Professor Ferris Williams
2 December 2013
For my Formal Analysis I decided to choose the painting that Fridah Kahlo did in 1946 entitled “The Little Deer”. When examining this piece of work I see the deer jumping and running through the forest in action. The deer has a female human style face which is somewhat interesting because Kahlo uses the same type face when doing self-portraits of herself. When viewing this piece I see the arrows striking the deer and blood running out and the dull face that the deer/human has which at first sends a tone as sorrow or pain or some kind of struggle. In the back ground we see the ocean with what seems to be daytime but also a lightning storm going on which gives me a little different look at it. I chose this piece of work because it honestly just caught my eye when flipping through the book. I am an outdoorsy type person who enjoys action type things with passion in them and this piece just seems to fit my personality to key.
By viewing this piece, Kahlo uses a tree line on both sides of the deer running all the way to the back ground like a “trail” of some sort leading to the ocean where the storm is happening. Kahlo uses this as the “vanishing point” in the work by making it the brightest area on this work of art. Kahlo directs our eyes to the vanishing point by using these tree lines on both sides and the “trail” like path, which leads back to where the ocean starts in the background which also gives a type of “balance” to this work of art which will be discussed later on.
Kahlo doesn’t use very smooth linear strokes with this piece which doesn’t give certain things nice tight edges. Such as the trees or the tree branches or the antlers of the deer or even the arrows really just don’t seem to have much of a “precise” type work to it. The linear structure of the fallen branch in the very front, also with the vertical trees all in parallel lines on both sides as well as the deer which seems to maybe...
...1.String quartet in d minor (D.810) 1st movement Allegro formal diagram
Name of form part of subpart inclusive m. total m. tonality commentary
Exposition 1-140 140 strong vierhebigkeit throughout
Introduction 1-14 14 d; i---V Aggressive main triplet rhythm
1st theme 15-24 9 i---V main melody in the viola
extension of 1st theme 25-40 16 i---V main melody in the 1st violin
transition 41-51 11 i---V 1st theme element is used
2nd theme 52-60 9 F; I---V The triplet figure also appears in this 2nd subject
transition(theme) 61-82 22 F; I---V The triplet figurer becomes an accompanyin figure
played on the viola
prolongation I of transition 83-101 19 F; I---d; V transition melody repeated
prolongation II of transition 102-114 13 variousF; I transition melody repeated
prolongation III of transion 115-140 26 F; I---iii transition is used as a codetta to prepare the...
... FormalAnalysis of Art
Nancy H. Wieczorek
University of Phoenix
September 28, 2014
[Title Here, up to 12 Words, on One to Two Lines]
FormalAnalysis Question 1
Van Gogh Gallery, 1889) (Every stock photo, 1968)
When comparing Vincent Van Gogh's " Starry Night "painting lines to Sol Lewitt's The Wall Drawing No. 681, the lines are in opposition with each other. In the " Starry Night "painting the lines of the sky are vastly wavy and flowing. The lines of the buildings in the painting are traditional straight. Vincent Van Gogh in this painting is providing you an image that he has had during his period that he was in an asylum. When you look at the painting "Starry Night," the lines in the sky are very unstable, they are all over the place and full of emotions. We can tell that the artist was having a difficult time with his feeling, that he was unstable when he painted this part of the painting. You can see how contempt the artist was when he painted the buildings. How much at peace he was with himself, yet with the sky we do not see the same peace. The sky is not peaceful, yet the buildings are. We can see that the artist Vincent Van Gogh was fighting with himself and it show in his painting" The Starry Night." In "The Wall Drawing...
I’ve decided to do my formalanalysis on an original painting done by Slava Ilyayev titled, “Passage to Spring”. I ran across this beautiful work of art at Fascination St. Fine Art north of Cherry Creek in Denver.
UNITY: As you take a look at this piece, you can notice unity right away. The artist uses color, texture, and line to interweave this beautiful work of art together. Bright, analogous warm colors are unified throughout the piece including the reflection on the pathway and the green field on the horizontal plane. Texture was another element used by the artist to tie this piece together. Take a look at the texture created in the leaves, the thick paint is lifting off the surface of the canvas. This same texture is used throughout the landscape and the reflection on the pathway. Line was also used to tie the piece into one. The first noticeable lines are from the horizontal reflections on the pathway, which leads to the vertical lines from the thick tree trunk. Those lines are then extended in the branches which fold inward onto the picture plane. This creates an “O” which helps bring the piece together.
VARIETY: I have stood in front of this piece more than any other piece in the gallery. How did the artist achieve this? Ilyayev’s work consists of a variety of bright colors and shapes that help sustain one’s interests. The colors are...
The Merode Altarpiece, a piece by artist Robert Campin, is a representation of the Annunciation of Christ. The piece was originally painted in Flanders during the Early Renaissance period in 1425. It is a considerably small altarpiece, commissioned for a private residence, created with oil on wood panel. The piece is currently held in the Metropolitan Museum of Art in New York. The scene depicted in this particular altarpiece is very popular among artists during the Renaissance and the detailed representation captured by Robert Campin made it one of his most famous works of art.
