhythms)?
Are they interwoven with others to create a complex design?
Are visual rhythms progressive, moving toward a defined point in the composition?
Do they evoke a dynamic sense of movement or time?
Are they flowing or pulsing?
Scale and
Proportion
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What is the size of the artwork in relation to other art or its surroundings?
What is the relation of the size of the artwork to you, the viewer?
Does the overall size make the work seem monumental or imposing?
What is the size relation between internal subjects and the size of the whole?
Does this make the work of art seem personal and intimate or more remote?
Can you identify an unsettling distortion of natural scale (Surrealism)?
Do sudden scale changes in the sizes of subjects surprise you and get your attention?
Can you identify the Golden Section? Does it make the work more beautiful?
Is the scale of figures and objects hierarchical or naturalistic?
Economy
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Does the artwork seem to contain only the most needed visual information?
Do any unnecessary elements distract from the essence of the idea?
Can you imagine making a work of art stronger by eliminating an element?
Did the artist pare away all extraneous details, clarifying the composition?
Are some elements and principles intentionally left out?
Does the art object evoke quiet contemplation or does it seem busy?
Rhythm and
Pattern
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Topic: Deliverable – Discussion 3: Explore Diverse Art (Formal Analysis) – Discussion 3: Explore Diverse Art (Formal Analysis) 1
This is a graded discussion: 100 points possible
due 26 Sep at 2:00
Deliverable – Discussion 3: Explore Diverse Art (Formal Analysis) – Discussion 3: Explore
Diverse Art (Formal Analysis) 1
From 2021FA-ART-100-1268
1
1
Deborah Butterfield, Rory, 1992, Assemblage
Overview
The way an artist manipulates form (medium, visual elements, design principles) in a work of art directly
impacts the content, or how the work is understood by the viewer. Moreover, great masters such as Donatello,
Rembrandt, and Van Gogh often pushed the boundaries of materials to explore creative approaches that were
very different from prevailing trends.
Many artists after World War II also became disenchanted with conventional approaches to making art. They
couldn’t see themselves painting something as banal as a vase of flowers or a reclining nude after witnessing
the atomic bomb, global destruction, and the death of millions during the Holocaust. As a result, artists began
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to look for new materials and approaches to help them celebrate their personal identity and better express
how they felt about the world. New content called for a new expressive approach.
Assemblage
Assemblage was the most important new approach, but it was not a medium in the traditional
sense. Assemblage artists work extensively with found, recycled, and discarded materials. Pablo Picasso,
Joseph Cornell, Robert Rauschenberg, Bruce Conner, Betye Saar, and Edward Kienholz, among others, are
all notable artists who worked in Assemblage.
To help inform your Discussion post, please watch this short video about Assemblage:
Assemblage
Your Assignment
In this Discussion, you will write and post a 550-750 word Formal Analysis (also referred to as Visual
Analysis) in which you describe and examine the form of a work of art, especially what the medium and
composition contribute to its visual power and meaning. Learning how to correctly write a Formal Analysis is a
key skill you will develop during this course.
This is not a research paper, but is a paper based on your own observations and original thought. I want you
to learn to write about art because it forces you to think critically about what you see, what is visually evident,
then examine your thoughts and articulate them clearly. Clear writing issues from clear thinking!
This Discussion is worth 100 points. Please read the instructions and Grading Rubric before you
begin.
Due Date
Your first post to this Discussion is due by Sunday, Sept. 26 at 11:59 p.m.
Your responses to posts by at least two different classmates are due by Sunday, Oct. 3 at 11:59 p.m.
You must post in the Discussion before you can read your classmates’ posts.
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Instructions and Grading Criteria
Before you begin, be sure to review the entire weekly module to better understand the Formal Analysis
process. Take notes as you watch each of the videos, and carefully read the entire written commentary on
each page in the module. If you are not clear about any of the concepts, or if you are unsure about how to
complete this assignment, don’t hesitate to contact me via Canvas Inbox and I will help you.
To earn a high grade, I expect you to correctly apply concepts and terminology from the readings and videos.
In addition, you are required to support your key points with frequent observations of the work of art.
For more help, refer to this Guide to the Visual Elements and Principles of Design
(https://gcccd.instructure.com/courses/41796/files/5352196/download?download_frd=1)
Important! Approach this discussion as you would if you were writing a college paper. In other words, don’t
just start writing in the discussion board without having a plan. I recommend that you open a Word document
and write a polished 550-750 word paper, then copy and paste this into your discussion post.
Step One: Select an Artist (listed below)
In each of the images listed at the bottom of this page, the artist has used materials in a unique way that
makes a powerful visual statement.
Before you make your selection or write your post, scroll all the way to the bottom of this page and review all
the images and linked content and videos. As you review the content, take notes. Then select a work of art
that you find engaging or that piques your curiosity. Write about the work of art because you care.
Step Two: Post in the Class Discussion
Your post is worth 80 possible points
After you select a work of art, write and post a 550-750 word Formal Analysis (Visual Analysis) in which you
describe and examine the form of the work of art, especially what the medium, visual elements, and principles
of design contribute to its visual power and meaning. Organize your analysis into four paragraphs, listed
below, and follow the instructions. Although not required, it may be helpful to use headings.
At the beginning of each paragraph, write a concise topic sentence that clearly states what the paragraph is
about. This topic sentence will help frame the controlling argument for each paragraph and will help your
reader follow your key ideas.
Paragraph One: Description of Subject
This paragraph should be between 150-200 words
Post an image of the work of art you are writing about.
In your topic sentence, clearly state the subject and/or identify the main issue, key theme, or narrative (story)
the artist is working with. Do this in one sentence. Please note that in non-objective works, the primary subject
can often be found among the visual elements or design principles (e.g. color, scale, etc.).
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For example: “The Thinker, by French artist Auguste Rodin, is a sculpture of a pensive, yet powerful, male
nude.”
