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The book explains the different approaches college students encounter in undergraduate art history classes. Each chapter outlines the characteristics of one type of visual or historical analysis, and briefly explains its history and development.
Passages by well-known art historians provide examples of each method. Four appendices outline the steps in researching art historical topics, writing essays about them, and citing sources properly.
Appendices III and IV include sample student papers, accompanied by my comments and suggested changes. I have not included illustrations, in the hope that more attention will be given to the passages quoted. Glancing at a picture and then skimming text about it is not the same as trying to create a mental image from words alone.
The absence of illustrations also makes it easier for each reader to decide which words are especially effective in communicating information about visual things. However, complete identification of the images discussed is given so that the reader can find them easily on the Web.
Many of them will be familiar from art history surveys. It is no exaggeration to say that without the help of my students at CCNY, I never could have — or would have — written this text. I owe them all, especially those who allowed me to use their papers as examples, tremendous thanks.
They also have forced me into the twenty-first century, making it clear how useful it would be to have this text available as a website as well as in a paperback and a Kindle edition.
In appreciation of all they have given me, I dedicate this work to my students in Art In glancing through this online book, it contains many great suggestions to students in an art history or art appreciation class on how to write and analyze works of art in different ways.
The book has also been published as a paperback and kindle version. The author is a Columbia University graduate and has held many art history positions in and around the New York City area.Formal analysis is exactly what it sounds like: an analysis of the work’s form.
This kind of analysis focuses on structure, materials, and composition rather than the culture the work came from. Click on the link below to view the article “Formal Analysis” by Marjorie Munsterberg on her website Writing About Art.
Writing About Art. Visual Description In effect, writing a visual description consists of two separate acts of translation. Like Cahill, Rosand saw the physical movements of the painter in the work he described, but they are “gestures of the body” rather than the hand.
In abstract art, like a Jackson Pollock painting, which typical have no traditional subject matter, the paint splatter takes on that role: in a sense Pollock’s paintings are about the act of painting itself (and by extension, the act of creation).
Art/Photo. Art/Photo Videos. Contests; My Hobby, My Passion, My love, Dance. April 23, Very nice article. I like dancing occasionally, but this has really touched me . Like so many kinds of writing about art, historical analysis became the subject of sustained investigation during the 19th century by scholars writing in German.
Jacob Burckhardt () wrote the first major studies of art as an aspect of culture in his books about the Italian Renaissance, published during the s.
Hugo Munsterberg's psychology laboratory at Harvard () Hugo Munsterberg's psychology laboratory at Harvard () A publication from Abrams Books and a traveling exhibit currently at the Weisman Art Museum highlight the medical illustrations of Santiago Ramón y Cajal.
social contact like dancing was critical to psychiatric care. To.