painting description essay

Visual Analysis: How to Analyze a Painting and Write an Essay

A visual analysis essay is an entry-level essay sometimes taught in high school and early university courses. Both communications and art history students use visual analysis to understand art and other visual messages. In our article, we will define the term and give an in-depth guide on how to look at a piece of art and write a visual analysis essay. Stay tuned until the end for a handy visual analysis essay example from our graduate paper writing service .

What Is Visual Analysis?

Visual analysis is the process of looking at a piece of visual art (painting, photography, film, etc.) and dissecting it for the artist’s intended meaning and means of execution. In some cases, works are also analyzed for historical significance and their impact on culture, art, politics, and the social consciousness of the time. This article will teach you how to perform a formal analysis of art.

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A visual analysis essay is a type of essay written mostly by students majoring in Art History and Communications. The process of visual analysis can be applied to painting, visual art, journalism, photo-journalism, photography, film, and writing. Works in these mediums are often meant to be consumed for entertainment or informative purposes. Visual analysis goes beyond that, focusing on form, themes, execution, and the compositional elements that make up the work.

Classical paintings are a common topic for a visual analysis essay because of their depth and historical significance. Take the famous Raphael painting Transfiguration. At first glance, it is an attractive image showing a famous scene from the Bible. But a more in-depth look reveals practical painting techniques, relationships between figures, heavy symbolism, and a remarkable choice of colors by the talented Raphael. This deeper look at a painting, a photograph, visual or written art is the process of visual analysis.

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Formal Analysis of Art: Who Does It?

Most people who face visual analysis essays are Communication, English, and Art History students. Communications students explore mediums such as theater, print media, news, films, photos — basically anything. Comm is basically a giant, all-encompassing major where visual analysis is synonymous with Tuesday.

Art History students study the world of art to understand how it developed. They do visual analysis with every painting they look it at and discuss it in class.

English Literature students perform visual analysis too. Every writer paints an image in the head of their reader. This image, like a painting, can be clear, or purposefully unclear. It can be factual, to the point, or emotional and abstract like Ulysses, challenging you to search your emotions rather than facts and realities.

How to Conduct Visual Analysis: What to Look For

Whether you study journalism or art, writing a visual analysis essay will be a frequent challenge on your academic journey. The primary principles can be learned and applied to any medium, regardless of whether it’s photography or painting.

For the sake of clarity, we’ve chosen to talk about painting, the most common medium for the formal analysis of art.

In analyzing a painting, there are a few essential points that the writer must know.

Who is the painter, and what era of art did they belong to? Classical painters depict scenes from the Bible, literature, or historical events (like the burning of Rome or the death of Socrates). Modernists, on the other hand, tend to subvert classical themes and offer a different approach to art. Modernism was born as a reaction to classical painting, therefore analyzing modernist art by the standards of classical art would not work.
What was the painter’s purpose? Classical painters like Michelangelo were usually hired by the Vatican or by noble families. Michelangelo didn’t paint the Sistine Chapel just for fun; he was paid to do it.
Who is the audience? Artists like Andy Warhol tried to appeal to the masses. Others like Marcel Duchamp made art for art people, aiming to evolve the art form.
What is the historical context? Research your artist/painting thoroughly before you write. The points of analysis that can be applied to a Renaissance painter cannot be applied to a Surrealist painter. Surrealism is an artistic movement, and understanding its essence is the key to analyzing any surrealist painting.

Familiarizing yourself with these essential points will give you all the information and context, you need to write a good visual analysis essay.

But visual analysis can go deeper than that — especially when dealing with historic pieces of visual art. Students explore different angles of interpretation, the interplay of colors and themes, how the piece was made and various reactions, and critiques of it. Let’s dig deeper.

A Detailed Process of Analyzing Visual Art

Performing a formal analysis of art is a fundamental skill taught at entry-level art history classes. Students who study art or communications further develop this skill through the years. Not all types of analysis apply to every work of art; every art piece is unique. When performing visual analysis, it’s essential to keep in mind why this particular work of art is important in its own way.

Step 1: General Info

To begin, identify the following necessary information on the work of art and the artist.

Subject — who or what does this work represent?
Artist — who is the author of this piece? Refer to them by their last name.
Date and Provenance — when and where this work of art was made. Is it typical to its historical period or geographical location?
Past and Current Locations — where was this work was displayed initially, and where is it now?
Medium and Creation Techniques — what medium was this piece made for and why is it important to that medium? Note which materials were used in its execution and its size.

Step 2: Describe the Painting

Next, describe what the painting depicts or represents. This section will be like an abstract, summarizing all the visible aspects of the piece, painting the image in the reader’s mind. Here are the dominant features to look for in a painting:

Characters or Figures: who they are and what they represent.
If this is a classical painting, identify the story or theme depicted.
If this is an abstract painting, pay attention to shapes and colors.
Lighting and overall mood of the painting.
Identify the setting.

Step 3: Detailed Analysis

The largest chunk of your paper will focus on a detailed visual analysis of the work. This is where you go past the basics and look at the art elements and the principles of design of the work.

Art elements deal mostly with the artist’s intricate painting techniques and basics of composition.

Lines — painters use a variety of lines ranging from straight and horizontal to thick, curved, even implied lines.
Shapes — shapes can be distinct or hidden in plain sight; note all the geometrical patterns of the painting.
Use of Light — identify the source of light, or whether the lighting is flat; see whether the painter chooses contrasting or even colors and explain the significance of their choice in relation to the painting.
Colors — identify how the painter uses color; which colors are primary, which are secondary; what is the tone of the painting (warm or cool?)
Patterns — are there repeating patterns in the painting? These could be figures as well as hidden textural patterns.
Use of Space — what kind of perspective is used in the painting; how does the artist show depth (if they do).
Passage of Time and Motion

Design principles look at the painting from a broader perspective; how the art elements are used to create a rounded experience from an artistic and a thematic perspective.

Variety and Unity - explore how rich and varied the artists’ techniques are and whether they create a sense of unity or chaos.
Symmetry or Asymmetry - identify points of balance in the painting, whether it’s patterns, shapes, or use of colors.
Emphasis - identify the points of focus, both from a thematic and artistic perspective. Does the painter emphasize a particular color or element of architecture?
Proportions - explain how objects and figures work together to provide a sense of scale, mass, and volume to the overall painting.
Use of Rhythm - identify how the artist implies a particular rhythm through their techniques and figures.

Seeing as each work of art is unique, be thoughtful in which art elements and design principles you wish to discuss in your essay. Visual analysis does not limit itself to painting and can also be applied to mediums like photography.

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The Structure: How to Write a Visual Analysis Paper

It’s safe to use the five-paragraph essay structure for your visual analysis essay. If you are looking at a painting, take the most important aspects of it that stand out to you and discuss them in relation to your thesis. Structure it with the simple essay structure:

Introduction: An introduction to a visual analysis essay serves to give basic information on the work of art and briefly summarize the points of discussion.

Give a brief description of the painting: name of artist, year, artistic movement (if necessary), and the artist’s purpose in creating this work.
Briefly describe what is in the painting.
Add interesting facts about the artist, painting, or historical period to give your reader some context.
As in all introductions, don’t forget to include an attention-grabber to get your audience interested in reading your work.

Thesis: In your thesis, state the points of analysis on this work of art which you will discuss in your essay.

Body: Explore the work of art and all of its aspects in detail. Refer to the section above titled “A Detailed Process of Analyzing Visual Art,” which will comprise most of your essay’s body.

Conclusion: After you’ve thoroughly analyzed the painting and the artist’s techniques, give your thoughts and opinions on the work. Your observations should be based on the points of analysis in your essay. Discuss how the art elements and design principles of the artist give the painting meaning and support your observations with facts from your essay.

Citation: Standard citation rules apply to these essays. Use in-text citations when quoting a book, website, journal, or a movie, and include a sources cited page listing your sources. And there’s no need to worry about how to cite a piece of art throughout the text. Explain thoroughly what work of art you’re analyzing in your introduction, and refer to it by name in the body of your essay like this — Transfiguration by Raphael.

If you want a more in-depth look at the classic essay structure, feel free to visit our 5 PARAGRAPH ESSAY blog

Learn From a Visual Analysis Example

Many YouTube videos are analyzing famous paintings like the Death of Socrates, which can be a great art analysis example to go by. But the best way to understand the format and presentation is by looking at a painting analysis essay example done by a scholarly writer. One of our writers has penned an outstanding piece on Leonardo Da Vinci’s La Belle Ferronnière, which you may find below. Use it as a reference point for your visual analysis essay, and you can’t go wrong!

Leonardo da Vinci was an Italian artist born in April 1452 and died in May 1519who lived in the Renaissance era. His fame and popularity were based on his painting sand contribution to the Italian artwork. Leonardo was also an active inventor, a vibrant musician, writer, and scientist as well as a talented sculptor amongst other fields. His various career fields proved that he wanted to know everything about nature. In the book “Leonardo Da Vinci: The Mind of the Renaissance” by Alessandro Vezzosi, it is argued that Leonardo was one of the most successful and versatile artists and anatomists of the Italian renaissance based on his unique artwork and paintings (Vezzosi, p1454). Some of his groundbreaking research in medicine, metal-casting, natural science, architecture, and weaponry amongst other fields have been explored in the book. He was doing all these in the renaissance period in Italy from the 1470s till his death.

Visual analysis essays will appear early in your communications and art history degrees. Learning how to formally analyze art is an essential skill, whether you intend to pursue a career in art or communications.

Before diving into analysis, get a solid historical background on the painter and their life. Analyzing a painting isn’t mere entertainment; one must pay attention to intricate details which the painter might have hidden from plain sight.

We live in an environment saturated by digital media. By gaining the skill of visual analysis, you will not only heighten your appreciation of the arts but be able to thoroughly analyze the media messages you face in your daily life.

Also, don't forget to read summary of Lord of the Flies , and the article about Beowulf characters .

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How to Describe a Painting: 10+ Phrases to Talk About Art

Art is eternal. Many paintings created hundreds of years ago still inspire and excite us. But it’s also a great topic for conversation with friends or strangers. So, knowing how to describe a painting in your native language and English is essential. And, of course, we are here to help!

In this article, you will learn the best tips for describing a piece of art and understand the importance of such a process. So whether you need it for school or you are going to visit a museum, keep reading! You will find everything you need below.

How to describe a piece of art: General tips

You probably think describing art is effortless. Just say some adjectives, explain the colors and composition, and you’re done. Well, it might be enough for art classes. Yet, in real life, we want you to be more prepared. Here is one of our favorite examples of describing a painting. In the Theory of Everything movie, Eddie Redmayne, a.k.a. Stephen Hawking, says that Turner’s paintings usually look like they’ve been left out in the rain. It is not the description we used to hear, but it is still valid.

As you can see, you have genuinely enough ways to describe a painting. But since it might be hard to navigate at first, we created a step-by-step guide to help you understand what details need more attention and what to talk about during your next visit to the gallery. So, how to describe paintings properly?

Describe your impressions

When discussing a particular painting at the gallery, express your feelings about it. Do you like it or not? Does the picture make you happy or sad? And why does it give you such a mood – because of the colors, composition, or maybe its background history?

For example, you can say that the picture makes you sentimental because the woman in the foreground reminds you of your granny, whom you haven’t seen for a while. Or, for example, it makes you calm because you enjoy the sea view. You can use many adjectives to describe your feeling regarding any piece of art. Here are some of them:

Positive emotions: inspired, joyful, satisfied, interested, happy, serene, nostalgic, sentimental, excited, impressed, powerful, fascinated, etc.
Negative emotions: disappointed, sad, moody, gloomy, unsatisfied, scared, nervous, angry, depressing, disgusted, etc.

Don’t be afraid of telling the truth about your feeling regarding any art. Of course, there is no need to be rude – you don’t have to offend an artist and their work. But you shouldn’t tell untruth as well. If you don’t like something, pay attention to your feelings, and try to explain what exactly makes you feel that way. The excellent hack is to share your first thoughts when you see a particular picture for the first time. And when you are finished with this step, you can proceed to the next one.

Describe the composition

You can now talk more particularly about the chosen work of art after conveying your feeling from the picture. And the best thing to start describing it is to explain the composition. In layperson’s terms, you need to tell what is depicted on the canvas. You can use these common expressions and words to describe art composition:

in the foreground/background, in the middle, on the right/left side, next to, in front of;
asymmetrical, symmetrical, centered;
urban landscape, suburban landscape, rural landscape;
a historic site, domestic setting, intact nature;
horizontal, vertical, circular, triangular.

For example, let’s look at the Mona Lisa (we are confident you’ve seen this one before). What can you see in this famous painting? There is a beautiful woman in the foreground . She has long black hair and wears a black dress. In the background is a natural landscape – a river, mountains, and a road.

You can be more general when talking about the painting’s composition. Just describe what you can see in the foreground and background, the main shapes of the picture, what is in the center and what is in the distance, etc. The best advice for this step is to tell everything you see, even the smallest details.

Describe the colors

Colors are integral when you need to describe a painting. Of course, we are not telling you to go to the gallery and stand in front of pieces of art saying they are red or yellow. It would be a little bizarre. You can try some other things instead. Here are some adjectives you can use to explain the color palette of the painting:

bright, vibrant, vivid;
hot, cold, warm, cool;
natural, artificial, earthy, rich, intense;
deep, flat, weak, pale, muted;
complementary, quiet, contrasting;
dark, light, monochromatic.

Take a look at the painting and try to identify your impression of the colors used. Are they good together? Do they fit the overall idea and composition? Can you identify the primary color palette and what it is? Are there any specific colors you can notice? The more details your eye can catch, the better your description will be. Try to feel the atmosphere the artist created using a specific color and explain it.

Describe the scene

When describing a composition, you explain only the things pictured in the painting. But when discussing the scene, you create your own story based on the painting. Of course, it would be harder to describe the landscape scene because you can only guess the place’s location, city, or country here.

But if there are any actions, and you feel a little creative, you can imagine the story behind this picture and add it to your description. Let’s get back to the legendary Mona Lisa. You probably know there are many stories about this masterpiece. So, why don’t we create another one?

Take a look at this painting once again, and try to guess a few things. Who do you think this woman is? Maybe she is the wife of the artist. Perhaps she is his mistress. Or possibly, she is just the famous lady of that time, and it’s a custom painting. Where does she live? We know that Da Vinci was born in Italy but spent his last days in France. Hence, maybe it is one of those countries? The number of options is countless. You can choose any picture and make your own vision of it.

Describe the history

Generally, four previous steps would be enough to describe a painting. But if you have a bit more spare time and want to impress whoever you will discuss the art with, you need to do some research.