Next, describe the overall work as you would to someone who hasn’t seen it. Paint a detailed picture with
words. Your description should be so clear and specific that the reader can imagine the work of art in their
mind as they read. Do not simply list what you see, but thoroughly describe the different areas of the work.
Use lots of adjectives and avoid naming. Move from general to specific observations. If human figures are
represented, describe their most dominant characteristics, including expressions, poses, gestures and how
they are placed in relation to one another.
Remember, this is an opening paragraph and you can go into more depth about the medium in the second
paragraph.
Paragraph Two: Medium and Materials
This paragraph should be between 150-200 words.
In your topic sentence, summarize the artist’s unique approach to using their medium and materials to create
their work. Do this in one sentence. Remember that this paragraph is about the physical process of making
the work and not the visual elements or design principles.
For example: “Rodin’s expressive approach to modeling his sculpture makes the subject feel more human.”
Next, describe this unique approach in detail, and explain how it impacts, or is integral to, the viewer’s
experience of the work. What is the artist trying to say or express by doing it this way? In other words, explain
how this approach reinforces the message, theme, or narrative (story) in the work and contributes to making a
powerful visual statement.
You must include 2-3 specific supporting observations from your chosen art object. Each sentence must be
clear and descriptive.
Paragraph Three: Composition
This paragraph should be between 150-200 words.
In your topic sentence, clearly state the most dominant visual element or principle of design used to compose
the work. Do this in one sentence. Please refer to this helpful Guide to the Visual Elements and Principles
of Design.
(https://gcccd.instructure.com/courses/41796/files/5352196/download?download_frd=1)
For example: “Rodin’s exaggeration of the proportions of the hands and feet make the figure seem physically
powerful when seen from below.” (In this example, “proportion” is a principle of design.)
Next, describe in rich detail how the artist used this specific visual element or principle of design to organize
the work of art. How did the artist’s use of this element or principle underpin the composition and/or become
an integral part of what the artist was trying to say or express? In other words, explain how it reinforces the
message, theme, or narrative (story) in the work and contributes to making a powerful visual statement.
You must include 2-3 specific supporting observations from your chosen art object. Each sentence must be
clear and descriptive.
Paragraph Four: Evaluation
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This paragraph should be between 100-150 words
In your topic sentence, briefly summarize whether or not you think the work of art was effective or successful,
and why. Do this in one sentence. After writing the previous three paragraphs, you should be better able to
interpret and understand the work of art.
For example: “In The Thinker, Rodin successfully depicts a man who thinks deeply, yet has the physical
power to act.”
Next, analyze your own reaction to the work of art and evaluate its effectiveness in more detail. You will
explain the reasons why you think the work is successful and support your reasoning with 2-3 direct
references to the work of art you selected.
You may wish to consider the following:
What initial ideas or feelings come to mind after experiencing the work of art?
Do you identify with the work? Based on your life experiences, is it personally relevant to you?
What is it about the work of art that you like the most? The message? The way it was made or
composed?
Are you engaged by the formal characteristics, such as the way the artist used light, color, texture, space,
scale, etc?
Do you think your experience of the work is the same as what the artist intended?
Step Three: Respond to Two Classmates
Each post is worth 10 possible points (20 points total)
Next, review the posts of your classmates. Post a thorough and cogent response to a post by two different
classmates (at least 100 words each). Add a new insight to the discussion that helps the reader better
understand the work of art. To do this consider the following:
Do you agree with your classmate’s analysis and interpretation? Why or why not?
Did they leave out something important? If you think so, introduce this to the discussion.
Did you find something interesting in the post, but you don’t fully understand? Politely ask them to clarify
for you.
Grading
This Discussion topic is broadly framed and there is no right or wrong answer. Instead, you will be graded on
how well you demonstrate your ability to think clearly about this topic and logically support your ideas with
concepts from the readings, videos, online content (see links below), as well as your own observations, ideas
and insights.
Before you submit your posts, take a little more time to proofread and revise your work to make sure that what
you write actually conveys what you intend to say. Your posts must be clearly-written, well-supported,
grammatically correct, and free of spelling and punctuation errors. This is a college level assignment!
Please review the Grading Rubric before you begin. You can view the Grading Rubric by clicking the
three dots in the upper right of this page, then click “Show Rubric.” Here are more instructions for
viewing the Grading Rubric
(https://community.canvaslms.com/docs/DOC-10577-4212540120) .
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Earn a High Grade
1. Before you begin, read all of the instructions, as well as the rubric.
2. Focus on the key ideas contained in the weekly reading, videos, and links to this page.
3. Start with an outline and organize your main points into separate topical paragraphs.
4. Write concise and complete sentences that clearly convey what you intend to say.
5. Write in third person, present tense, as much as possible.
6. Support your statements with careful observations about each work of art.
7. Include your own insights that support your main points.
Assignment Feedback
I care very much about the quality of the work you submit and I will carefully read,
evaluate, and provide feedback on your post within approximately one week after you
submit responses to your classmates (usually sooner).
As you can imagine, this takes time and I appreciate your patience while I assess your
work.
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Click this link for instructions on how to view assignment comments from your
instructor.
(https://community.canvaslms.com/docs/DOC-10666-how-do-i-view-
assignment-comments-from-my-instructor)
Research
This is not a research paper. However, it may be beneficial for you to do some very basic
research about the artist and the image. If you do, look at other works by the artist to gain
insights about their artistic vision. Try to identify and include at least one big idea you find.
Be sure to cite your sources and paraphrase this idea in your own words. Contact me and
I can show you how to do this. In most cases you can cite the url for an online source in
parentheses after the section in your paper where the reference occurs.
Do not Plagiarize
If I find that you have appropriated any ideas or text without giving proper credit to the
person or persons who created them, you will receive a zero for this assignment. No
exceptions. Please familiarize yourself with the Academic Honesty/Dishonesty and
Plagiarism Policies for this course.
Images
I’ve selected these works of art because they represent a diverse range of materials, artists, and viewpoints.
Another big reason is because they include many of my personal favorites and I can’t wait to read what you
have to say about them!