The subjects depicted in the piece are the Virgin Mary, an angel, Joseph, and also the donors who commissioned the painting. The main subject is very obviously the Virgin Mary. The scene in the center panel shows the angel who has come to tell Mary that she will bear the Christ child. In the right panel Joseph is shown in his workshop and the patrons of the altarpiece are shown to be just outside the home of Mary and Joseph in the left panel. It was a popular practice for patrons to be depicted within the religious scene that they commissioned so they could actively imagine their presence during the event.
The composition of the piece can be seen as very dynamic. The main focus of the painting, the Virgin Mary, draws the viewer’s eye immediately to the center of the piece, then it seems to follow her robes to the angel...
...A FormalAnalysis of Art
Darlene Traci Kepner
February 17, 2013
A FormalAnalysis of Art
The visual literacy of line usage by both artists is extremely different from one another. Van Gogh's "The Starry Night" Sayre, H. M, (2010) (Fig.73) and LeWitt's "Wall Drawing No. 681” Sayre, H. M, (2010) (Fig.77) portray subject matter of different compositions. However, both depictions of art, also express, different qualities, styles, and eras. Van Gogh is from the eighteenth century and LeWitt’s is from the Late nineteenth century; whereas, Van Gogh’s work is a masterpiece, and LeWitt’s is contemporary art, even though both artists possess intellectual and expressive qualities from within their era's that had a fundamental element whether historical or contemporary, they are both works of art. Van Gogh's painting is a masterpiece with a dynamic nature. The contoured lines appear to outline the moon, stars, and kinetic nature of the night air. In contrast to LeWitt's actual lines that portrays analytical and geometric qualities that are static in nature. In Contrast with Van Gogh's painting that depicts an intense energy with expressive qualities. LeWitt's work is juxtaposing (actual) lines that are precise with an isometric projection. Nevertheless, the compositions of Van Gogh and LeWitt’s are the visual aspects of...
...Pasanun Songsaeng / 213825658
Tutorial 12/ T.A Ingrid Mida
Professor Malcolm Thurlby
3rd November, 2014
FormalAnalysis: The Shop Girl by James Tissot
In “The Shop Girl”, 1883-1885 measuring 146.1 x 101, James Tissot depicts young maidens standing inside a workshop peddling ribbons and dresses. The essence of definition in this painting is well captured in Tissot’s unique sensibilities of his dramatic and emotive dynamism of the scene, as well as vivid imagery in a part of an exhibit titled “Quinze tableau sur la femme à Paris” (fifteen paintings on the woman of Paris). (Stirton)
Displayed at the Art Gallery of Ontario, “The Shop Girl” entices in and welcomes visitors into a magasin de nouveauté, to seatings in a boutique where custom trimmings are for sale. Considering the modest size of the AGO, the painting further reinforces the impression of having ventured into a small, chic shop in a corner with exquisitely designed fashion accoutrements with the uncanny life-sized scale of the saleswomen; and highlighting the vital relationship between fashion and art during the pivotal years. (Whitmore)
Tissot’s distinctive style of application of dry pigments reflects dynamic realism that typifies Tissot’s sense of depicting his sculptural path as well as craftsmanship in his paintings. This is shown through Tissot’s strenuous manipulation of sensation, even profound emotion in life still objects, through purely...
Theodore Géricault’s breathtaking composition, The Raft of the Medusa, is extraordinary: exhibiting an intensity that sets it apart from all other works to date. Upon viewing this piece, it becomes immediately apparent that there is a tense struggle being depicted by Géricault.
When one lays their eyes on this piece, they are guided along a fading beam of light shining upon the raft, from the bottom left of the painting to the top right. This guide, of sorts, occurs naturally as a result of the dramatic contrast of light and dark.
The character lying half-submerged in the ocean and the sail placed in upper left quadrant of the piece counter-balance the weight of the bright light stretching from lower-left to upper-right. Such an arrangement contributes a sense of spatial recognition, or depth, and ocular movement is created by this element.
There is a distinct foreground, middleground, and background. The makeshift raft that is barely keeping its occupants afloat makes up the foreground and attracts the majority of the viewer’s attention. The middleground and background is designated by the bluish-green hue of the waves juxtaposed with the yellowish-gold sky. A horizon is created by this color contrast. These elements are brilliantly comprised, allowing any spectator to immediately comprehend the sorrowful event, or action, taking place in Theodore Géricault’s, The Raft of the Medusa.
Movement is further addressed...
The pieces Ann Whitley Russell, done by an unknown artist in around 1820 and Lady Frances Knowles, also done by an unknown artist, in the mid-late 17th century are both examples of portraits that portray the sitters in diverse yet insightful ways to viewers. Both Ann Whitley Russell and Lady Frances Knowles are works of art composed of oil paint on canvas. Although these portraits are different, the aspects of space, color, and composition are all important elements that must be considered while comparing the woman in these two pieces.
The significant element of space comes into play while analyzing the portrait of Ann Whitley Russell. The figure of Ann Whitley Russell herself is very flat and appears to be two dimensional, rather than three. The two dimensionalism of this portrait says something about the skill level and amount of training that this unknown artist holds; they were most likely self-trained. Since there is a shallow depth of field in this piece the viewer is automatically drawn to the sitter, Ann Whitley Russell, who is positioned in the foreground of this piece. Ann Whitley Russell is illustrated sitting on a chair with a decorative cloth draped over the left arm, which is positioned in the middle ground of the portrait. The background is monochrome, blurry and is indistinguishable to make out other than the column to the side of the portrait. The column looks as if the artist based it...