Start with the information about the artist. Find out their date and place of birth, the genres they were working with, and some major events in their life. When you know something about the artist, it will be easier for you to keep the conversation going. Moreover, it will significantly simplify the painting-describing process.

After learning some basics about the author, research the information about the painting. Try to learn as much as possible about the events or people pictured on the piece of art. It may be a famous historical event or figure. Maybe, it is the sibling of the artist. The more you find, the better you will understand the painting.

Of course, if you’ve decided to do this research, you should skip step four. It won’t be easy to guess and create your versions when you know exactly what the picture is about. But to mention the painting’s history, you need to be sure that you’ve found only relevant information. So pay attention to the smallest details to avoid misunderstandings and confusion.

Why is it important to learn how to describe a piece of art?

You might think that describing a painting can be useful only at the museum or in your art class. But we can show you that it is not entirely true. This simple process can bring you more benefits than you can imagine. Here are only a few of them:

Improving your speaking and writing skills. Of course, since we are here to study English, the first benefit is connected to our learning process. When you learn words to describe the painting, you expand your vocabulary, understand how to build sentences, and use them in your speech and writing.
Learning to understand yourself. Yes, you’ve read it correctly. As we mentioned earlier, one of the best ways to describe art is to start with your feelings. And when you realize what you feel regarding some painting, you will learn how to listen to yourself in other situations.
Imagination development. You probably remember that in step four of describing a painting, we offered to define a scene using your imagination – guess what is going on, and create your version of events. It will help you develop your fantasy and imagination and become even more creative.
Increasing knowledge. You already know that to describe a piece of art better, you need to find some information about the artist and the historical background of the painting. It will help you to increase your knowledge of various topics, so you will always be an interesting person to communicate with.

Only these four benefits can show you how much profit you have from learning how to describe art. You can use them to discuss paintings, even in your native language. And if you want to master this topic in English, we know precisely how to help you reach this goal.

Learning the best words to describe a painting with Promova

If you are an avid reader of our blog, you probably know our main motto – studying doesn’t have to be boring. And if you still think that describing art in English is tedious, we are ready to prove you wrong. The Promova English studying platform is the best place to learn all the steps mentioned above, but make it easy and fun. There are a few studying options depending on students’ needs. And we will tell you about each one of them.

Let’s start with those who seek help from professional tutors. If it’s you, we have a perfect solution. Promova offers amazing one-on-one lessons with professional teachers . They will prepare a unique plan according to your experience level, studying goals, and interests. As a result, you will start learning only the information pertinent to you and bypass all the useless details.

You can join our friendly and exciting group classes if you need company. It is an outstanding opportunity for those who want to practice speaking. Depending on your English proficiency, you can join any group of six students and begin having fun right away. You can talk to people worldwide, discuss interesting topics, and strengthen your language skills.

Another great option is suitable for those who don’t want to study general information but want to practice speaking and discuss various topics more. Yes, we are talking about our wonderful speaking club . Here, you can discuss art, books, movies, and other amazing topics with students from various countries. And the best thing is that it is free! Go to the Promova website , choose the subject you want to discuss, and book your place. Just as simple as that!

Finally, we have something great for those who prefer to study independently. The Promova app is perfect if you want to practice English alone, anywhere, and anytime. Install the application on your phone or laptop, and enjoy hundreds of lessons and exercises on grammar, vocabulary, speaking, pronunciation, listening, etc. The application is also free, so you can enjoy it immediately. Don’t hesitate, and check one of those opportunities to find the one that suits you best.

All in all, discussing a particular piece of art might be more tricky than you thought. But with minimal preparation, you can become a personal guide for your friends on your next visit to the gallery. All you need to do is to remember some basic steps for describing a painting.

Find out more about the art and the artist. Scroll through the Internet and visit famous websites like the National Gallery of Art to find information about the chosen painting. Describe the background history of the author and the painting.
Describe your own feelings about the piece of art – what emotions does it evoke?
Discuss the composition of the painting – what you can see in the foreground, in the background, etc.
The next step is to mention the colors of the painting – what are they?
Finally, you can tell the story of the scene. If you’ve done the research mentioned in the first step, you can skip it since you’ve already discussed it. But if you don’t know what is going on, just turn on your imagination and try to guess.

These five steps are the general plan for describing a picture in English. You can use them for discussing art in your mother tongue as well. And if you need some practice, please describe your favorite painting in our comments section. We will be happy to learn more about the art you like.

How to describe a painting in English?

To describe a piece of art, find out more about the artist and tell the background history of the painting. Then, discuss the composition, color palette, scene, and your impressions of the art. Finally, use many adjectives to show various details of your chosen masterpiece.

Is it necessary to learn how to describe art?

Although it is not mandatory knowledge, it can benefit your English and general studying. For example, learning to describe a piece of art can help you practice speaking and writing, expand your vocabulary, develop your imagination, and increase your general knowledge.

How to talk about my impressions of a particular painting?

First, you need to determine what emotions the art evokes. Try to understand whether they are positive or negative. Then. when it’s done, try to specify your feelings. Does the artistic composition make you happy or sad, excited or disappointed, satisfied or disgusted? After you know exactly what emotions the painting evokes, try to find and explain the reason for it.

How to describe a scene in the painting?

If you don’t know the historical background of the piece of art, you need to appeal to your imagination. First, try to guess the story of this painting – who is painted here, what is this character doing, if they are rich or servants, where are they going, etc. Then, imagine yourself as the artist – what meaning would you put into the painting if you were its author?

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Mastering Artistry: How to Describe a Painting Effectively

Describing a painting can be a powerful way to express your emotions and impressions of an artwork. When faced with a beautiful piece of art, it can sometimes be difficult to find the right words to capture its essence and convey your feelings. That’s why mastering the art of describing a painting is so important – it allows you to effectively communicate your thoughts and create a lasting impression.

In this article, we will explore various techniques and strategies to help you describe a painting with precision and clarity. From expressing emotions through descriptive adjectives to analyzing the composition and placement of objects, we will provide you with practical tips and examples that will enhance your ability to describe paintings accurately.

Throughout this journey, we will also delve into the impact of colors and their role in conveying mood and atmosphere. By understanding how different colors evoke different emotions, you will be able to paint a vivid picture through your words.

Furthermore, we will discuss the importance of interpreting the scene depicted in a painting and understanding its historical context. By researching the artist and gaining insights into the time period in which the artwork was created, you will be able to provide a deeper understanding and appreciation of the painting.

So, whether you are an art lover, a student, or simply someone who wants to improve their ability to describe paintings, this article is for you. By mastering the art of describing a painting, you will not only enhance your verbal and written communication skills but also develop a deeper understanding and appreciation for the world of art.

Key Takeaways:

Describing a painting is a powerful way to express your emotions and impressions of an artwork.
Use descriptive adjectives to convey your feelings and create a vivid description.
Analyze the composition and placement of objects in the painting to provide a comprehensive description.
Consider the impact of colors and their role in setting the mood and atmosphere of the painting.
Interpret the scene and understand the historical context to provide a deeper understanding of the artwork.

Expressing Emotions through Descriptive Adjectives

When describing a painting, the use of adjectives can bring your emotions and impressions to life. By carefully selecting the right adjectives, you can effectively convey the feelings and experiences that the artwork evokes in you. Here are some painting description techniques that can help you express your emotions and create a vivid description.

Use sensory adjectives: Descriptive adjectives that appeal to the senses can help readers imagine the experience of viewing the painting. Words like vibrant, soothing, and captivating can evoke specific emotions and create a more immersive description.
Consider the mood: Adjectives like serene, melancholic, or joyful can convey the overall mood of the painting. Think about how the painting makes you feel and choose adjectives that capture that essence.
Employ metaphorical language: Metaphors can add depth to your description by comparing the painting to something else, such as a dream, a symphony, or a ray of light. Metaphorical adjectives invite readers to see the painting from a unique perspective.

A descriptive painting example using these techniques might be:

“The painting depicts a serene countryside scene, with rolling hills and a tranquil lake. The colors used are soft and muted, creating a sense of tranquility and calmness. The artist skillfully captures the gentle movement of the trees and the play of light on the water, creating a dreamlike atmosphere that transports the viewer to a peaceful oasis. The overall impression is one of serenity and harmony, inviting the viewer to pause and reflect.”

Describing a painting is not just about listing the objects or colors present. It is about capturing the emotions, the atmosphere, and the artist’s intent. By using descriptive adjectives, you can effectively convey your personal experience with the painting and invite others to see it through your eyes.

Analyzing Composition and Placement in the Painting

The composition and placement of objects in a painting play a significant role in conveying its message and aesthetic appeal. By carefully analyzing these elements, you can gain a deeper understanding of the artist’s intention and appreciate the visual harmony within the artwork.

When describing the composition of a painting, consider the placement of objects in the foreground and background. Look for symmetry or asymmetry in the arrangement of elements. Is there a central focal point or a balanced distribution of visual weight? These compositional choices can evoke different emotions and create a sense of visual balance or tension.

For example, imagine a painting with a lone figure placed off-center against a vast, empty background. The artist’s decision to position the figure in this way may evoke a feeling of solitude or isolation. The composition guides the viewer’s eye and directs their attention to specific elements, enhancing the overall impact of the painting.

In addition to composition, the placement of objects within the painting can also contribute to its storytelling and narrative. Pay attention to how objects are positioned in relation to each other and the overall scene. Are there any symbolic placements or juxtapositions that convey a deeper meaning?

“The placement of objects within a painting can create hidden narratives and subtleties that enhance the viewer’s interpretation.” – Art Critic

By analyzing the composition and placement in a painting, you can unlock its visual narrative and appreciate the deliberate choices made by the artist. This deeper understanding enhances your ability to describe and appreciate the artwork, allowing you to communicate its significance to others.

Describing Colors and Their Impact

Colors are a fundamental element in any painting and play a crucial role in creating its atmosphere and emotional impact. When describing a painting, pay close attention to the colors used and how they interact with one another. Use descriptive adjectives to bring these colors to life and evoke specific emotions in the reader.

Consider using terms like vibrant, muted, or bold to describe the intensity of different colors. For example, a painting with vibrant reds and oranges can create a sense of energy and warmth, while muted blues and grays may evoke a feeling of serenity or melancholy. By using such descriptive adjectives, you can effectively convey the mood and atmosphere of the artwork.

Furthermore, explore the use of contrasting colors in the painting. Colors that are opposites on the color wheel, such as blue and orange or red and green, create a dynamic visual impact and can symbolize opposing forces or emotions. Describe the use of contrast in the painting, highlighting the interplay between these complementary colors to enhance the overall composition.

Lastly, consider the use of color symbolism in the painting. Certain colors have cultural associations and can carry deep meaning. For example, red often represents passion or danger, while white may symbolize purity or innocence. Research and analyze the artist’s intention behind the use of specific colors, and incorporate this information into your description to provide a deeper understanding of the artwork.

By carefully describing the colors in a painting and their impact, you can effectively convey the artist’s intentions, create vivid imagery in the reader’s mind, and enhance the overall appreciation of the artwork.

Interpreting the Scene and Understanding the Context

Interpreting the scene portrayed in a painting and exploring its historical context can deepen our understanding and appreciation of the artwork. When examining a painting, take a moment to absorb the overall scene and consider the story it might be telling. What emotions does it evoke? Are there any recognizable elements or symbols that provide clues about the subject matter?

For example, let’s take a look at Vincent van Gogh’s famous painting “Starry Night.” The vibrant swirls of color in the night sky and the large cypress tree in the foreground immediately catch our attention. By interpreting the scene, we can understand that van Gogh created this masterpiece during his time in an asylum, capturing his personal emotions and struggles through the use of bold brushstrokes and intense colors.

To further enhance our understanding, it is important to delve into the historical context of the painting. Research the artist’s life, their influences, and the time period in which the artwork was created. This can provide valuable insights into the artist’s intentions, the social or political climate at the time, and the artistic movements that may have influenced their work.

By interpreting the scene and understanding the context of a painting, we can gain a deeper appreciation for the artist’s creative process and the message they intended to convey. It allows us to connect with the artwork on a more profound level and opens up a world of exploration and imagination. Remember, there is no right or wrong interpretation – art is subjective, and each viewer may have a unique perspective. So take the time to immerse yourself in the painting, explore its historical background, and let your imagination soar.

Mastering the art of describing a painting can enhance our artistic appreciation, improve our communication skills, and stimulate our imagination. When we describe a painting, we have the opportunity to express our emotions and impressions, adding depth and personal connection to our experience. By using descriptive adjectives like “inspired,” “nostalgic,” or “impressed,” we can effectively communicate the feelings that the artwork evokes within us.

Furthermore, describing the composition of a painting allows us to delve into the arrangement and placement of objects in the foreground and background. Terms like “asymmetrical” or “centered” help us analyze and discuss the artist’s intentional choices, bringing a new level of understanding to the painting’s visual impact.

Considering the colors used in a painting is also crucial. Descriptive adjectives like “bright,” “warm,” or “contrasting” can help us articulate the emotions and moods that different color palettes evoke. Color is a powerful tool in art, and by acknowledging its impact, we can deepen our appreciation for the artist’s skill and intention.

Interpreting the scene depicted in a painting and understanding its historical context adds another layer to our description. By developing our own story or interpretation based on the artwork, we engage with the painting on a personal level. Researching the artist and historical information surrounding the painting can provide valuable insights, enriching our understanding and allowing us to connect deeply with the artwork.

By honing our skills in describing paintings, we not only improve our ability to convey our thoughts and emotions effectively but also expand our artistic knowledge and imagination. So let us embrace the art of describing paintings and explore the captivating world of art with enriched appreciation and insight.

Q: Why is it important to describe a painting effectively?

A: Effectively describing a painting allows you to convey your emotions and impressions about it. It also develops your speaking and writing skills, enhances your imagination, increases your knowledge, and helps you better appreciate art.

Q: How can I express my emotions when describing a painting?

A: Use adjectives like inspired, nostalgic, or impressed to convey your emotions and feelings about the painting. These descriptive adjectives create a vivid description of the artwork and help others understand your personal connection to it.

Q: What should I consider when describing the composition of a painting?

A: Focus on the placement of objects in the foreground or background. Use terms like asymmetrical or centered to describe the arrangement of objects. Discuss how the composition contributes to the overall impact of the painting.

Q: How can I effectively describe the colors used in a painting?

A: Use adjectives like bright, warm, or contrasting to describe the colors. Explain how the colors evoke certain emotions or moods. Discuss the impact of the color scheme on the overall artwork.

Q: How can I interpret the scene depicted in a painting?

A: Create your own story or interpretation based on the painting. Look for visual clues and symbolism. Research the artist and historical context to gain a deeper understanding of the scene.