Tara Donovan
Click this image to watch a video about the work of Tara Donovan.
(https://youtu.be/lSCSnKqBNHg)
Tara Walker, Untitled (Styrofoam Cups), 2004-2008, Installation
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Kara Walker
Click this image to watch a video about the work of Kara Walker.
(https://youtu.be/5QbXdPv-O1g)
Kara Walker, Renaissance society installation, 1997
Alex Couwenberg
Click either image below to watch a really terrific short video about how Alex makes his work.
(https://youtu.be/prZ6aGRTWhg)
Alex Couwenberg, Starwood, 2008, Acrylic on canvas
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(https://youtu.be/prZ6aGRTWhg)
Alex Couwenberg, Kona, 2006, Acrylic on canvas
Deborah Butterfield
Click the image below and go to the Artnet website where you can explore Butterfield’s work.
(http://www.artnet.com/artists/deborah-
butterfield/yellow-river-a-MEP3lhz7cv_myaAEC9_8QA2)
Deborah Butterfield, Yellow River, 1984, Assemblage
Click the image below to watch a short video about the work of Debra Butterfield.
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(https://youtu.be/1_kg_YgEzNA)
Debra Butterfield, Silver Star, 2013, Cast bronze with patina
Joseph Cornell
Click the image, below, for a link to a website about Joseph Cornell and his art.
(https://www.theartstory.org/artist-cornell-
joseph.htm)
Joseph Cornell, Untitled (The Hotel Eden), 1945, box art assemblage
Click the image, below, for a link to a terrific article about Joseph Cornell.
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(https://www.theguardian.com/artanddesign/2015/jul/25/joseph-cornell-wanderlust-royal-academy-exhibitionlondon)
Joseph Cornell, Medici Boy, 1952, Box art assemblage
Click this image (below) to go to an amazing interactive website based on Cornell’s artwork.
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(https://www.josephcornellbox.com)
Joseph Cornell, Untitled (Soap Bubble Set), 1936, Box art assemblage
Käthe Kollwitz
Click the image below to read a good article about Käthe Kollwitz.
(https://news.artnet.com/exhibitions/kathe-
kollwitz-german-modern-art-controversial-1021973)
Käthe Kolwitz, Battlefield, 1907, Etching, The Art Institute of Chicago
Rembrandt van Rijn
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Click the image below and go to the Norton Simon Museum website. When you arrive, click the image again
to take a closer look. This is considered to be one of the most dynamic prints ever made.
(https://www.nortonsimon.org/art/viewer/M.1979.26.G)
Rembrandt van Rijn, Three Crosses, third state, 1653, Drypoint
Unlike other printmaking processes, Intaglio printing allows the artist to make changes to the printing plate
between proofs. Notice the dramatic changes that occur between the early and later states of this image.
Rembrandt pioneered this process. Click the image, below, to watch a video that will help you interpret
Rembrandt.
(https://youtu.be/lF-7leHMUbw)
Rembrandt van Rijn, Three Crosses, fourth state, 1653, Drypoint
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Donatello
Click this image, below, to watch a video about Donatello’s Mary Magdalene.
(https://youtu.be/-UZuG3XpAd0)
Donatello, Mary Magdelene, 1455, Wood sculpture
Vincent Van Gogh
Click this image to watch a first rate biography of Vincent Van Gogh. Watch at least the first two episodes (15
minutes each). If you want to learn about what drove Vincent to paint, this is the video to watch.
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(https://youtu.be/1FeFv2W2X-s)
Vincent Van Gogh, The Night Cafe, 1888, Oil on canvas
David Alfaro Siqueiros
Click the image, below, for a link to a website about Siquieros and his art.
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(https://www.theartstory.org/artist-siqueiros-
david-alfaro.htm)
David Alfaro Siqueiros, Echo of a Scream, 1937, enamel on wood
Banksy
Click this image to watch a terrific video about Banksy (14 minutes).
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(https://youtu.be/Xoe3Nn5vuBg)
Banksy, Stop and Search (Girl and a Soldier), Bethlehem, 2007
(https://youtu.be/gB1-Qu6ZbEM)
Banksy, Cameraman and Flower, Park City, 2010
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Banksy, Umbrella Girl, New Orleans
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Banksy, No Trespassing, San Francisco, 2010
James Turrell – Roden Crater (earthwork)
Click the image below to watch a video about the Roden Crater (LACMA).
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(https://vimeo.com/67926427)
James Turrell, Roden Crater, interior, Earthwork
Please click the image below to visit the Roden Crater website.
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(http://rodencrater.com/about/)
James Turrell, Roden Crater, interior, Earthwork
Please click the image below to visit the James Turrell website.
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(http://jamesturrell.com)
James Turrell, Roden Crater, interior, Earthwork
James Turrell, Roden Crater, exterior, Earthwork
Be sure to write your initial post in the first “reply” box you see below.
After posting, mark this page as done, then click the “Next” or > button to continue.
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Joseph Piraino (https://gcccd.instructure.com/groups/31896/users/404416)
Yesterday
The Night Café, by Vincent van Gough is an oil painting of a café with a pool table as its center
point. In his painting van Gough paints a café with several different people in it. Their is a large pool table
in the center of the painting with a large looming shadow which draws the eye. The floor of the café looks
to be long wooden planks set straight back. Their is what looks to be a bartender table with drinks in the
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back of the painting cover by a white cloth. their are three light fixtures hanging from the blue ceiling
radiating light. Their is a blue clock hung above the door with drapes in the back of the painting behind
the bartending table. Their are several tables with half finished drinks on them. The table closest to the
pool table has a man getting out of his chair with a white suit on. Their are three other tables in the café.
The table in the bottom right corner has two man talking hunched over their table. The table to the middle
left has a man with his head down looking depressed. The table to the top left looks to have a happy
couple kissing.
Vincent van Gough used a unique medium in The Night Café, by how he used thick brush strokes
of oil paint to make the painting feel more ragged and textured. This causes his painting to have more
texture thus added more details to his work giving his painting a unique art style that the viewer will
remember. Van Gough is trying to express how rugged the real world could be and how everything is not
perfect. This shows a story that sometimes not everything will be perfect and smooth but rough brush
strokes and creativity can make your paintings look unique and give them more life. This makes a
powerful visual statement because the viewer of his painting can see every move and brushstroke he
made wile he was creating the painting which allows the viewer to connect with him through his work.
The most dominant visual element Van Gough used in his painting was texture. Van Gough used
rough and quick brush strokes using a lot of paint to make his painting pop and give it a unique look. Van
Gough used implied texture in certain elements in his paintings such as using smoother strokes for the
wooden floor board of the café to give them a smooth look. Van Gough also used rough and sporadic
strokes on the people in his painting to make it seem like the people are in motion. The textures are
much more noticeable up close because from afar the viewer would not be able to discern all of his
different brush strokes as well as one could up close. The texture adds complexity to the painting
because without its texture the painting would look more more empty and plain. Texture does contribute
to the paintings expressive power because you can see how Van Gough expressed himself through each
one of his brush strokes.
In The Night Café, Van Gough successfully depicts how cafes looked in his time and all of the
different types of people that he would see in the café. This painting is successful because of all of the
visual elements Van Gough uses to bring his painting to life. For example his use of the pool table in the
center of the painting with the large looming shadow immediately draws the eye to the center of his
painting. What I like most about his painting was his use of texture. Van Goughs use of texture elevated
his work above many others because I feel like I am living through his motions every time I look at his
brush strokes. I think I did experience the painting as Van Gough intended because I feel that he used
texture to convey the atmosphere and how he created his painting. I think Van Gough wanted the viewer
to be able to see all of his brush strokes so that they would be able to connect to him through his
paintings.
Reply
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Purchase answer to see full
attachment
Line
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Describe the location of lines in the composition? Are they along edges of shapes or are
they implied between shapes and spaces?
Are lines suggested by the direction of a person’s glance?
Describe the line quality? Are lines active or static, aggressive or passive, thick, thin or
varied? Do they disappear in places? Are they jagged or smooth, light or heavy, flowing or
rhythmic, regular or irregular?
Are directional lines vertical, horizontal or diagonal? Do they suggest motion?
Describe how the lines are grouped to depict light and shadow, patterns and textures?
Shape
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Describe the relationship between figure and ground, or positive and negative shapes.
Are the positive shapes dominant or are they equally important to negative shapes?
Did the artist pay adequate attention to the negative shapes? Are they interesting?
Are the shapes geometric or organic?
Are they the same or different sizes?
Are similar shapes used throughout the composition to suggest a pattern or motif?
Value
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Are subjects rendered with value modeling or chiaroscuro?
Is there strong dramatic value contrast or tenebrism?
Is there a full range of value from light to dark?
Did the artist work within a limited value range, such as high-key or low-key?
Is the overall composition close in value?
Does the use of value evoke a sense of light or contribute to the overall mood?
Do the underlying value patterns unify the work from a distance?
Color
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Describe the colors that the artist uses.
Is there a wide range of hues or just a few colors?
Are colors warm or cool? Intense or dull? Light or dark?
Are colors analogous or complementary?
Are colors monochromatic, achromatic, or neutral?
Describe the use of primaries, secondaries and intermediates.
Are different hues close in value?
Are the colors applied in separate layers or were they mixed into each other wet?
Identify and describe any optical color mixing which is used?
Do the colors in the negative areas affect the positive colors and shapes?
Do the colors advance or recede in space?
Do colors naturalistically describe their subjects or are they subjective or expressive?
Do colors represent states of feeling such as anger, sexual passion or religious feeling?
What mood do they evoke? Are they calm or dramatic?
Texture
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Describe the surface quality of the work of art (actual texture).
Describe how the artist simulated textures in the work of art (implied texture).
Are the textures and patterns more noticeable from a distance or from up close?
How does the use of texture add richness, depth or complexity to the image?
Does the particular use of texture contribute to its expressive power?
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Mass and
Volume
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Does the sculpture emphasize its physical bulk or the space it encloses?
Do shapes or figures interact with the space around them (open form)?
Are the shapes or figures self-contained (closed form)?
How does the drawn or painted image simulate mass or volume?
What does the emphasis on mass or volume contribute to the expressive power?
Space
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Describe the implied depth, overlapping, diminishing size and vertical placement.
Describe the atmospheric (or aerial) perspective in the painting, including color intensity,
value contrast and detail in areas close and far.
Describe the use of linear (or scientific) perspective in the painting.
Is the vantage point above or below eye level?
Is the image constructed from multiple vantage points (cubism)?
Is there an illusion of great depth or does the image suggest a shallow space?
Is the flatness of the picture plane emphasized (its physicality as an object)?
Does the figure stand out separately from the background?
Do negative ground spaces merge into the figure (open composition)?
Do positive shapes sometimes look like negative shapes (figure-ground reversal)?
Is the space highly structured or is it fluid?
How does the use of space contribute to the meaning or expressive power?
Time and
Motion
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Has the artist frozen a moment in time?
Are events which occurred in succession depicted at once (continuous narrative)?
Is the time linear (Western) or cyclical?
Describe how the artist creates a sense of movement in a still image (implied motion).
Is the art object kinetic, using actual motion?
What does the sense of motion contribute to the expressive quality of the art?
Light
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Describe how the artist used chiaroscuro to model form.
Is the light even throughout the composition or is it dramatic (tenebrism)?
Does the image suggest an external or internal light source?
How is color used to suggest different qualities of light, such as warm or cool?
How does light evoke mood in the image?
Has the artist used actual light as in additive color?
Principles of Design
Repetition and
Similarity
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Are similar kinds of shapes, colors, lines or textures repeated throughout the artwork?
Are they grouped together or isolated?
Is there a regular recurrence of themes or motifs which creates unity?