Source Links

https://eightify.app/summary/healthy-cooking/mastering-artistic-detail-techniques-for-captivating-drawings
https://promova.com/blog/how-to-describe-a-painting
https://drawpaintacademy.com/analyze-art/

How to analyze an artwork: a step-by-step guide

Last Updated on August 16, 2023

This article has been written for high school art students who are working upon a critical study of art, sketchbook annotation or an essay-based artist study. It contains a list of questions to guide students through the process of analyzing visual material of any kind, including drawing, painting, mixed media, graphic design, sculpture, printmaking, architecture, photography, textiles, fashion and so on (the word ‘artwork’ in this article is all-encompassing). The questions include a wide range of specialist art terms, prompting students to use subject-specific vocabulary in their responses. It combines advice from art analysis textbooks as well as from high school art teachers who have first-hand experience teaching these concepts to students.

COPYRIGHT NOTE: This material is available as a printable art analysis PDF handout . This may be used free of charge in a classroom situation. To share this material with others, please use the social media buttons at the bottom of this page. Copying, sharing, uploading or distributing this article (or the PDF) in any other way is not permitted.

READ NEXT: How to make an artist website (and why you need one)

Why do we study art?

Almost all high school art students carry out critical analysis of artist work, in conjunction with creating practical work. Looking critically at the work of others allows students to understand compositional devices and then explore these in their own art. This is one of the best ways for students to learn.

Instructors who assign formal analyses want you to look—and look carefully. Think of the object as a series of decisions that an artist made. Your job is to figure out and describe, explain, and interpret those decisions and why the artist may have made them. – The Writing Center, University of North Carolina at Chapel Hill 10

Art analysis tips

‘I like this’ or ‘I don’t like this’ without any further explanation or justification is not analysis . Personal opinions must be supported with explanation, evidence or justification.
‘Analysis of artwork’ does not mean ‘description of artwork’ . To gain high marks, students must move beyond stating the obvious and add perceptive, personal insight. Students should demonstrate higher order thinking – the ability to analyse, evaluate and synthesize information and ideas. For example, if color has been used to create strong contrasts in certain areas of an artwork, students might follow this observation with a thoughtful assumption about why this is the case – perhaps a deliberate attempt by the artist to draw attention to a focal point, helping to convey thematic ideas.

Although description is an important part of a formal analysis, description is not enough on its own. You must introduce and contextualize your descriptions of the formal elements of the work so the reader understands how each element influences the work’s overall effect on the viewer. – Sylvan Barnet, A Short Guide to Writing About Art 2

Cover a range of different visual elements and design principles . It is common for students to become experts at writing about one or two elements of composition, while neglecting everything else – for example, only focusing upon the use of color in every artwork studied. This results in a narrow, repetitive and incomplete analysis of the artwork. Students should ensure that they cover a wide range of art elements and design principles, as well as address context and meaning, where required. The questions below are designed to ensure that students cover a broad range of relevant topics within their analysis.
Write alongside the artwork discussed . In almost all cases, written analysis should be presented alongside the work discussed, so that it is clear which artwork comments refer to. This makes it easier for examiners to follow and evaluate the writing.
Support writing with visual analysis . It is almost always helpful for high school students to support written material with sketches, drawings and diagrams that help the student understand and analyse the piece of art. This might include composition sketches; diagrams showing the primary structure of an artwork; detailed enlargements of small sections; experiments imitating use of media or technique; or illustrations overlaid with arrows showing leading lines and so on. Visual investigation of this sort plays an important role in many artist studies.

Making sketches or drawings from works of art is the traditional, centuries-old way that artists have learned from each other. In doing this, you will engage with a work and an artist’s approach even if you previously knew nothing about it. If possible do this whenever you can, not from a postcard, the internet or a picture in a book, but from the actual work itself. This is useful because it forces you to look closely at the work and to consider elements you might not have noticed before. – Susie Hodge, How to Look at Art 7

Finally, when writing about art, students should communicate with clarity; demonstrate subject-specific knowledge; use correct terminology; generate personal responses; and reference all content and ideas sourced from others. This is explained in more detail in our article about high school sketchbooks .

What should students write about?

Although each aspect of composition is treated separately in the questions below, students should consider the relationship between visual elements (line, shape, form, value/tone, color/hue, texture/surface, space) and how these interact to form design principles (such as unity, variety, emphasis, dominance, balance, symmetry, harmony, movement, contrast, rhythm, pattern, scale, proportion) to communicate meaning.

As complex as works of art typically are, there are really only three general categories of statements one can make about them. A statement addresses form, content or context (or their various interrelations). – Dr. Robert J. Belton, Art History: A Preliminary Handbook, The University of British Columbia 5

…a formal analysis – the result of looking closely – is an analysis of the form that the artist produces; that is, an analysis of the work of art, which is made up of such things as line, shape, color, texture, mass, composition. These things give the stone or canvas its form, its expression, its content, its meaning. – Sylvan Barnet, A Short Guide to Writing About Art 2

This video by Dr. Beth Harris, Dr. Steven Zucker and Dr. Naraelle Hohensee provides an excellent example of how to analyse a piece of art (it is important to note that this video is an example of ‘formal analysis’ and doesn’t include contextual analysis, which is also required by many high school art examination boards, in addition to the formal analysis illustrated here):

Composition analysis: a list of questions

The questions below are designed to facilitate direct engagement with an artwork and to encourage a breadth and depth of understanding of the artwork studied. They are intended to prompt higher order thinking and to help students arrive at well-reasoned analysis.

It is not expected that students answer every question (doing so would result in responses that are excessively long, repetitious or formulaic); rather, students should focus upon areas that are most helpful and relevant for the artwork studied (for example, some questions are appropriate for analyzing a painting, but not a sculpture). The words provided as examples are intended to help students think about appropriate vocabulary to use when discussing a particular topic. Definitions of more complex words have been provided.

Students should not attempt to copy out questions and then answer them; rather the questions should be considered a starting point for writing bullet pointed annotation or sentences in paragraph form.

CONTENT, CONTEXT AND MEANING

Subject matter / themes / issues / narratives / stories / ideas.

There can be different, competing, and contradictory interpretations of the same artwork. An artwork is not necessarily about what the artist wanted it to be about. – Terry Barrett, Criticizing Art: Understanding the Contemporary 6

Our interest in the painting grows only when we forget its title and take an interest in the things that it does not mention…” – Françoise Barbe-Gall, How to Look at a Painting 8

Does the artwork fall within an established genre (i.e. historical; mythical; religious; portraiture; landscape; still life; fantasy; architectural)?
Are there any recognisable objects, places or scenes ? How are these presented (i.e. idealized; realistic; indistinct; hidden; distorted; exaggerated; stylized; reflected; reduced to simplified/minimalist form; primitive; abstracted; concealed; suggested; blurred or focused)?
Have people been included? What can we tell about them (i.e. identity; age; attire; profession; cultural connections; health; family relationships; wealth; mood/expression)? What can we learn from their pose (i.e. frontal; profile; partly turned; body language)? Where are they looking (i.e. direct eye contact with viewer; downcast; interested in other subjects within the artwork)? Can we work out relationships between figures from the way they are posed?

What do the clothing, furnishings, accessories (horses, swords, dogs, clocks, business ledgers and so forth), background, angle of the head or posture of the head and body, direction of the gaze, and facial expression contribute to our sense of the figure’s social identity (monarch, clergyman, trophy wife) and personality (intense, cool, inviting)? – Sylvan Barnet, A Short Guide to Writing About Art 2

What props and important details are included (drapery; costumes; adornment; architectural elements; emblems; logos; motifs)? How do aspects of setting support the primary subject? What is the effect of including these items within the arrangement (visual unity; connections between different parts of the artwork; directs attention; surprise; variety and visual interest; separates / divides / borders; transformation from one object to another; unexpected juxtaposition)?

If a waiter served you a whole fish and a scoop of chocolate ice cream on the same plate, your surprise might be caused by the juxtaposition , or the side-by-side contrast, of the two foods. – Vocabulary.com

A motif is an element in a composition or design that can be used repeatedly for decorative, structural, or iconographic purposes. A motif can be representational or abstract, and it can be endowed with symbolic meaning. Motifs can be repeated in multiple artworks and often recur throughout the life’s work of an individual artist. – John A. Parks, Universal Principles of Art 11

Does the artwork communicate an action, narrative or story (i.e. historical event or illustrate a scene from a story)? Has the arrangement been embellished, set up or contrived?
Does the artwork explore movement ? Do you gain a sense that parts of the artwork are about to change, topple or fall (i.e. tension; suspense)? Does the artwork capture objects in motion (i.e. multiple or sequential images; blurred edges; scene frozen mid-action; live performance art; video art; kinetic art)?
What kind of abstract elements are shown (i.e. bars; shapes; splashes; lines)? Have these been derived from or inspired by realistic forms? Are they the result of spontaneous, accidental creation or careful, deliberate arrangement?
Does the work include the appropriation of work by other artists, such as within a parody or pop art? What effect does this have (i.e. copyright concerns)?

Parody: mimicking the appearance and/or manner of something or someone, but with a twist for comic effect or critical comment, as in Saturday Night Live’s political satires – Dr. Robert J. Belton, Art History: A Preliminary Handbook, The University of British Columbia 5

Does the subject captivate an instinctual response , such as items that are informative, shocking or threatening for humans (i.e. dangerous places; abnormally positioned items; human faces; the gaze of people; motion; text)? Heap map tracking has demonstrated that these elements catch our attention, regardless of where they are positioned – James Gurney writes more about this fascinating topic .
What kind of text has been used (i.e. font size; font weight; font family; stenciled; hand-drawn; computer-generated; printed)? What has influenced this choice of text?
Do key objects or images have symbolic value or provide a cue to meaning ? How does the artwork convey deeper, conceptual themes (i.e. allegory; iconographic elements; signs; metaphor; irony)?

Allegory is a device whereby abstract ideas can be communicated using images of the concrete world. Elements, whether figures or objects, in a painting or sculpture are endowed with symbolic meaning. Their relationships and interactions combine to create more complex meanings. – John A. Parks, Universal Principles of Art 11

An iconography is a particular range or system of types of image used by an artist or artists to convey particular meanings. For example in Christian religious painting there is an iconography of images such as the lamb which represents Christ, or the dove which represents the Holy Spirit. – Tate.org.uk

What tone of voice does the artwork have (i.e. deliberate; honest; autobiographical; obvious; direct; unflinching; confronting; subtle; ambiguous; uncertain; satirical; propagandistic)?
What is your emotional response to the artwork? What is the overall mood (i.e positive; energetic; excitement; serious; sedate; peaceful; calm; melancholic; tense; uneasy; uplifting; foreboding; calm; turbulent)? Which subject matter choices help to communicate this mood (i.e. weather and lighting conditions; color of objects and scenes)?
Does the title change the way you interpret the work?
Were there any design constraints relating to the subject matter or theme/s (i.e. a sculpture commissioned to represent a specific subject, place or idea)?
Are there thematic connections with your own project? What can you learn from the way the artist has approached this subject?

Wider contexts

All art is in part about the world in which it emerged. – Terry Barrett, Criticizing Art: Understanding the Contemporary 6

Supported by research, can you identify when, where and why the work was created and its original intention or purpose (i.e. private sale; commissioned for a specific owner; commemorative; educational; promotional; illustrative; decorative; confrontational; useful or practical utility; communication; created in response to a design brief; private viewing; public viewing)? In what way has this background influenced the outcome (i.e. availability of tools, materials or time; expectations of the patron / audience)?
Where is the place of construction or design site and how does this influence the artwork (i.e. reflects local traditions, craftsmanship, or customs; complements surrounding designs; designed to accommodate weather conditions / climate; built on historic site)? Was the artwork originally located somewhere different?
Which events and surrounding environments have influenced this work (i.e. natural events; social movements such as feminism; political events, economic situations, historic events, religious settings, cultural events)? What effect did these have?
Is the work characteristic of an artistic style, movement or time period ? Has it been influenced by trends, fashions or ideologies ? How can you tell?
Can you make any relevant connections or comparisons with other artworks ? Have other artists explored a similar subject in a similar way? Did this occur before or after this artwork was created?
Can you make any relevant connections to other fields of study or expression (i.e. geography, mathematics, literature, film, music, history or science)?
Which key biographical details about the artist are relevant in understanding this artwork (upbringing and personal situation; family and relationships; psychological state; health and fitness; socioeconomic status; employment; ethnicity; culture; gender; education, religion; interests, attitudes, values and beliefs)?
Is this artwork part of a larger body of work ? Is this typical of the work the artist is known for?
How might your own upbringing, beliefs and biases distort your interpretation of the artwork? Does your own response differ from the public response, that of the original audience and/or interpretation by critics ?
How do these wider contexts compare to the contexts surrounding your own work?

COMPOSITION AND FORMAT

What is the overall size, shape and orientation of the artwork (i.e. vertical, horizontal, portrait, landscape or square)? Has this format been influenced by practical considerations (i.e. availability of materials; display constraints ; design brief restrictions; screen sizes; common aspect ratios in film or photography such as 4:3 or 2:3; or paper sizes such as A4, A3, A2, A1)?
How do images fit within the frame (cropped; truncated; shown in full)? Why is this format appropriate for the subject matter?
Are different parts of the artwork physically separate, such as within a diptych or triptych ?
Where are the boundaries of the artwork (i.e. is the artwork self-contained; compact; intersecting; sprawling)?
Is the artwork site-specific or designed to be displayed across multiple locations or environments?
Does the artwork have a fixed, permanent format, or was it modified, moved or adjusted over time ? What causes such changes (i.e. weather and exposure to the elements – melting, erosion, discoloration, decaying, wind movement, surface abrasion; structural failure – cracking, breaking; damage caused by unpredictable events, such as fire or vandalism; intentional movement, such as rotation or sensor response; intentional impermanence, such as an installation assembled for an exhibition and removed afterwards; viewer interaction; additions, renovations and restoration by subsequent artists or users; a project so expansive it takes years to construct)? How does this change affect the artwork? Are there stylistic variances between parts?
Is the artwork viewed from one angle or position, or are dynamic viewpoints and serial vision involved? (Read more about Gordon Cullen’s concept of serial vision here ).
How does the scale and format of the artwork relate to the environment where it is positioned, used, installed or hung (i.e. harmonious with landscape typography; sensitive to adjacent structures; imposing or dwarfed by surroundings; human scale)? Is the artwork designed to be viewed from one vantage point (i.e. front facing; viewed from below; approached from a main entrance; set at human eye level) or many? Are images taken from the best angle?
Would a similar format benefit your own project? Why / why not?

Structure / layout

Has the artwork been organised using a formal system of arrangement or mathematical proportion (i.e. rule of thirds; golden ratio or spiral; grid format; geometric; dominant triangle; or circular composition) or is the arrangement less predictable (i.e. chaotic, random, accidental, fragmented, meandering, scattered; irregular or spontaneous)? How does this system of arrangement help with the communication of ideas? Can you draw a diagram to show the basic structure of the artwork?
Can you see a clear intention with alignment and positioning of parts within the artwork (i.e. edges aligned; items spaced equally; simple or complex arrangement; overlapping, clustered or concentrated objects; dispersed, separate items; repetition of forms; items extending beyond the frame; frames within frames; bordered perimeter or patterned edging; broken borders)? What effect do these visual devices have (i.e. imply hierarchy; help the viewer understand relationships between parts of artwork; create rhythm)?
Does the artwork have a primary axis of symmetry (vertical, diagonal, horizontal)? Can you locate a center of balance? Is the artwork symmetrical, asymmetrical (i.e. stable), radial, or intentionally unbalanced (i.e. to create tension or unease)?
Can you draw a diagram to illustrate emphasis and dominance (i.e. ‘blocking in’ mass, where the ‘heavier’ dominant forms appear in the composition)? Where are dominant items located within the frame?
How do your eyes move through the composition?
Could your own artwork use a similar organisational structure?
What types of linear mark-making are shown (thick; thin; short; long; soft; bold; delicate; feathery; indistinct; faint; irregular; intermittent; freehand; ruled; mechanical; expressive; loose; blurred; dashing; cross-hatching; meandering; gestural, fluid; flowing; jagged; spiky; sharp)? What atmosphere, moods, emotions or ideas do these evoke?
Are there any interrupted, suggested or implied lines (i.e. lines that can’t literally be seen, but the viewer’s brain connects the dots between separate elements)?
Repeating lines : may simulate material qualities, texture, pattern or rhythm;
Boundary lines : may segment, divide or separate different areas;
Leading lines : may manipulate the viewer’s gaze, directing vision or lead the eye to focal points ( eye tracking studies indicate that our eyes leap from one point of interest to another, rather than move smoothly or predictably along leading lines 9 . Lines may nonetheless help to establish emphasis by ‘pointing’ towards certain items );
Parallel lines : may create a sense of depth or movement through space within a landscape;
Horizontal lines : may create a sense of stability and permanence;
Vertical lines : may suggest height, reaching upwards or falling;
Intersecting perpendicular lines : may suggest rigidity, strength;
Abstract lines : may balance the composition, create contrast or emphasis;
Angular / diagonal lines : may suggest tension or unease;
Chaotic lines : may suggest a sense of agitation or panic;
Underdrawing, construction lines or contour lines : describe form ( learn more about contour lines in our article about line drawing );
Curving / organic lines : may suggest nature, peace, movement or energy.
What is the relationship between line and three-dimensional form? Are outlines used to define form and edges?
Would it be appropriate to use line in a similar way within your own artwork?

Shape and form

Can you identify a dominant visual language within the shapes and forms shown (i.e. geometric; angular; rectilinear; curvilinear; organic; natural; fragmented; distorted; free-flowing; varied; irregular; complex; minimal)? Why is this visual language appropriate?
How are the edges of forms treated (i.e. do they fade away or blur at the edges, as if melting into the page; ripped or torn; distinct and hard-edged; or, in the words of James Gurney, 9 do they ‘dissolve into sketchy lines, paint strokes or drips’)?
Are there any three-dimensional forms or relief elements within the artwork, such as carved pieces, protruding or sculptural elements? How does this affect the viewing of the work from different angles?
Is there a variety or repetition of shapes/forms? What effect does this have (i.e. repetition may reinforce ideas, balance composition and/or create harmony / visual unity; variety may create visual interest or overwhelm the viewer with chaos)?
How are shapes organised in relation to each other, or with the frame of the artwork (i.e. grouped; overlapping; repeated; echoed; fused edges; touching at tangents; contrasts in scale or size; distracting or awkward junctions)?
Are silhouettes (external edges of objects) considered?

All shapes have silhouettes, and vision research has shown that one of the first tasks of perception is to be able to sort out the silhouette shapes of each of the elements in a scene. – James Gurney, Imaginative Realism 9

Are forms designed with ergonomics and human scale in mind?

Ergonomics: an applied science concerned with designing and arranging things people use so that the people and things interact most efficiently and safely – Merriam-webster.com

Can you identify which forms are functional or structural , versus ornamental or decorative ?
Have any forms been disassembled, ‘cut away’ or exposed , such as a sectional drawing? What is the purpose of this (i.e. to explain construction methods; communicate information; dramatic effect)?
Would it be appropriate to use shape and form in a similar way within your own artwork?

Value / tone / light

Has a wide tonal range been used in the artwork (i.e. a broad range of darks, highlights and mid-tones) or is the tonal range limited (i.e. pale and faint; subdued; dull; brooding and dark overall; strong highlights and shadows, with little mid-tone values)? What is the effect of this?
Where are the light sources within the artwork or scene? Is there a single consistent light source or multiple sources of light (sunshine; light bulbs; torches; lamps; luminous surfaces)? What is the effect of these choices (i.e. mimics natural lighting conditions at a certain time of day or night; figures lit from the side to clarify form; contrasting background or spot-lighting used to accentuate a focal area; soft and diffused lighting used to mute contrasts and minimize harsh shadows; dappled lighting to signal sunshine broken by surrounding leaves; chiaroscuro used to exaggerate theatrical drama and impact; areas cloaked in darkness to minimize visual complexity; to enhance our understanding of narrative, mood or meaning)?

One of the most important ways in which artists can use light to achieve particular effects is in making strong contrasts between light and dark. This contrast is often described as chiaroscuro . – Matthew Treherne, Analysing Paintings, University of Leeds 3

Are representations of three-dimensional objects and figures flat or tonally modeled ? How do different tonal values change from one to the next (i.e. gentle, smooth gradations; abrupt tonal bands)?
Are there any unusual, reflective or transparent surfaces, mediums or materials which reflect or transmit light in a special way?
Has tone been used to help communicate atmospheric perspective (i.e. paler and bluer as objects get further away)?
Are gallery or environmental light sources where the artwork is displayed fixed or fluctuating? Does the work appear different when viewed at different times of day? How does this affect your interpretation of the work?
Are shadows depicted within the artwork? What is the effect of these shadows (i.e. anchors objects to the page; creates the illusion of depth and space; creates dramatic contrasts)?
Do sculptural protrusions or relief elements catch the light and/or create cast shadows or pockets of shadow upon the artwork? How does this influence the viewer’s experience?
How has tone been used to help direct the viewer’s attention to focal areas?
Would it be appropriate to use value / tone in a similar way within your own artwork? Why / why not?

Color / hue

Can you view the true color of the artwork (i.e. are you viewing a low-quality reproduction or examining the artwork in poor lighting)?
Which color schemes have been used within the artwork (i.e. harmonious; complementary; primary; monochrome; earthy; warm; cool/cold)? Has the artist used a broad or limited color palette (i.e. variety or unity)? Which colors dominate?
How would you describe the intensity of the colors (vibrant; bright; vivid; glowing; pure; saturated; strong; dull; muted; pale; subdued; bleached; diluted)?
Are colors transparent or opaque ? Can you see reflected color?
Has color contrast been used within the artwork (i.e. extreme contrasts; juxtaposition of complementary colors; garish / clashing / jarring)? Are there any abrupt color changes or unexpected uses of color?
What is the effect of these color choices (i.e. expressing symbolic or thematic ideas; descriptive or realistic depiction of local color; emphasizing focal areas; creating the illusion of aerial perspective; relationships with colors in surrounding environment; creating balance; creating rhythm/pattern/repetition; unity and variety within the artwork; lack of color places emphasis upon shape, detail and form)? What kind of atmosphere do these colors create?

It is often said that warm colors (red, orange, yellow) come forward and produce a sense of excitement (yellow is said to suggest warmth and happiness, as in the smiley face), whereas cool colors (blue, green) recede and have a calming effect. Experiments, however, have proved inconclusive; the response to color – despite clichés about seeing red or feeling blue – is highly personal, highly cultural, highly varied. – Sylvan Barnet, A Short Guide to Writing About Art 2

Would it be appropriate to use color in a similar way within your own artwork?

Texture / surface / pattern

Are there any interesting textural, tactile or surface qualities within the artwork (i.e. bumpy; grooved; indented; scratched; stressed; rough; smooth; shiny; varnished; glassy; glossy; polished; matte; sandy; grainy; gritted; leathery; spiky; silky)? How are these created (i.e. inherent qualities of materials; impasto mediums; sculptural materials; illusions or implied texture , such as cross-hatching; finely detailed and intricate areas; organic patterns such as foliage or small stones; repeating patterns ; ornamentation)?
How are textural or patterned elements positioned and what effect does this have (i.e. used intermittently to provide variety; repeating pattern creates rhythm ; patterns broken create focal points ; textured areas create visual links and unity between separate areas of the artwork; balance between detailed/textured areas and simpler areas; glossy surface creates a sense of luxury; imitation of texture conveys information about a subject, i.e. softness of fur or strands of hair)?
Would it be appropriate to use texture / surface in a similar way within your own artwork?

Industrial and architectural landscapes are particularly concerned with the arrangement of geometries and form in space… Dr. Ben Guy, Landscape and Visual Impact Assessment using CGI Digital Twins, Urban CGI 12

Is the pictorial space shallow or deep? How does the artwork create the illusion of depth (i.e. layering of foreground, middle-ground, background ; overlapping of objects; use of shadows to anchor objects; positioning of items in relationship to the horizon line; linear perspective ( learn more about one point perspective here ); tonal modeling; relationships with adjacent objects and those in close proximity – including the human form – to create a sense of scale ; spatial distortions or optical illusions; manipulating scale of objects to create ‘surrealist’ spaces where true scale is unknown)?
Has an unusual viewpoint been used (i.e. worm’s view; aerial view, looking out a window or through a doorway; a scene reflected in a mirror or shiny surface; looking through leaves; multiple viewpoints combined)? What is the effect of this viewpoint (i.e. allows certain parts of the scene to be dominant and overpowering or squashed, condensed and foreshortened ; or suggests a narrative between two separate spaces ; provides more information about a space than would normally be seen)?
Is the emphasis upon mass or void ? How densely arranged are components within the artwork or picture plane? What is the relationship between object and surrounding space (i.e. compact / crowded / busy / densely populated, with little surrounding space; spacious; careful interplay between positive and negative space; objects clustered to create areas of visual interest)? What is the effect of this (i.e. creates a sense of emptiness or isolation; business / visual clutter creates a feeling of chaos or claustrophobia)?
How does the artwork engage with real space – in and around the artwork (i.e. self-contained; closed off; eye contact with viewer; reaching outwards)? Is the viewer expected to move through the artwork? What is the relationship between interior and exterior space ? What connections or contrasts occur between inside and out? Is it comprised of a series of separate or linked spaces?
Would it be appropriate to use space in a similar way within your own artwork?

Use of media / materials

What materials and mediums has the artwork been constructed from? Have materials been concealed or presented deceptively (i.e. is there an authenticity / honesty of materials; are materials celebrated; is the structure visible or exposed )? Why were these mediums selected (weight; color; texture; size; strength; flexibility; pliability; fragility; ease of use; cost; cultural significance; durability; availability; accessibility)? Would other mediums have been appropriate?
Which skills, techniques, methods and processes were used (i.e. traditional; conventional; industrial; contemporary; innovative)? It is important to note that the examiners do not want the regurgitation of long, technical processes, but rather to see personal observations about how processes effect and influence the artwork in question. Would replicating part of the artwork help you gain a better understanding of the processes used?
Painting: gesso ground > textured mediums > underdrawing > blocking in colors > defining form > final details;
Architecture: brief > concepts > development > working drawings > foundations > structure > cladding > finishes;
Graphic design: brief > concepts > development > Photoshop > proofing > printing.
How does the use of media help the artist to communicate ideas?
Are these methods useful for your own project?

Finally, remember that these questions are a guide only and are intended to make you start to think critically about the art you are studying and creating.

How to Write a Visual Analysis Essay: Examples & Template

A visual analysis essay is an academic paper type that history and art students often deal with. It consists of a detailed description of an image or object. It can also include an interpretation or an argument that is supported by visual evidence.

Our specialists will write a custom essay specially for you!

The picture shows the definition of a visual analysis.

In this article, our custom writing experts will:

explain what a visual analysis is;
share useful tips on how to write a good visual analysis essay;
provide an essay sample.
🎨 Visual Analysis Definition
🏺 Artwork Analysis Tips
✅ Visual Analysis Writing Guide
📑 Example & Citation Tips

🎨 What Is a Visual Analysis?

The primary objective of visual analysis is to understand an artwork better by examining the visual elements. There are two types of visual analysis: formal and contextual.

A formal analysis focuses on artwork elements such as texture, color, size, and line. It aims to organize visual information and translate it into words. A formal analysis doesn’t interpret the piece.
Unlike formal analysis, contextual analysis’ primary goal is to connect artwork to its purpose or meaning within a culture. A contextual analysis includes formal analysis. Additionally, it discusses an artwork’s social purpose and significance.

Usually, students deal with formal visual analysis. Before starting to work on your essay, make sure to ask your professor whether to include contextual analysis or not.

The Purpose of Analyzing Images

Why is visual analysis important? What does it help to learn? There are several things that visual analysis helps with:

It allows students to enhance their appreciation of art.
It enables students to develop the ability to synthesize information.
It encourages students to seek out answers instead of simply receiving them.
It prompts higher-order critical thinking and helps to create a well-reasoned analysis.
By conducting visual analysis, students learn how to support and explain their ideas by studying visual information.

What Is Formal Analysis: Art History

When we look at an artwork, we want to know why it was created, who made it, and what its function was. That’s why art historians and researchers pay special attention to the role of artworks within historical contexts.

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Visual analysis is a helpful tool in exploring art. It focuses on the following aspects:

Interpretation of subject matter ( iconography). An iconographic analysis is an explanation of the work’s meaning. Art historians try to understand what is shown and why it is depicted in a certain way.
The analysis of function. Many works of art were designed to serve a purpose that goes beyond aesthetics. Understanding that purpose by studying their historical use helps learn more about artworks. It also establishes a connection between function and appearance.

Formal Analysis: Art Glossary

Now, let’s look at some visual elements and principles and learn how to define them.

Visual Elements :

Visual Principles :

🏺 How to Analyze Artworks: Different Types

Writing a formal analysis is a skill that requires practice. Being careful and attentive during the pre-writing stage is essential if you want to create a good and well-structured visual analysis. 