Are there similarities in the types of variations seen in the artwork?
Does the repetition of similar shapes, colors, and textures make the image stronger?
Variety and
Contrast
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Describe the variety of contrasts of shapes, lines, values, colors and textures.
Are they thick or thin, dark or light, bright or dull, geometric or organic, hard or soft?
How are they varied to create compositional interest?
Are transitions between different areas subtle or abrupt?
Describe the different areas in terms of paint handling or layering.
Does the variety and contrasts of shapes, colors, lines and textures make it stronger?
Emphasis and
Subordination
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Which shapes, colors or visual themes are dominant overall?
Which specific passages of the artwork stand out over others?
Do dark shapes stand out from a light composition or vice versa?
Do bright colors stand out from a dull overall composition or vice versa?
Do small shapes stand out from a composition of mostly large shapes?
Do naturalistic subjects stand out from geometric subjects?
Do shapes physically touch in close proximity, or are they isolated to get our attention?
Does the focal point maintain the viewers attention? Is there more than one focal point?
Describe how the artist subordinated or downplayed various parts of the composition.
Balance
and Placement
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Is the balance symmetrical or asymmetrical ?
Explain why different shapes and colors attract your attention equally.
Where are the large and small, the complex and simple shapes?
Where are the light and dark, the bright and dull colors?
Where are the warm and cool colors? Do they advance or recede?
Where are the small or large areas of intense color? Are they balanced somehow?
Are elements balanced from top to bottom (vertical) or from left to right (horizontal)?
Is a large element placed near the center balanced by a smaller item placed on the edge?
Are complex areas and subjects balanced with areas of empty space or rest?
Did the artist seem to use intentional imbalance to evoke discomfort or discord?
Directional
forces
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Describe the “paths” which the eye follows through the work.
Are these paths created by actual or implied lines?
Do adjacent or similar shapes or colors seem to follow a line?
Are the directional axis lines of subjects vertical, horizontal or diagonal?
Does the art object give you a sense of standing still, being at rest, or being in motion?
Does your eye move from left to right, top to bottom, front to back or vice versa?
Do themes and motifs recur in regular or irregular patterns (visual rhythms)?
Are they interwoven with others to create a complex design?
Are visual rhythms progressive, moving toward a defined point in the composition?
Do they evoke a dynamic sense of movement or time?
Are they flowing or pulsing?
Scale and
Proportion
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What is the size of the artwork in relation to other art or its surroundings?
What is the relation of the size of the artwork to you, the viewer?
Does the overall size make the work seem monumental or imposing?
What is the size relation between internal subjects and the size of the whole?
Does this make the work of art seem personal and intimate or more remote?
Can you identify an unsettling distortion of natural scale (Surrealism)?
Do sudden scale changes in the sizes of subjects surprise you and get your attention?
Can you identify the Golden Section? Does it make the work more beautiful?
Is the scale of figures and objects hierarchical or naturalistic?
Economy
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Does the artwork seem to contain only the most needed visual information?
Do any unnecessary elements distract from the essence of the idea?
Can you imagine making a work of art stronger by eliminating an element?
Did the artist pare away all extraneous details, clarifying the composition?
Are some elements and principles intentionally left out?
Does the art object evoke quiet contemplation or does it seem busy?
Rhythm and
Pattern
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Topic: Deliverable – Discussion 3: Explore Diverse Art (Formal Analysis) – Discussion 3: Explore Diverse Art (Formal Analysis) 1
This is a graded discussion: 100 points possible
due 26 Sep at 2:00
Deliverable – Discussion 3: Explore Diverse Art (Formal Analysis) – Discussion 3: Explore
Diverse Art (Formal Analysis) 1
From 2021FA-ART-100-1268
1
1
Deborah Butterfield, Rory, 1992, Assemblage
Overview
The way an artist manipulates form (medium, visual elements, design principles) in a work of art directly
impacts the content, or how the work is understood by the viewer. Moreover, great masters such as Donatello,
Rembrandt, and Van Gogh often pushed the boundaries of materials to explore creative approaches that were
very different from prevailing trends.
Many artists after World War II also became disenchanted with conventional approaches to making art. They
couldn’t see themselves painting something as banal as a vase of flowers or a reclining nude after witnessing
the atomic bomb, global destruction, and the death of millions during the Holocaust. As a result, artists began
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to look for new materials and approaches to help them celebrate their personal identity and better express
how they felt about the world. New content called for a new expressive approach.
Assemblage
Assemblage was the most important new approach, but it was not a medium in the traditional
sense. Assemblage artists work extensively with found, recycled, and discarded materials. Pablo Picasso,
Joseph Cornell, Robert Rauschenberg, Bruce Conner, Betye Saar, and Edward Kienholz, among others, are
all notable artists who worked in Assemblage.
To help inform your Discussion post, please watch this short video about Assemblage:
Assemblage
Your Assignment
In this Discussion, you will write and post a 550-750 word Formal Analysis (also referred to as Visual
Analysis) in which you describe and examine the form of a work of art, especially what the medium and
composition contribute to its visual power and meaning. Learning how to correctly write a Formal Analysis is a
key skill you will develop during this course.
This is not a research paper, but is a paper based on your own observations and original thought. I want you
to learn to write about art because it forces you to think critically about what you see, what is visually evident,
then examine your thoughts and articulate them clearly. Clear writing issues from clear thinking!
This Discussion is worth 100 points. Please read the instructions and Grading Rubric before you
begin.
Due Date
Your first post to this Discussion is due by Sunday, Sept. 26 at 11:59 p.m.
Your responses to posts by at least two different classmates are due by Sunday, Oct. 3 at 11:59 p.m.
You must post in the Discussion before you can read your classmates’ posts.
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Instructions and Grading Criteria
Before you begin, be sure to review the entire weekly module to better understand the Formal Analysis
process. Take notes as you watch each of the videos, and carefully read the entire written commentary on
each page in the module. If you are not clear about any of the concepts, or if you are unsure about how to
complete this assignment, don’t hesitate to contact me via Canvas Inbox and I will help you.
To earn a high grade, I expect you to correctly apply concepts and terminology from the readings and videos.
In addition, you are required to support your key points with frequent observations of the work of art.
For more help, refer to this Guide to the Visual Elements and Principles of Design
(https://gcccd.instructure.com/courses/41796/files/5352196/download?download_frd=1)
Important! Approach this discussion as you would if you were writing a college paper. In other words, don’t
just start writing in the discussion board without having a plan. I recommend that you open a Word document
and write a polished 550-750 word paper, then copy and paste this into your discussion post.
Step One: Select an Artist (listed below)
In each of the images listed at the bottom of this page, the artist has used materials in a unique way that
makes a powerful visual statement.
Before you make your selection or write your post, scroll all the way to the bottom of this page and review all
the images and linked content and videos. As you review the content, take notes. Then select a work of art
that you find engaging or that piques your curiosity. Write about the work of art because you care.
Step Two: Post in the Class Discussion
Your post is worth 80 possible points
After you select a work of art, write and post a 550-750 word Formal Analysis (Visual Analysis) in which you
describe and examine the form of the work of art, especially what the medium, visual elements, and principles
of design contribute to its visual power and meaning. Organize your analysis into four paragraphs, listed
below, and follow the instructions. Although not required, it may be helpful to use headings.
At the beginning of each paragraph, write a concise topic sentence that clearly states what the paragraph is
about. This topic sentence will help frame the controlling argument for each paragraph and will help your
reader follow your key ideas.
Paragraph One: Description of Subject
This paragraph should be between 150-200 words
Post an image of the work of art you are writing about.
In your topic sentence, clearly state the subject and/or identify the main issue, key theme, or narrative (story)
the artist is working with. Do this in one sentence. Please note that in non-objective works, the primary subject
can often be found among the visual elements or design principles (e.g. color, scale, etc.).
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For example: “The Thinker, by French artist Auguste Rodin, is a sculpture of a pensive, yet powerful, male
nude.”
Next, describe the overall work as you would to someone who hasn’t seen it. Paint a detailed picture with
words. Your description should be so clear and specific that the reader can imagine the work of art in their
mind as they read. Do not simply list what you see, but thoroughly describe the different areas of the work.
Use lots of adjectives and avoid naming. Move from general to specific observations. If human figures are
represented, describe their most dominant characteristics, including expressions, poses, gestures and how
they are placed in relation to one another.
Remember, this is an opening paragraph and you can go into more depth about the medium in the second
paragraph.
Paragraph Two: Medium and Materials
This paragraph should be between 150-200 words.
In your topic sentence, summarize the artist’s unique approach to using their medium and materials to create
their work. Do this in one sentence. Remember that this paragraph is about the physical process of making
the work and not the visual elements or design principles.
For example: “Rodin’s expressive approach to modeling his sculpture makes the subject feel more human.”
Next, describe this unique approach in detail, and explain how it impacts, or is integral to, the viewer’s
experience of the work. What is the artist trying to say or express by doing it this way? In other words, explain
how this approach reinforces the message, theme, or narrative (story) in the work and contributes to making a
powerful visual statement.
You must include 2-3 specific supporting observations from your chosen art object. Each sentence must be
clear and descriptive.
Paragraph Three: Composition
This paragraph should be between 150-200 words.
In your topic sentence, clearly state the most dominant visual element or principle of design used to compose
the work. Do this in one sentence. Please refer to this helpful Guide to the Visual Elements and Principles
of Design.
(https://gcccd.instructure.com/courses/41796/files/5352196/download?download_frd=1)
For example: “Rodin’s exaggeration of the proportions of the hands and feet make the figure seem physically
powerful when seen from below.” (In this example, “proportion” is a principle of design.)
Next, describe in rich detail how the artist used this specific visual element or principle of design to organize
the work of art. How did the artist’s use of this element or principle underpin the composition and/or become
an integral part of what the artist was trying to say or express? In other words, explain how it reinforces the
message, theme, or narrative (story) in the work and contributes to making a powerful visual statement.
You must include 2-3 specific supporting observations from your chosen art object. Each sentence must be
clear and descriptive.
Paragraph Four: Evaluation
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This paragraph should be between 100-150 words
In your topic sentence, briefly summarize whether or not you think the work of art was effective or successful,
and why. Do this in one sentence. After writing the previous three paragraphs, you should be better able to
interpret and understand the work of art.
For example: “In The Thinker, Rodin successfully depicts a man who thinks deeply, yet has the physical
power to act.”
Next, analyze your own reaction to the work of art and evaluate its effectiveness in more detail. You will
explain the reasons why you think the work is successful and support your reasoning with 2-3 direct
references to the work of art you selected.
You may wish to consider the following:
What initial ideas or feelings come to mind after experiencing the work of art?
Do you identify with the work? Based on your life experiences, is it personally relevant to you?
What is it about the work of art that you like the most? The message? The way it was made or
composed?
Are you engaged by the formal characteristics, such as the way the artist used light, color, texture, space,
scale, etc?
Do you think your experience of the work is the same as what the artist intended?
Step Three: Respond to Two Classmates
Each post is worth 10 possible points (20 points total)
Next, review the posts of your classmates. Post a thorough and cogent response to a post by two different
classmates (at least 100 words each). Add a new insight to the discussion that helps the reader better
understand the work of art. To do this consider the following:
Do you agree with your classmate’s analysis and interpretation? Why or why not?
Did they leave out something important? If you think so, introduce this to the discussion.
Did you find something interesting in the post, but you don’t fully understand? Politely ask them to clarify
for you.
Grading
This Discussion topic is broadly framed and there is no right or wrong answer. Instead, you will be graded on
how well you demonstrate your ability to think clearly about this topic and logically support your ideas with
concepts from the readings, videos, online content (see links below), as well as your own observations, ideas
and insights.