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Visual analysis essay mainly consists of two components:

Description of the selected image or object,
Interpretation built on the visual evidence.

During the pre-writing stage:

Collect general information about an artwork. Describe it briefly. Pay special attention to visual elements and principles:
Develop an interpretation. Think critically. What does the information in your notes imply? How can it be interpreted?
Support your ideas. To do it, refer to the visual elements directly. Avoid generalizing art and double-check your prompts.

How to Analyze a Painting Using the Elements of Art

To write an excellent formal visual analysis, you need to consider as many visual principles and elements as you can apply. In the formal analysis part:

Target your description;
Address only those elements relevant to your essay;
Pay attention to visual elements and principles;
Introduce the subject of the painting and describe it;
Explain why you have decided to discuss specific elements;
Discuss the relationship between visual elements of the artwork;
Use the vocabulary terms.

If you are asked to do a contextual analysis , you may want to:

Focus on the historical importance of an artwork;
Explore the style or movement associated with an artwork;
Learn about the historical context and the public’s reaction to the artwork;
Learn about the author and how they’ve created the piece of art.

Painting Analysis Essay Example & Tips

Here is a template you can use for your essay.

Get an originally-written paper according to your instructions!

Now, let’s take a look at an essay example.

How to Analyze a Photograph

Analyzing photos has a lot in common with paintings. There are three methods on which photo visual analysis relies: description, reflection, and formal analysis. Historical analysis can be included as well, though it is optional.

Description . It implies looking closely at the photo and considering all the details. The description needs to be objective and consists of basic statements that don’t express an opinion.
Reflection. For the next step, focus on the emotions that the photograph evokes. Here, every viewer will have a different opinion and feelings about the artwork. Knowing some historical context may be helpful to construct a thoughtful response.
Formal analysis . Think of the visual elements and principles. How are they represented in the photograph?
Historical analysis. For a contextual analysis, you need to pay attention to the external elements of the photograph. Make sure that you understand the environmental context in which the photo was taken. Under what historical circumstances was the picture made?

Photo Analysis Essay Tips

Now that we’ve talked about analyzing a photograph let’s look at some helpful tips that will help you write an essay.

How to Analyze a Sculpture

Visual analysis of a sculpture is slightly different from the one of a painting or a photograph. However, it still uses similar concepts, relies on visual elements and principles. When you write about sculpture, consider:

Visual Analysis Essay on a Sculpture: Writing Tips

A sculpture analysis consists of the following parts:

Description . Include specific details, such as what the sculpture may represent. For instance, the human figure may be an athlete, an ancient God, a poet, etc. Consider their pose, body build, and attire.
Formal analysis . Here, visual elements and principles become the focus. Discuss the color, shape, technique, and medium.
Contextual analysis . If you decide to include a contextual analysis, you can talk about the sculpture’s function and how it conveys   ideas and sentiments of that period. Mention its historical and cultural importance.

When it comes to sculpture analysis, you may also want to collect technical data such as:

The size of the sculpture
Medium (the material)
The current condition (is it damaged, preserved as a fragment, or as a whole piece)
Display (Was a sculpture a part of an architectural setting, or was it an independent piece of work?)

For instance, if you were to do a visual analysis of Laocoön and His Sons , you could first look up such details:

Location: Discovered in a Roman vineyard in 1506
Current location: Vatican
Date: Hellenistic Period (323 BCE – 31 CE)
Size: Height 208 cm; Width 163 cm; Depth 112 cm
Material: Marble
Current condition: Missing several parts.

Visual Analysis Essay: Advertisement Analysis

Visuals are used in advertisements to attract attention or convince the public that they need what is being advertised. The purpose of a visual argument is to create interest. Advertisements use images to convey information and communicate with the audience.

When writing a visual analysis of an advertisement, pay attention to the following:

text elements,
illustrations,
composition.

All of this influences how the viewer perceives the information and reacts to it.

When you write about an advertisement, you conduct a rhetorical analysis of its visual elements. Visual rhetoric is mainly directed at analyzing images and extracting information from them. It helps to understand the use of typography, imagery, and the arrangement of elements on the page.

Think of the famous visual rhetoric examples such as the We can do it! poster or a Chanel №5 commercial. Both examples demonstrate how persuasive imagery has been used throughout history.

How to Write a Visual Analysis Paper on an Advertisement

The presentation of visual elements in advertising is essential. It helps to convince the audience. When you analyze visual arguments, always keep the rhetorical situation in mind. Here are some crucial elements to focus on:

✅ How to Write a Visual Analysis Paper: Step by Step

Now, we’ll focus on the paper itself and how to structure it. But first, check out the list of topics and choose what suits you best.

Visual Analysis Essay Topics

There are a lot of artworks and advertisements that can be analyzed and viewed from different perspectives. Here are some essay topics on visual analysis that you may find helpful:

Analyze Gustav Klimt’s The Kiss (1907-1908.)
The theme of humanity and The Son of Man (1964) by René Magritte.
The use of visual elements in Almond Blossom by Vincent van Gogh (1888-1890.)
Identity and Seated Harlequin (1901) by Picasso .
Explore the themes of Paul Klee ’s The Tree of Houses , 1918.
Objectives, activities, and instructions of Pietro Perugino’s fresco The Delivery of the Keys to Saint Peter .
Reflection on social issues of the time in Two Fridas by Frida Kahlo and Untitled by Ramses Younan .
Analyze the importance of Mural (1943) by Jackson Pollock .
The political message in John Gast’s painting American Progress (1872).
Describe the visual techniques used in Toy Pieta by Scott Avett .
The interpretation of the painting Indian Fire God by Frederic Remington.
Explore the historical significance and aesthetic meaning of Ognissanti Madonna by Giotto di Bondone .
Analyze different interpretations of The Three Dancers by Pablo Picasso .

Photography:

The idea behind Lindsay Key (1985) by Robert Mapplethorpe.
Explore the mythical appeal of Robert Capa’s photograph The Falling Soldier (Spain,1936) from Death in Making photobook.
Describe Two Boys with Fish (2018) from Faith series by Mario Macilau.
Kevin Carter’s Starving Child and Vulture (1993) as the representation of photojournalism.
The story behind Philippe Halsman’s Dali Atomicus , 1948.
Describe The Starving Boy in Uganda photograph by Mike Wells
Analyse the view of a historic disaster in San Francisco photograph by George R. Lawrence.
The statement behind Eddie Adams’s photo Shooting a Viet Cong Prisoner .
How is Steve McCurry’s perception of the world reflected in his photo Afghanistan Girl .
Analyze the reflection of Ansel Adams’s environmental philosophy in his photo Moon and Half Dome (1960).
Describe Girl on the Garda Lake (2016) by Giuseppe Milo.
Combination of internal geometry and true-to-life moments in Behind the Gare Saint Lazare by Henri Cartier-Bresson .
Modern art and Couple on Seat by Lynn Chadwick (1984.)
Analyze the biblical context of Pieta (1498-1499) by Michelangelo.
The use of shapes in Louise Bourgeois’ Spider (1996.)
Analysis of the symbolism behind The Thinker (1880) by Rodin.
The historical meaning of Fountain (1917) by Duchamp .
Analyze the Miniature Statue of Liberty by Willard Wigan
The combination of Egyptian culture and classical Greek ideology in statue of Osiris-Antinous .
Reflection of the civilization values in emperor Qin’s Terracotta Army .
The aesthetic and philosophical significance of Michelangelo’s David .
Explore the controversial meaning of Damien Hirst’s sculpture For the Love of God (2007).
Analyze the elements of art and design used in The Thinker by August Rodin .
Symbolic elements in the Ancient Greek statues of Zeus .
Depiction of the fundamental aspects of Buddhism in The Parinirvana of Siddhartha/Shakyamuni.

How Volkswagen : Think Small (1960) ad changed advertising.
Analyze the use of figures in California Milk Processor Board: Got Milk? (1993) ad campaign .
Analyze the use of colors in Coca-Cola — The Pause that Refreshes (1931.)
Explore the historical context of We Can Do It! (1942) campaign.
The importance of a slogan in 1947: A Diamond Is Forever by De Beers.
Examine the specifics of visual advert: dogs and their humans.
Describe the use of visual techniques in Kentucky Fried Chicken company’s advertisement.
Analyze the multiple messages behind the print ad of JBL .
Discuss the methods used in Toyota Highlander advertisement .
Elucidation of people’s dependency on social networks in the advertising campaign Followers by Miller Lite.
The use of the visual arguments in Schlitz Brewing Company advertisement .
The role of colors and fonts in Viva la Juicy perfume advertisement .

Visual Analysis Essay Outline

You can use this art analysis template to structure your essay:

The picture shows the main steps in writing a visual analysis essay: introduction, main body, conclusion.

How to Start an Art Essay

Every analysis starts with an introduction. In the first paragraph, make sure that:

the reader knows that this essay is a visual analysis;
you have provided all the necessary background information about an artwork.

It’s also important to know how to introduce an artwork. If you’re dealing with a panting or a photograph, it’s better to integrate them into the first page of your analysis. This way, the reader can see the piece and use it as a reference while reading your paper.

Art Thesis Statement Examples & Tips

Formulating a thesis is an essential step in every essay. Depending on the purpose of your paper, you can either focus your visual analysis thesis statement on formal elements or connect it with the contextual meaning. 

To create a strong thesis, you should relate it to an artwork’s meaning, significance, or effect. Your interpretation should put out an argument that someone could potentially disagree with. 

For instance, you can consider how formal elements or principles impact the meaning of an artwork. Here are some options you can consider:
If your focus is the contextual analysis, you can find the connection between the artwork and the artist’s personal life or a historical event.

How to Write Visual Analysis Body Paragraphs

Body paragraphs of formal analysis consist of two parts—the description and the analysis itself. Let’s take Klimt’s The Kiss as an example:

The contextual analysis includes interpretation and evaluation.

Visual Analysis Essay Conclusion

When you work on the conclusion, try to conclude your paper without restating the thesis. At the end of your essay, you can present an interesting fact. You can also try to:

Compare an artwork to similar ones;
Contrast your own ideas on the piece with the reaction people had when it was first revealed.
Talk about an artwork’s significance to the culture and art in general.

📑 Visual Analysis Essay Example & Citation Tips

In this section of the article, we will share some tips on how to reference an artwork in a paper. We will also provide an essay example.

How to Reference a Painting in an Essay

When you work on visual analysis, it is important to know how to write the title of an artwork properly. Citing a painting, a photograph, or any other visual source, will require a little more information than citing a book or an article. Here is what you will need:

Size dimensions
Current location
Name of the piece
Artist’s name
Date when artwork was created

If you want to cite a painting or an artwork you saw online, you will also need:

The name of the website
Website URL
Page’s publication date
Date of your access

How to Properly Credit an Artwork in APA

How to properly credit an artwork in mla, how to properly credit an artwork in chicago format.

Finally, here’s a sample visual analysis of Rodin’s sculpture The Thinker in APA format. Feel free to download it below.

Many people believe that works of art are bound to be immortal. Indeed, some remarkable masterpieces have outlived their artists by many years, gaining more and more popularity with time. Among them is The Thinker, a brilliant sculpture made by Auguste Rodin, depicting a young, athletic man, immersed deep into his thoughts.

You can also look at the following essay samples to get even more ideas.

The Protestors Cartoon by Clay Bennett: Visual Analysis
Visual Analysis – Editorial Cartoon
Visual Analysis: “Dust Storm” Photo by Steve McCurry
Visual, Aural, Read & Write, Kinesthetic Analysis
Schlitz Brewing Company Advertisement: Visual Arguments Analysis

Thanks for reading through our article! We hope you found it helpful. Don’t hesitate to share it with your friends.

❓ Visual Analysis FAQs

To write a visual argument essay, you need to use rhetorical analysis. Visual rhetoric is directed at analyzing images and extracting the information they contain. It helps to analyze the visuals and the arrangement of elements on the page.

A well-though contextual analysis will include:

1. formal analysis, 2. some information about the artist, 3. details on when and where the piece was created, 4. the social purpose of the work, 5. its cultural meaning.

It is better to include pictures in the introduction part of your paper. Make sure to cite them correctly according to the format you’re using. Don’t forget to add the website name, the URL, and the access date.

To analyze means not only to describe but also to evaluate and synthesize visual information. To do that, you need to learn about visual elements and principles and see how and why they are used within artworks.

🔍 References

Art History: University of North Carolina at Chapel Hill
Visual Analysis: Duke University
Writing a Formal Analysis in Art History: Hamilton College
Contextual Analysis: Pine-Richland School District
How to Analyze an Artwork: Student Art Guide
Introduction to Art Historical Analysis: Khan Academy
Guidelines for Analysis of Art: University of Arkansas at Little Rock
Elements of Art: Getty.edu
Formal or Critical Analysis: LibreTexts
Analyzing a Photograph: University of Oregon
Picture Composition Analysis and Photo Essay: University of Northern Iowa
Visual Analysis Guidelines: Skidmore College
How to Analyze Sculpture: NLA Design and Visual Arts: WordPress
Visual Rhetoric: Purdue University
Formal Visual Analysis: The Elements & Principles of Composition
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12 Art Description Examples

Art descriptions are written text used to describe works of art, usually for an exhibit, gallery web page, or catalogue. An effective description should not only provide information about the work depicted, but also help readers engage with the artwork, throughout a combination of well-crafted language and descriptive elements. Check out these Art Description Examples to get an idea on how to write your own for future projects.

Art Description Examples

One example of an art description is of Monet’s Water Lilies. In this painting, Monet captures the mirrored reflections of his garden through his distinctive brushstrokes and vibrant colors. Gentle strokes of emerald, azure, and amethyst caress the serene pond, creating a sense of tranquility. The sheer size of the canvas ensures the viewer can fully experience the beauty of the idyllic setting.
Another example is of Alexander Calder’s abstract painting, Circles. This dynamic composition features geometric shapes composed of flowing angular lines and circular forms in a vivid spectrum of colors. The dizzying interplay between moving forms is the perfect representation of movement and flux, a hallmark theme of modern art.

Art descriptions provide an avenue for viewers to engage with works of art. By utilizing descriptive elements that evoke emotion, viewers will be able to more accurately experience the artwork as the artist intended it to be seen. While there are many specific artistic styles and artwork styles, the two art descriptions provided above offer a glimpse at some of the elements that should be included for a meaningful description.

More Art Description Examples

1. Pablo Picasso’s Les Demoiselles d’Avignon features a jubilant composition of primitive figures in simplified and angular postures. The intense color palette creates a sense of energy and vivaciousness while the recognizable brushstrokes and unique figures show the profound impact of Picasso’s cubism.