Before you submit your posts, take a little more time to proofread and revise your work to make sure that what
you write actually conveys what you intend to say. Your posts must be clearly-written, well-supported,
grammatically correct, and free of spelling and punctuation errors. This is a college level assignment!
Please review the Grading Rubric before you begin. You can view the Grading Rubric by clicking the
three dots in the upper right of this page, then click “Show Rubric.” Here are more instructions for
viewing the Grading Rubric
(https://community.canvaslms.com/docs/DOC-10577-4212540120) .
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Earn a High Grade
1. Before you begin, read all of the instructions, as well as the rubric.
2. Focus on the key ideas contained in the weekly reading, videos, and links to this page.
3. Start with an outline and organize your main points into separate topical paragraphs.
4. Write concise and complete sentences that clearly convey what you intend to say.
5. Write in third person, present tense, as much as possible.
6. Support your statements with careful observations about each work of art.
7. Include your own insights that support your main points.
Assignment Feedback
I care very much about the quality of the work you submit and I will carefully read,
evaluate, and provide feedback on your post within approximately one week after you
submit responses to your classmates (usually sooner).
As you can imagine, this takes time and I appreciate your patience while I assess your
work.
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Click this link for instructions on how to view assignment comments from your
instructor.
(https://community.canvaslms.com/docs/DOC-10666-how-do-i-view-
assignment-comments-from-my-instructor)
Research
This is not a research paper. However, it may be beneficial for you to do some very basic
research about the artist and the image. If you do, look at other works by the artist to gain
insights about their artistic vision. Try to identify and include at least one big idea you find.
Be sure to cite your sources and paraphrase this idea in your own words. Contact me and
I can show you how to do this. In most cases you can cite the url for an online source in
parentheses after the section in your paper where the reference occurs.
Do not Plagiarize
If I find that you have appropriated any ideas or text without giving proper credit to the
person or persons who created them, you will receive a zero for this assignment. No
exceptions. Please familiarize yourself with the Academic Honesty/Dishonesty and
Plagiarism Policies for this course.
Images
I’ve selected these works of art because they represent a diverse range of materials, artists, and viewpoints.
Another big reason is because they include many of my personal favorites and I can’t wait to read what you
have to say about them!
Tara Donovan
Click this image to watch a video about the work of Tara Donovan.
(https://youtu.be/lSCSnKqBNHg)
Tara Walker, Untitled (Styrofoam Cups), 2004-2008, Installation
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Kara Walker
Click this image to watch a video about the work of Kara Walker.
(https://youtu.be/5QbXdPv-O1g)
Kara Walker, Renaissance society installation, 1997
Alex Couwenberg
Click either image below to watch a really terrific short video about how Alex makes his work.
(https://youtu.be/prZ6aGRTWhg)
Alex Couwenberg, Starwood, 2008, Acrylic on canvas
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Topic: Deliverable – Discussion 3: Explore Diverse Art (Formal Analysis) – Discussion 3: Explore Diverse Art (Formal Analysis) 1
(https://youtu.be/prZ6aGRTWhg)
Alex Couwenberg, Kona, 2006, Acrylic on canvas
Deborah Butterfield
Click the image below and go to the Artnet website where you can explore Butterfield’s work.
(http://www.artnet.com/artists/deborah-
butterfield/yellow-river-a-MEP3lhz7cv_myaAEC9_8QA2)
Deborah Butterfield, Yellow River, 1984, Assemblage
Click the image below to watch a short video about the work of Debra Butterfield.
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Topic: Deliverable – Discussion 3: Explore Diverse Art (Formal Analysis) – Discussion 3: Explore Diverse Art (Formal Analysis) 1
(https://youtu.be/1_kg_YgEzNA)
Debra Butterfield, Silver Star, 2013, Cast bronze with patina
Joseph Cornell
Click the image, below, for a link to a website about Joseph Cornell and his art.
(https://www.theartstory.org/artist-cornell-
joseph.htm)
Joseph Cornell, Untitled (The Hotel Eden), 1945, box art assemblage
Click the image, below, for a link to a terrific article about Joseph Cornell.
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(https://www.theguardian.com/artanddesign/2015/jul/25/joseph-cornell-wanderlust-royal-academy-exhibitionlondon)
Joseph Cornell, Medici Boy, 1952, Box art assemblage
Click this image (below) to go to an amazing interactive website based on Cornell’s artwork.
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Topic: Deliverable – Discussion 3: Explore Diverse Art (Formal Analysis) – Discussion 3: Explore Diverse Art (Formal Analysis) 1
(https://www.josephcornellbox.com)
Joseph Cornell, Untitled (Soap Bubble Set), 1936, Box art assemblage
Käthe Kollwitz
Click the image below to read a good article about Käthe Kollwitz.
(https://news.artnet.com/exhibitions/kathe-
kollwitz-german-modern-art-controversial-1021973)
Käthe Kolwitz, Battlefield, 1907, Etching, The Art Institute of Chicago
Rembrandt van Rijn
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Topic: Deliverable – Discussion 3: Explore Diverse Art (Formal Analysis) – Discussion 3: Explore Diverse Art (Formal Analysis) 1
Click the image below and go to the Norton Simon Museum website. When you arrive, click the image again
to take a closer look. This is considered to be one of the most dynamic prints ever made.
(https://www.nortonsimon.org/art/viewer/M.1979.26.G)
Rembrandt van Rijn, Three Crosses, third state, 1653, Drypoint
Unlike other printmaking processes, Intaglio printing allows the artist to make changes to the printing plate
between proofs. Notice the dramatic changes that occur between the early and later states of this image.
Rembrandt pioneered this process. Click the image, below, to watch a video that will help you interpret
Rembrandt.
(https://youtu.be/lF-7leHMUbw)
Rembrandt van Rijn, Three Crosses, fourth state, 1653, Drypoint
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Topic: Deliverable – Discussion 3: Explore Diverse Art (Formal Analysis) – Discussion 3: Explore Diverse Art (Formal Analysis) 1
Donatello
Click this image, below, to watch a video about Donatello’s Mary Magdalene.