2. Vincent Van Gogh’s Starry Night is one of the most famous artworks of all time. The wildly swirling stars and the reflective beauty of the night sky create an overwhelming feeling of power and awesomeness, quite possibly the most stunning night sky painting to ever be produced.

3. Michelangelo Merisi da Caravaggio’s painting, The Calling of St. Matthew, takes you to a Renaissance-era church where St. Matthew is selected and appointed by Christ. His intense gaze creates a sense of foreboding as the figures in the painting kneel in awe.

4. Rembrandt van Rijn painted numerous self-portraits during his lifetime, and his most famous, Self Portrait in Slightly Open Vest, captivates the viewer with its sense of depth and humanity. The monochromatic color palette and the serious frowning face project a deep sense of loneliness.

5. Marc Chagall’s La Tour Eiffel captures the romantic ambiance of the famous landmark with bright primary colors and ethereal strokes of paint. The vibrancy of the painting captures the beauty of the monument and its surroundings.

6. Edward Hopper’s Nighthawks is a masterpiece of realism. The painting captures the inescapable feeling of urban loneliness with a panoramic view of a late-night diner and its mysterious occupants.

7. Jackson Pollock’s One: Number 31 is an example of abstract expressionism. The painting features an intricate composition of various lines, shapes, and colors, forming a complex representation of the artist’s creativity and emotions.

8. Frida Kahlo’s The Two Fridas paints a surreal image of the legendary artist in her iconic double self-portrait. The painting embodies her strength, resilience, and soul with its dreamy setting and vibrant colors.

9. Grant Wood’s American Gothic is a celebrated painting of a rural Iowa couple, surrounded by a rolling landscape of lush green fields. The painting’s unique mix of realism, detail and subtle expressions creates a timeless image that speaks to the American Dream.

10. Zanele Muholi’s Somnyama Ngonyama Self-Portraits explore the complex identity of LGBTQ+ individuals with its powerful representations of the lived experiences of Muholi and other members of the community. Every portrait depicted strikes an emotionally powerful chord, creating a powerful statement of resilience.

More Art Description Examples are coming soon…

Words to Describe Art

valentinrussanov/Getty Images

Art History
Architecture

To talk about paintings, and art in general, you need the vocabulary to describe, analyze, and interpret what you're seeing. Thinking of the right words becomes easier the more art terms you know, which is where this list comes in. The idea isn't to sit and memorize it, but if you consult the word bank regularly, you'll start to remember more and more terms.

The list is organized by topic. First, find the aspect of a painting you wish to talk about (the colors, for instance), and then see which words match or fit with what you're thinking. Start by putting your thoughts into a simple sentence such as this: The [aspect] is [quality]. For example, The colors are vivid or The composition is horizontal. It'll probably feel awkward at first, but with practice, you'll find it gets easier and more natural, and you'll eventually be able to produce more complicated sentences.

Think about your overall impression of the colors used in the painting, how they look and feel, how the colors work together (or not), how they fit with the subject of the painting, and how the artist has mixed them (or not). Are there any specific colors or color palettes you can identify?

Natural, clear, compatible, distinctive, lively, stimulating, subtle, sympathetic
Artificial, clashing, depressing, discordant, garish, gaudy, jarring, unfriendly, violent
Bright, brilliant, deep, earthy, harmonious, intense, rich, saturated, strong, vibrant, vivid
Dull, flat, insipid, pale, mellow, muted, subdued, quiet, weak
Cool, cold, warm, hot, light, dark
Blended , broken, mixed, muddled, muddied, pure
Complementary , contrasting, harmonious

Don't forget to consider the tone or values of the colors, too, plus the way tone is used in the painting as a whole.

Dark, light, mid (middle)
Flat, uniform, unvarying, smooth, plain
Varied, broken
Constant, changing
Graduated, contrasting
Monochromatic

Composition

Look at how the elements in the painting are arranged, the underlying structure (shapes) and relationships between the different parts, and how your eye moves around the composition .

Arrangement, layout, structure, position
Landscape format, portrait format, square format, circular, triangular
Horizontal, vertical, diagonal, angled
Foreground, background, middle ground
Centered, asymmetrical, symmetrical, balanced, unbalanced, lopsided, off-center
Overlapping, cluttered, chaotic
Separate, spacious, empty
Free, flowing, fragmented
Formal, rigid, upright, confined
Negative space , positive space

It's often hard or impossible to see texture in a photo of a painting, as it doesn't show unless there's light shining in from the side that catches the ridges and casts small shadows. Don't guess; if you don't see any texture, don't try to talk about it in that particular painting.

Flat, polished, smooth
Raised, rough, coarse
Cut, incised, pitted, scratched, uneven
Hairy, sticky
Shiny, glossy, reflective
Semigloss, satin, silk, frosted, matte

Mark Making

You may not be able to see any details of the brushwork or mark making if it's a small painting. Remember that in some styles of painting, all brush marks are carefully eliminated by the artist. In others, the marks are clearly visible.

Visible, impasto , blended, smooth
Thick, thin
Bold, timid
Heavy, light
Edgy, smooth
Exhibiting glazes, washes, scumbling , dry brushing, stippling, hatching, splatters
Layered, flat
Precise, refined, regular, straight, systematic
Quick, sketchy, uneven, irregular, vigorous
Regular, patterned
Exhibiting marks made with a knife, brush

Mood or Atmosphere

What is the mood or atmosphere of the painting? What emotions do you experience looking at it?

Calm, content, peaceful, relaxed, tranquil
Cheerful, happy, joyful, romantic
Depressed, gloomy, miserable, sad, somber, tearful, unhappy
Aggressive, angry, chilling, dark, distressing, frightening, violent
Energetic, exciting, stimulating, thought-provoking
Boring, dull, lifeless, insipid

Form and Shape

Zetpe0202/Wikimedia Commons/Public Domain

Think about the overall shapes in the artwork and the way forms (things) are depicted. What sense of depth and volume is there?

2-D, flat, abstracted, simplified, stylized
3-D, realistic, natural sense of depth and space
Sharp, detailed
Blurred, obscured, overlapping, indistinct
Distorted, exaggerated, geometric
Linear, long, narrow
Hard-edged, soft-edged

Heritage Images/Getty Images

Look at the lighting in the painting, not only in terms of the direction it is coming from and how it creates shadows but also its color, its intensity, the mood it creates, whether it is natural (from the sun) or artificial (from a light, fire, or candle). Make sure to describe the shadows and the highlights as well.

Backlit, front lit, side lit, top lit
Having indirect light, reflected light, no directional light source
Cool, blue, gray
Warm, yellow, red
Dim, faint, gentle, gloomy, low, minimal, muted, soft
Clear, brilliant, bright, glowing, fiery, harsh, intense, sharp

Viewpoint and Pose

Consider the angle or position from which we're seeing the subject of the artwork. How has the artist decided to present it? What is the perspective ?

Front, side, three-quarters, profile, rear (from behind)
Close up, far away, life-size, bird's eye view
Upward, downward, sideways
Standing, sitting, lying down, bending
Gesturing, moving, resting, static

Subject Matter

This aspect of a painting is one where it can really seem like you're stating the obvious. But if you think of how you'd describe an artwork to someone who has not seen it or who isn't looking at a photo of it, you'd probably tell them the subject of the painting quite early on.

Cityscape, buildings, man-made, urban, industrial
Fantasy, imaginary, invented, mythological
Figurative (figures), portraits
Interiors, domestic
Landscape, seascape

Before you begin describing the individual objects in a still life painting , whether they're themed, related, or dissimilar, look at them overall and describe this aspect.

Antique, battered, damaged, dusty, old, worn
New, clean, shiny
Functional, decorative, fancy
Domestic, humble
Commercial, industrial

DEA / G. NIMATALLAH/Getty Images

Does the painting seem to fit a particular style or be reminiscent of a particular artist's work? There are many terms for different styles in the history of art, and these descriptors can create instant impressions.

Realism, photorealism
Cubism, surrealism
Impressionism
Modernism, expressionism
Chinese, Japanese, or Indian style

Dimitri Otis/Getty Images

If you know the medium in which a work was created or on what it was painted, that information can be useful to include in your description.

Oil, tempera
Pastel, chalk, charcoal
Mixed media, collage
Watercolor, gouache
Spray paint
Wood panels, canvas, glass

Hill Street Studios/Getty Images

Size may be relevant to your description if a work is particularly large or small. You can use exact dimensions, of course, as well as descriptive words.

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Artist Guide

How To Write The Perfect Artwork Description

When it comes to selling your art, the more information that you provide in your artwork description the better! After all, this is where your customer will turn to learn more about your piece.

The best artwork descriptions on Artfinder comprise two sections: one detailing the inspiration behind the piece and another presenting the bare facts .

The inspirational bit

This component of the description will need to refer directly to the artwork at hand. There's no perfect formula for this, however it does need to be engaging! Remember that it should reflect you and your personality, as well as your enthusiasm for your work.

You may wish to mention the following:

What inspired you to create the piece?
What techniques did you use and why?
What does it mean to you?
What does it represent in terms of your artistic work as a whole?

Bear in mind that along with our usual criteria for excellent listings , we look for detailed and inspirational artwork descriptions for our Art of the Day email feature. So if you tick all of the boxes, you are more likely to be selected!

The factual bit

It’s worth spending a little more time on this component to ensure that you have every possible factor that the customer could wish to know. The good news is, though, that you can then copy and paste the same formula into each listing and tweak it to make it relevant to your artwork.

Materials used – include canvas type , materials used e.g. pastels or pencils
Dimensions – include these in centimetres and inches for extra clarity
Packaging - explain your packaging process. Will the work be packed in bubble wrap or rolled? Do you offer to ship artworks both rolled and stretched?
Delivery - expand on your courier and shipping times
Anything else to add? Maybe you want to encourage the customer to get in touch with you directly with any questions

Image courtesy of Marcel Garbi

What is the perfect listing.

Let’s take a hypothetical situation. You’re shopping online for a special new coffee table. You find one you like the look of, but there’s no description and only one picture. Do you buy it?

The basics of secondary imagery

It's one thing to provide your customer with clear, well-lit images of your product. But by going that extra step further and presenting the artwork in context or with a frame, you remove that element of guesswork so frequently associated with purchasing online - how will it look in my home?

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Writing About Art

Appendix iii: sample student papers (visual descriptions).

The CCNY students who wrote these papers were given a variation of the assignment below. In all cases, they were told to go to the Metropolitan Museum of Art and select one work on display in the galleries of modern art. The first version of the paper is what the students actually handed in, which did not necessarily receive an A, but showed a basically strong organization and mentioned the most important visual qualities. The second version has been edited by me for this book, underlining the topic sentences, correcting the grammar, adding significant details that were missing, and making the wording a little more graceful and a little less repetitious. I have tried to stay as close to the original texts as possible. Note that the papers could have been revised in many different ways. There is no one answer to an assignment like this, just something that succeeds more or less well for the reader.

THE ASSIGNMENT :

Write a two-page visual description of the work you selected. NO RESEARCH. Include the name of the artist, the title, the date, the medium, the approximate dimensions, the name of the collection, and the museum number. Be sure to give enough details for the reader to be able to visualize the work in all its important aspects. Paragraphs should be the basic unit of organization. Check your topic sentences, grammar, and spelling. To find out how effective your description is, draw a picture of what you have written or have someone else read it. Revise, revise, revise.

SAMPLE VISUAL DESCRIPTION #1

ORIGINAL PAPER:

“ From Green to White , by Yves Tanguy”

From Green to White (Metropolitan Museum of Art, 1999.363.82) is a surrealistic painting by Yves Tanguy in 1954. In the lower part of the painting, what appears to be an strange city, or part of some device. The rest of From Green to White is covered in a strange, organic-looking background, with any shadow washed out by fog or some omni-present light. In contrast, the city is naturalistically shaded, creating even greater contrast to the barren fog occupying the upper three fourths of the painting. The fog is not completely featureless, however. The lower part of it is darkened, interspersed with streaks of color. Past the dark area is a section of white with a slightly blue tinge, with streaks of bright white. The streaks gives the impression of being shimmers of light, giving the whole section a look similar to a block of partly melted ice. The ice quickly fades out the blue, leaving what appears to besky.

The city itself has a certain organic look to it. The buildings are all rounded, with the roofs each at different slopes. In general the city is simple shapes, distorted yet still recognizable. There are a few buildings that stand out in the painting. One building in the middle, with a blue roof and curved outer walls, has strange waves on the roof, and shapes cut out from the walls. Another building, to the left of the blue-roofed one, has grey-green tubing coming from the shaft of the tower. The top of the tower has window-like openings going around its circumference.

What Tanguy meant this painting to represent is unknown. The title, From Green to White , gives us no hint of what Tanguy meant by this, if he meant anything at all. One possible idea is that the city represents human innovation or civilization. This is surrounded by a vast empty gulf of nothingness, representing our potential for growth. An alternative interpretation is that the void is a barrier, restricting our growth beyond a certain point. This barrier is represented by the section of the void that has the appearance of melted ice. Beyond the wall is the sky, representing freedom. We, however, are trapped on the swamp-like surface, slowly expanding our city–until we reach this barrier.

REVISION OF PAPER #1:

1. Read the paper all the way through, underlining the first or topic sentence of each paragraph. (This will be easiest to do if you print out a copy from www.writingaboutart.org.) These sentences should form an outline of the paper. Do they? Do you know what the work looks like from this description? Do you know all of its qualities as a physical object - medium, size, colors, surface texture? Which elements are missing?

2. Find a reproduction of the painting online (Google the name of the artist and the title) so you know what it actually looks like. Is this what you imagined? Why not? In fact, this painting is extremely difficult to describe because it is very precise in its description of unrecognizable objects. If you have a choice, select a topic you can write about easily!

3. Now go back to the paper, and begin going through it sentence by sentence. First check for mistakes in spelling, grammar, and word usage. Then consider whether words have been used effectively to make the meaning clear. The first sentence is especially important because it tells the reader what the paper will be about.

ORIGINAL FIRST PARAGRAPH:

Original first sentence : From Green to White (Metropolitan Museum of Art, 1999.363.82) is a surrealistic painting by Yves Tanguy in 1954.

Grammar : What was in 1954? The word "made" has been left out. PROOFREAD!

Comments : What does "surrealistic" mean? CHECK A DICTIONARY:

http://www.merriam-webster.com/dictionary/surrealistic: Adjective . 1 : of or relating to surrealism 2 : having a strange dreamlike atmosphere or quality like that of a surrealist painting

Does the writer intend 1 or 2? The first definition means that the painting is an example of the historical style Surrealism. The second refers to a visual quality. Changing the placement of the word eliminates the ambiguity.

Possible revision: The painting called From Green to White (Metropolitan Museum of Art, 1999.363.82) was made by the Surrealist artist Yves Tanguy in 1954.

Comments : The reader now knows the title of the work, the name of its artist, the historical movement with which he is associated, and the year in which it was painted. Nothing has been said about the work as a physical object however - size, medium, surface, colors - nor has any indication been given of what the paper will be about. It is best to be clear, even if the result is not elegant.

Final revision: This paper will be a visual description of From Green to White (Metropolitan Museum of Art, 1999.363.82) , an oil painting made by the Surrealist artist Yves Tanguy in 1954.

Original second sentence : In the lower part of the painting, what appears to be an strange city, or part of some device.

Grammar : This is a sentence fragment because there is no verb, and "an" is used incorrectly because the following word begins with a consonant. It can be made into a complete sentence by adding "there is" before "what appears to be."

Comments : The "lower part" is only meaningful if we can visualize the work as a whole, and it doesn't indicate exactly how much of the composition it fills. The order of the information can be reversed to get rid of the passive "there is." The phrase "part of some device" is too vague to mean anything. The more specific a description is the better. Since the most tangible phrase connected to this area of the picture is "appears to be a strange city," that can be kept, although it would be better to know a little more about what it looks like so the reader can judge the ways in which it is and isn't like a city. Furthermore, we still do not know the picture's size, orientation, subject, or how it was painted. That information must be added.

Final revision : A vertical composition of about 39 x 32 inches, the work depicts an imaginary place. Tanguy used tiny, barely visible brushstrokes, so that the surface of the painting is almost perfectly smooth. What appears to be a strange city fills the bottom fourth of the canvas.

Original third sentence : The rest of From Green to White is covered in a strange, organic-looking background, with any shadow washed out by fog or some omnipresent light.

Comments : Something can't be covered with a background, "organic-looking" is too vague to evoke anything specific in the mind of the reader, the absence of shadow comes as a surprise since its presence has not been mentioned, and how can something be both a "fog" and an "omnipresent light"? Although the topic - the rest of the picture - is what should come next, the information must be much more specific. Looking at the picture again suggests "sky" as another way to describe this area, which fits with the idea of organic shapes (like clouds, for example), fog, and a pervasive light. "Background" suggests that the picture contains an illusion of three-dimensional space. It is important not to confuse the two-dimensional or flat design of a picture with a three-dimensional or spatial organization. The first is described by the words top, middle, and bottom, while the second by front, middle, and back. Since it is confusing for the reader to switch between different frames of reference, and no indication of a spatial structure has been given, it is better to stay with the two-dimensional reference already used ("lower part," "bottom fifth").

Final revision : The rest of From Green to White looks like sky.

Original fourth sentence : In contrast, the city is naturalistically shaded, creating even greater contrast to the barren fog occupying the upper three fourths of the painting.

Comments : Something that appears to be a strange city has been transformed into a city with naturalistic shading. This would make more sense if the reader knew the ways in which it does and doesn't look like a city. Furthermore, the information about shading would be more useful if it was explained where it appears. Notice that relative dimension is now given with "the upper three-fourths of the painting." Information like this, pertaining to the entire composition, should be given as early as possible. If the relative size of the first area had been given as the bottom quarter - or fifth, which seems more accurate - it would have established the proportions of the two major areas of the composition.

Final revision : What appears to be a strange city, naturalistically shaded to suggest space, fills the bottom fifth of the composition. The rest of From Green to White looks like sky.

Original fifth and sixth sentences : The fog is not completely featureless, however. The lower part of it is darkened, interspersed with streaks of color.

Comments : First, there is no need to contradict a statement that has not been made, so the fifth sentence is not necessary. "Lower part" is vague, and the phrase has been used to refer to two different areas of the painting (in the second sentence and in this one), which is confusing to the reader. Rather than "lower part," "darkened," and "streaks of color," be specific about the shapes and colors.

Final revision : The lower part of this section consists of dark, wavy, horizontal bands, interspersed with streaks of red, green, pink, and blue.

Original seventh sentence : Past the dark area is a section of white with a slightly blue tinge, with streaks of bright white.

Comments : "Past" suggests placement in terms of three-dimensional space. Since "lower part" locates the area in terms of two- rather than three-dimensional design, it's better to be consistent and use "above." Furthermore, the relationship between the "streaks of bright white" and the "section of white" has to be made clear. Since the "streaks" are described more fully in the next sentence, they can be removed from this one. Finally, since the previous sentence used "section," the word here should be changed to another one, like "area."

Final revision : Above that is an area of white, tinged slightly blue.

Original eighth sentence : The streaks gives the impression of being shimmers of light, giving the whole section a look similar to a block of partly melted ice.

Grammar : "Streaks" is plural, so the verb should be "give."

Comments : The fact that they are "bright white," eliminated from the previous sentence, must be added. Both "shimmers of light" and "partly melted ice" are images, and it should be made clear that they are alternative descriptions for the same area. Don't use the verb "give" twice in the same sentence.

Final revision : Streaks of bright white within it give the impression of being shimmers of light, or reflections from a block of partly melted ice.

Original ninth sentence : The ice quickly fades out the blue, leaving what appears to besky.

Grammar : What is "besky"? In fact, it is a typing mistake, with the space between "be" and "sky" left out. A spelling checker would have picked this up if it had been used .

Comments : What does "fades out the blue" mean? Isn't a sky blue? In fact, the shimmers of light or melting ice fade into blue, to what appears to be sky. Furthermore, no indication has been given of where this takes place in the composition.

Final revision : These streaks fade out about halfway up the picture, leaving what appears to be a blue sky with a few wispy clouds in it.

REVISED FIRST PARAGRAPH:

This paper will be a visual description of From Green to White (Metropolitan Museum of Art, 1999.363.82) , an oil painting made by the Surrealist artist Yves Tanguy in 1954. A vertical composition of about 39 x 32 inches, the picture describes an imaginary place using tiny, barely visible brushstrokes, so that the surface of the painting is almost perfectly smooth. What appears to be a strange city, naturalistically shaded to suggest space, fills the bottom fifth of the composition. The rest of From Green to White looks like sky. The lower part of this section contains dark, wavy, horizontal bands, interspersed with streaks of red, green, pink, and blue. Above that is an area of white, tinged slightly blue. Streaks of bright white within it give the impression of being shimmers of light, or reflections from a block of partly melted ice. These streaks fade out about halfway up the picture, leaving what appears to be a blue sky with a few wispy white clouds in it.

Comments : The revised first paragraph gives the reader an idea of the different areas of the composition, their relative sizes, and their colors. Because this paper is a visual description, it needs more information about the only part that still lacks detail, the bottom of the canvas. The elements which suggest the strange city must be described with more precision. This is the subject of the original second paragraph.

ORIGINAL SECOND PARAGRAPH:

Original first sentence : The city itself has a certain organic look to it.

Comments : "Certain organic look" is too vague to be useful (how would you draw it?). Furthermore, the reader never was told which elements resembled a city and which didn't. This must be explained before anything else. The most specific overall description, signaled by the "in general," appears in the third sentence of this paragraph. This might make a better topic sentence than the original one.

Possible new topic sentence : In general the city is simple shapes, distorted yet still recognizable.

Comments : It is hard to imagine what the shapes might look like if they are simple and distorted - yet recognizable. The natural question is recognizable as what? This must be made more specific. Since the shapes seem to be buildings, perhaps the second sentence ("The buildings are all rounded, with the roofs each at different slopes.") and the third can be combined into a new topic sentence. However, the roofs can't each be at different slopes. Each roof can have a different slope, or all the roofs have different slopes, but the plural "roofs" can't be mixed with the singular "each." Finally, the verb "is" sounds awkward - "consists of" would be better.

Final revision : The strange city at the bottom of the composition consists of simple rounded shapes that suggest oddly proportioned buildings.

Original fourth sentence : There are a few buildings that stand out in the painting.

Comments : Eliminate "there are" or "there is" whenever possible. Since the word "buildings" was just used, and the forms only suggest, but are not, buildings, the use here should be changed.

Final revision : A few of these forms stand out in the painting.

Original fifth, sixth, and seventh sentences : One building in the middle, with a blue roof and curved outer walls, has strange waves on the roof, and shapes cut out from the walls. Another building, to the left of the blue-roofed one, has grey-green tubing coming from the shaft of the tower. The top of the tower has window-like openings going around its circumference.

Comments : Again, if they aren't buildings but only like them in certain ways, they shouldn't be called buildings. Furthermore, if the shapes are rounded, then it needn't be mentioned that the outer walls are "curved." Other changes make the sentences shorter and flow more smoothly.

Possible revision : One in the middle has strange waves on its blue roof, and shapes cut out from its walls. To the left of this one is a tower with grey-green tubing coming from its shaft and window-like openings around its top.

Comments : These sentences are better written and more descriptive than the previous ones, but they are not as clear as they can be, and the reader still needs more information. Look at the reproduction of the painting again. Try to think of elements you can add that would help the reader imagine what the picture looks like. Here's one way:

REVISED SECOND PARAGRAPH:

The strange city at the bottom of the composition consists of many rounded shapes that suggest oddly proportioned structures made out of grey rock. The simplest are cut-off cylinders. One at the left edge of the picture is the tallest element. A flat low form in the middle, which extends across nearly a third of the width of the picture, has a blue roof with what look like strange waves and a single orange oval on it. These are the only things that are not some kind of grey color. To the left of this structure is a tower with grey-green vertical tubes along its sides. Window-like openings go around it. To the right is the largest structure of them all, like a ziggurat made of three circular flat-topped tiers. Between it and the blue roofed form are 8-10 tall, dark, flat spires. A thin grey cylinder rises along the right edge of the composition.

ORIGINAL THIRD PARAGRAPH:

Original first sentence : What Tanguy meant this painting to represent is unknown.

Comments : The idea of making the last paragraph about meaning is a good one, since the reader surely wonders if the picture has one. Anything about what Tanguy thought, though, has to have a source given in a note, since it is not possible to know by looking at the work. Therefore, this sentence should be eliminated.

Original second sentence : The title, From Green to White , gives us no hint of what Tanguy meant by this, if he meant anything at all.

Comment : First of all, the title of the painting has been italicized in the rest of the paper, and so it should be here too. Bringing in the title seems like a good idea, especially since it is very specific, but doesn't seem to correspond to anything we can see in the painting. "If he meant anything at all," however, is unnecessary, because it is covered as a possibility by the "no hint." As a topic sentence, this addresses the question of the title, while introducing the subject of meaning, which can be the subject of the rest of the paragraph.

Final revision : The title, From Green to White , gives us no hint of what Tanguy meant by this picture.

Original third sentence : One possible idea is that the city represents human innovation or civilization.

Comments : Suggesting a meaning is fine as long as it is clearly presented as the writer's idea. An interpretation must be substantiated by what is shown in the picture, however, which this is not since no evidence has been given that the city - if, in fact, it is one - was made by people. Without something visual to support it, the suggestion cannot be used.

Original fourth sentence : This is surrounded by a vast empty gulf of nothingness, representing our potential for growth.

Comments : The "this" must refer to the city, although it is not entirely certain. It is essential that references be clear. The "vast empty gulf of nothingness" is confusing, because the first paragraph described shapes and colors in that area. No reason is given for why this might represent "potential for growth." Again, without visual evidence, the suggestion is meaningless. The same can be said of the other suggestions the writer offers, which also use new terms, so we can't be sure what they refer to ("void," "swamp-like surface").

Original last sentences : An alternative interpretation is that the void is a barrier, restricting our growth beyond a certain point. This barrier is represented by the section of the void that has the appearance of melted ice. Beyond the wall is the sky, representing freedom. We, however, are trapped on the swamp-like surface, slowly expanding our city – until we reach this barrier.

REVISED LAST PARAGRAPH:

The title, From Green to White , gives no hint of what Tanguy meant to represent in this painting. The picture itself also provides no clues. The shapes and forms that are so carefully described do not suggest an interpretation that makes sense of what we see. Therefore, the work remains a mystery, a precisely detailed view of an imaginary world we can never know.

REVISED PAPER:

This paper will be a visual description of From Green to White (Metropolitan Museum of Art, 1999.363.82) , an oil painting made by the Surrealist artist Yves Tanguy in 1954. A vertical composition of about 39 x 32 inches, the picture describes an imaginary place using tiny, barely visible brushstrokes, so that the surface of the painting is almost perfectly smooth. What appears to be a strange city, naturalistically shaded to suggest space, fills the bottom fifth of the composition. The rest of From Green to White looks like sky. The lower part of this section contains dark, wavy, horizontal bands, interspersed with streaks of red, pink, green, and blue. Above that is an area of white, tinged slightly blue. Streaks of bright white within it give the impression of being shimmers of light, or reflections from a block of partly melted ice. These streaks fade out about halfway up the picture, leaving what appears to be a blue sky with a few wispy white clouds in it.

SAMPLE VISUAL DESCRIPTION #2

ORIGINAL PAPER:

For my analysis, I chose a painting by Emil Nolde, Large Sunflowers 1. This piece is rather large, about a yard in each direction and is encased in a gold frame. The medium is oil paint on a wood base. The paint is thick, wet on wet, using a big brush.

The composition is of eight sunflowers, some of them cropped, allowing us a partial view of their blooms. The colors of the flowers range from yellow, yellow-orange, light red, to dark red. All but one of the yellow toned flowers have deep brown centers. The artist used deep reds and browns to represent the centers of the red toned flowers. Their size range from about the size of a melon to the size of an orange. They are surrounded by large green leaves and stalks, suggesting a bush. The painting is of an outdoor space. Through the pockets of leaves, there are hints of dark blues and greens, suggesting shadow and depth, possibly a large garden or field. Towards the bottom of the painting, there are dashes of red visible through the leaves, alluding to more sunflowers in the depth of the bush. The sunflowers and leaves take up most of the composition, except for a few inches on the top of the painting. This space is a horizon line, an awesome sunset using reds, oranges, yellows, and browns; with an orb of the deepest red and orange depicting the sun itself.

The focal point of this composition is the biggest sunflower, in the center/left side and a pocket of leaves in the center itself. The flower is deep yellow with a muddy, yellow-brown center. Some of the petals are bending, possibly wilting or swaying in the wind. It has a bright green stalk, with a yellow streak of paint through it. The leaves in the center are a bright green with hints of blue, whereas the other leaves in the painting are a deeper green, about the color of an actual sunflower leaf. The brush stroke is also different than the other leaves in the painting. The center leaves are painting with a wavy, lyrical stroke. The painter used the same size brush with the other leaves, but a shorter, straighter stroke.