(https://youtu.be/-UZuG3XpAd0)
Donatello, Mary Magdelene, 1455, Wood sculpture
Vincent Van Gogh
Click this image to watch a first rate biography of Vincent Van Gogh. Watch at least the first two episodes (15
minutes each). If you want to learn about what drove Vincent to paint, this is the video to watch.
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Topic: Deliverable – Discussion 3: Explore Diverse Art (Formal Analysis) – Discussion 3: Explore Diverse Art (Formal Analysis) 1
(https://youtu.be/1FeFv2W2X-s)
Vincent Van Gogh, The Night Cafe, 1888, Oil on canvas
David Alfaro Siqueiros
Click the image, below, for a link to a website about Siquieros and his art.
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Topic: Deliverable – Discussion 3: Explore Diverse Art (Formal Analysis) – Discussion 3: Explore Diverse Art (Formal Analysis) 1
(https://www.theartstory.org/artist-siqueiros-
david-alfaro.htm)
David Alfaro Siqueiros, Echo of a Scream, 1937, enamel on wood
Banksy
Click this image to watch a terrific video about Banksy (14 minutes).
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Topic: Deliverable – Discussion 3: Explore Diverse Art (Formal Analysis) – Discussion 3: Explore Diverse Art (Formal Analysis) 1
(https://youtu.be/Xoe3Nn5vuBg)
Banksy, Stop and Search (Girl and a Soldier), Bethlehem, 2007
(https://youtu.be/gB1-Qu6ZbEM)
Banksy, Cameraman and Flower, Park City, 2010
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Banksy, Umbrella Girl, New Orleans
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Topic: Deliverable – Discussion 3: Explore Diverse Art (Formal Analysis) – Discussion 3: Explore Diverse Art (Formal Analysis) 1
Banksy, No Trespassing, San Francisco, 2010
James Turrell – Roden Crater (earthwork)
Click the image below to watch a video about the Roden Crater (LACMA).
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Topic: Deliverable – Discussion 3: Explore Diverse Art (Formal Analysis) – Discussion 3: Explore Diverse Art (Formal Analysis) 1
(https://vimeo.com/67926427)
James Turrell, Roden Crater, interior, Earthwork
Please click the image below to visit the Roden Crater website.
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Topic: Deliverable – Discussion 3: Explore Diverse Art (Formal Analysis) – Discussion 3: Explore Diverse Art (Formal Analysis) 1
(http://rodencrater.com/about/)
James Turrell, Roden Crater, interior, Earthwork
Please click the image below to visit the James Turrell website.
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Topic: Deliverable – Discussion 3: Explore Diverse Art (Formal Analysis) – Discussion 3: Explore Diverse Art (Formal Analysis) 1
(http://jamesturrell.com)
James Turrell, Roden Crater, interior, Earthwork
James Turrell, Roden Crater, exterior, Earthwork
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After posting, mark this page as done, then click the “Next” or > button to continue.
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Joseph Piraino (https://gcccd.instructure.com/groups/31896/users/404416)
Yesterday
The Night Café, by Vincent van Gough is an oil painting of a café with a pool table as its center
point. In his painting van Gough paints a café with several different people in it. Their is a large pool table
in the center of the painting with a large looming shadow which draws the eye. The floor of the café looks
to be long wooden planks set straight back. Their is what looks to be a bartender table with drinks in the
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Topic: Deliverable – Discussion 3: Explore Diverse Art (Formal Analysis) – Discussion 3: Explore Diverse Art (Formal Analysis) 1
back of the painting cover by a white cloth. their are three light fixtures hanging from the blue ceiling
radiating light. Their is a blue clock hung above the door with drapes in the back of the painting behind
the bartending table. Their are several tables with half finished drinks on them. The table closest to the
pool table has a man getting out of his chair with a white suit on. Their are three other tables in the café.
The table in the bottom right corner has two man talking hunched over their table. The table to the middle
left has a man with his head down looking depressed. The table to the top left looks to have a happy
couple kissing.
Vincent van Gough used a unique medium in The Night Café, by how he used thick brush strokes
of oil paint to make the painting feel more ragged and textured. This causes his painting to have more
texture thus added more details to his work giving his painting a unique art style that the viewer will
remember. Van Gough is trying to express how rugged the real world could be and how everything is not
perfect. This shows a story that sometimes not everything will be perfect and smooth but rough brush
strokes and creativity can make your paintings look unique and give them more life. This makes a
powerful visual statement because the viewer of his painting can see every move and brushstroke he
made wile he was creating the painting which allows the viewer to connect with him through his work.
The most dominant visual element Van Gough used in his painting was texture. Van Gough used
rough and quick brush strokes using a lot of paint to make his painting pop and give it a unique look. Van
Gough used implied texture in certain elements in his paintings such as using smoother strokes for the
wooden floor board of the café to give them a smooth look. Van Gough also used rough and sporadic
strokes on the people in his painting to make it seem like the people are in motion. The textures are
much more noticeable up close because from afar the viewer would not be able to discern all of his
different brush strokes as well as one could up close. The texture adds complexity to the painting
because without its texture the painting would look more more empty and plain. Texture does contribute
to the paintings expressive power because you can see how Van Gough expressed himself through each
one of his brush strokes.
In The Night Café, Van Gough successfully depicts how cafes looked in his time and all of the
different types of people that he would see in the café. This painting is successful because of all of the
visual elements Van Gough uses to bring his painting to life. For example his use of the pool table in the
center of the painting with the large looming shadow immediately draws the eye to the center of his
painting. What I like most about his painting was his use of texture. Van Goughs use of texture elevated
his work above many others because I feel like I am living through his motions every time I look at his
brush strokes. I think I did experience the painting as Van Gough intended because I feel that he used
texture to convey the atmosphere and how he created his painting. I think Van Gough wanted the viewer
to be able to see all of his brush strokes so that they would be able to connect to him through his
paintings.
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