As I previously mentioned, this piece was painted using a wet on wet technique. The painter applied color on top of color, while all were still wet. He used the base colors to blend new colors on the canvas, instead of on a palette. I believe he also used some type of liquin base to enhance the wet look. By painting wet on wet, the artist not only blends colors, but edges also bleed into each other, creating a very loose, painterly composition. The entire painting is thick, accentuated by many especially gloppy areas.

The painter used a very large brush throughout the painting, with various brush strokes. He used long, continuous strokes to depict the stalks, for example. He also used short strokes, cross weaves, and waves. All appeared to be applied with a loose, relaxed hand.

All of the aforementioned elements, create an image of nature and tranquility. The use of a wood base, instead of typical weaved canvas, accents the ties to the natural world that are seen throughout this piece. The colors are warm, and the piece is fluid and flowing. Nolde used wet paint and a loose hand to capture a feeling of relaxation and an image of unprocessed beauty.

Topic sentences : First, underline the topic sentences. Do they form a clear outline? Does the first sentence tell you what the paper will be about? Here they are:

For my analysis, I chose a painting by Emil Nolde, Large Sunflowers 1.

The composition is of eight sunflowers, some of them cropped, allowing us a partial view of their blooms.

The focal point of this composition is the biggest sunflower, in the center/left side and a pocket of leaves in the center itself.

As I previously mentioned, this piece was painted using a wet on wet technique.

The painter used a very large brush throughout the painting, with various brush strokes.

All of the aforementioned elements, create an image of nature and tranquility.

Comments : The first sentence does identify the artist, and the title and medium of the work, although not the collection or the museum number. It indicates that the paper will be an "analysis," although we are not told of what. Then, in order, the paper will discuss the composition of the subject (sunflowers), the most important part visually of the composition, the technique, the brush and brush strokes, and a sense of its meaning or emotional mood. Although it would seem that the discussion of brushes and brush strokes should come before the technique, the topics in and of themselves seem reasonable. Is there anything that seems to be missing?

Comments : "Analysis" is not as precise a description of the paper as it could be, because it doesn't answer the question of what kind of analysis it will be. "Painting" can be made more specific by adding the information from the third sentence. Many art historians object to describing art as a "piece" because it seems too casual and, perhaps, commercial. There are lots of other possibilities, such as "work" and "object." "Rather large" is vague, and unnecessary when it is followed by actual dimensions. The measurement given, however, suggests that canvas is a square, which it is not. This has to be changed. Unless the gold frame is going to be mentioned again, it should be eliminated because it is not part of Nolde's painting. "Wet on wet" is a specific technique of painting that should be explained, and its relation to the paint explained. The description "big brush" is vague. Solving each of those problems produces something like this:

Possible revised first paragraph:

For my visual description, I chose to write about an oil painting on wood by Emil Nolde, Large Sunflowers I (Metropolitan Museum of Art, 2002.386). The work is about two and a half feet high and three feet wide. The paint has been applied thickly with a big brush, using the technique of "wet-on-wet," in which new strokes are put over others that are still wet.

Comments : The information about the technique wet-on-wet seems very specific for a first paragraph, while the reader has not been told anything more about what the painting shows then is indicated by the title. Perhaps the second paragraph, introduced by a topic sentence about the composition, should be incorporated in whole or part into the first paragraph.

Comments : The number of flowers, the range of colors and sizes, and the presence of leaves, seem like information the reader needs to form the most fundamental idea of the painting. The ideas of space and a sunset, however, seem secondary and might be developed in another paragraph. If this reasoning is followed, a new first paragraph made from the revised first and parts of the second might be this:

Possible revised first paragraph :

For my visual description, I chose to write about an oil painting on wood by Emil Nolde, Large Sunflowers I , in the collection of the Metropolitan Museum of Art (2002.386). The work, which is about two and a half feet high and three feet wide, shows eight sunflowers. Some of them are cropped, allowing us a partial view of their blooms. The colors of the flowers range from yellow, yellow-orange, light red, to dark red. All but one of the yellow toned flowers have deep brown centers. The artist used deep reds and browns to represent the centers of the red toned flowers. Their size range from about the size of a melon to the size of an orange. They are surrounded by large green leaves and stalks, suggesting a bush. The paint has been applied thickly with a big brush, using the technique of "wet-on-wet," in which new strokes are put over others that are still wet.

Grammar : "Their size range from about the size of a melon to the size of an orange." "Their size" is singular, so the verb "range" should be "ranges," except that the point of the sentence is that there are multiple sizes, so it would make more sense to make "size" plural - "Their sizes range." Strictly speaking, "their" refers to the last noun, which would be "the centers," because "of the red toned flowers" only modifies "centers." In any case, the sentence is awkward, because of the unclear reference, and the word "size" is used three times. A number of small changes can be made to some of the other sentences too, to make it all read more smoothly. As always, there is not a single way to revise it, but here's one possibility:

For my visual description, I chose to write about an oil painting on wood by Emil Nolde, Large Sunflowers I , in the collection of the Metropolitan Museum of Art (2002.386). The work, which is about two and a half feet high and three feet wide, shows eight sunflowers with their leaves, seen from close up. Some of them are cropped by the edges of the canvas, so we have only a partial view of their blooms. They vary from about the size of a cantaloupe melon to about the size of an orange, which might be the actual dimensions of these flowers. The colors range from yellow, yellow-orange, and light red, to dark red. All but one of the yellow-toned flowers have deep brown centers, while the red ones have deep reds and browns at their centers. The sunflowers are surrounded by large green leaves and stalks. The brilliantly colored paint is thick, and has been applied in big, visible brush strokes.

Rest of original second paragraph :

The painting is of an outdoor space. Through the pockets of leaves, there are hints of dark blues and greens, suggesting shadow and depth, possibly a large garden or field. Towards the bottom of the painting, there are dashes of red visible through the leaves, alluding to more sunflowers in the depth of the bush. The sunflowers and leaves take up most of the composition, except for a few inches on the top of the painting. This space is a horizon line, an awesome sunset using reds, oranges, yellows, and browns; with an orb of the deepest red and orange depicting the sun itself.

Comments : The first sentence can function as a topic sentence for what follows. It seems that the most striking visual element, however, is the top of the painting, the "awesome sunset," which is mentioned last. Perhaps the paragraph should begin with that area. The sentence before locates it, so it has to be included. The "few inches" are "at" the top of the painting though, not "on." "On" the top of the painting means on the surface of the top layer of the paint on the canvas, rather than at the top of the composition. The rest of the sentences can be made simpler by using fewer words. This is one way to reorganize and revise the paragraph:

The sunflowers and leaves take up most of the composition, but there are indications of an outdoor space around them. A strip a few inches high at the top of the painting forms a horizon line, filled with an awesome sunset of reds, oranges, yellows, and browns. An orb of the deepest red and orange toward the center depicts the sun itself. Between the leaves, hints of dark blues and greens suggest shadow and depth, possibly in a large garden or field. Towards the bottom of the painting, dashes of red suggest more sunflowers behind the ones we see.

Grammar : The phrase "center/left side" in the first sentence needs to be set off by commas at its beginning and end to make clear that it refers to the sunflower, and "focal point" is confusing since the end of the sentence reveals that there are two areas of visual interest - the sunflower and the pocket of leaves. "The brush stroke is also different than the other leaves" is not correct. It is not the brush stroke compared to the other leaves, but the brush stroke used for these leaves that is "different from that used for the other leaves in the painting." In the next sentence, the center leaves definitely are not "painting," which obviously should be "painted." It should be "for" the other leaves, not with.

Comments : Giving the reader a sense of what is most important in the composition is a reasonable subject now that the entire composition has been outlined. Note that the order in which the "focal points" are first mentioned is the order in which they are discussed. It is important to maintain the same order of information at all times, so the reader knows what to expect. Since "lyrical" is not a visual quality, but an emotional or, perhaps, a poetic one (check the dictionary!), a more visually descriptive word should be selected or the idea left out. Finally, the size of the brush has nothing to do with the composition. A few changes make the paragraph a little shorter and the writing read more smoothly.

REVISED THIRD PARAGRAPH:

The focal points of this composition are the biggest sunflower, to the left of center, and a pocket of leaves in the center itself. The flower is deep yellow with a muddy, yellow-brown center. Some of its petals are bending, possibly wilting or swaying in a wind. It has a bright green stalk, with a streak of yellow paint through it. The leaves in the center are a bright green with hints of blue, whereas the other leaves in the painting are a deeper green, more like the color of an actual sunflower leaf. They also are distinguished by the wavy brush stroke that appears here, which is different from the shorter, straighter stroke used for the other leaves in the painting.

ORIGINAL FOURTH PARAGRAPH:

Comments : "As I previously mentioned" is never a compelling opening for a paragraph and, as the order of the topic sentences revealed, discussing the brush strokes first seems to make more sense. If the paragraphs are reversed, then the fourth one would be this:

ORIGINAL FIFTH PARAGRAPH:

Comments : Distinguishing between the brush used and the various types of brush strokes made with it is a good idea. “Very large” is vague, however – compared to what? Substitute a more precise measurement. In addition, these two paragraphs raise similar issues, so perhaps the information can be better organized. The subjects can be defined as the brush (apparently a single “very large” one), the handling of the brush, including strokes (“long, continuous,” “short,” “cross weaves,” “waves”) and the more general “applied with a loose, relaxed hand,” which perhaps relates to the "very loose, painterly composition." Other terms relating to specific techniques of paint application include "wet-on-wet," with its blended edges, "thick" paint, and "many especially gloppy areas." Finally, there is the character of the color, mixed on the canvas instead of a palette. “Liquin base,” which most readers probably would take to be a typing mistake for “liquid base,” actually is a technical term referring to a particular kind of medium for paint, which enhances drying time and increases glossiness. Unless you know that your audience will understand such specific technical terms, it is better to avoid them. One way to reorganize this information is:

REVISED FOURTH PARAGRAPH:

The artist seems to have used the same large brush throughout the picture, although the paint was applied in different ways. Long, continuous strokes appear in some of the stalks, for example, while the flowers have been made with short strokes, cross weaves, and waves. In many places, the paint was applied thickly and wet on wet, color on top of color before any of it had dried. The result is that the edges of the strokes bleed into each other. In some areas, new colors were made by blending colors directly on the canvas.

ORIGINAL FINAL PARAGRAPH:

Grammar : There shouldn't be a comma after "elements" in the first sentence. The base is made of wood, but it is a "wooden" base, and the typical canvas is "woven" not "weaved."

Comments : "All of the aforementioned elements" is a very awkward beginning for any paragraph, especially the last one in the paper. The rest of the sentence is obvious - a picture of sunflowers certainly is an "image of nature" - and contradictory - intensely colored, thickly painted sunflowers in front of a brilliant sunset doesn't seem likely to create an image of tranquility. The point about the wooden base is not relevant if this is information given by the museum label instead of something that can be seen, and the paper contains no evidence that it is visually apparent. The rest of the characterization reads like something thrown together to end a paper. The colors are warm (although the comment wasn't made above), but that has nothing to do with nature or tranquility. Surely it isn't the work itself, but the composition that is "fluid and flowing" (although that wasn't exactly said above either). Of course Nolde used wet paint - any painter has to! - but neither that nor the "loose hand" lead to a "feeling of relaxation," at least without explanation. Finally, all the ways in which this painting has been constructed demonstrates that it is not at all "an image of unprocessed beauty." All of this can be reduced to one sentence.

THREE-DIMENSIONAL WORKS:

Works of art that occupy space instead of being flat present additional elements to describe. In addition to size, medium, and subject, the writer must indicate what it looks like from different points of view and how it engages the space around it. The shape may be complicated to describe, especially if it does not correspond to a representation of the natural world. A sample paper follows. Treat it exactly like the ones above. Underline the topic sentences and see if they make sense and if the order seems logical. Look at the first sentence and see if it tells the reader what the paper will be about. Then look at the organization of each paragraph and see if it makes sense. Each sentence should lead logically to the next one, and they all should be about the topic introduced in the first sentence of the paragraph. Can you draw the work? Do certain parts of the paper seem more successful than others? Why?

SAMPLE VISUAL DESCRIPTION #3

FINAL PAPER:

Auguste Rodin created The Burgers of Calais (Metropolitan Museum of Art, 1989.407) between 1885 and 1897. The bronze sculpture consists of six life-size male figures standing on a low rectangular base, arranged as if they are within an invisible cube. One figure, who seems to be the leader of the group, is placed almost in the middle of one of the long sides. Otherwise, there is no obvious organization in their positions. Furthermore, there is no point of view from which the six figures can be seen at once. For this reason the monument is visually interesting from all sides and, as the viewer walks it, additional details appear.

Even though the burghers do not have much contact with each other, not even eye contact, they create a sense of a group by sharing many things. They are about the same height (around 75”), wear similar long robes, and are barefoot. Although there are differences in the design of the clothes (some are sleeveless, some slit on the side), the deep folds of the simple robes create a strong vertical rhythm throughout the composition. Their disproportionately large hands and feet seem to weigh the men down. Two of them carry large keys. There are pieces of ropes hanging or twisted on some of the figures.

Looking at the work from the front (the longer side, with two figures facing towards us), the viewer first sees the man who seems to be the leader of the group, emphasized by an empty space in front of him. He is leaning forward with his shoulders hunched, his arms hanging by his sides, standing on a diagonal that runs from the front right corner towards the back left corner of the base. He is not facing us but turned about 30 degrees towards our left, with his head down. He has a beard, long hair, and he looks concerned.

A second burgher is lined up on the same diagonal, with his large bare left foot placed almost on the right corner of the base. Also turned toward the left, he looks straight forward with a grim expression. He holds a giant key in front of his body. These two burghers are connected by their position within the sculpture and they seem older than the others.

On the left front corner of the base is a younger man who has turned his back to the group and seems to be walking away from the leader. While his body is facing the left side of the invisible cube of the composition, his head is turned towards the back and he is looking down. He holds his heavily muscled right arm in front of him at a 90 degree angle. His fingers are spread apart as if he is questioning the situation. If we move to the short side of the monument and face this figure, we see that he is leaning to his right side. His movement creates a curving line that defines that edge of the composition.

From this point of view we can see the fourth burgher, who had been mostly hidden before. He is positioned right next to the previously mentioned man. The fourth burgher is facing the center of the composition. He is in the midst of stepping forward, with his arms out and hands open. His mouth is open, suggesting that he is asking something. Seen from the short side of the sculpture, the two figures overlap, creating dynamic lines as they lean towards one another. These two burghers seem joined, not only because of their interlocking movements but because they are both young and seem to be questioning the situation.

There are two more burghers in the composition, who cannot be paired with any of the others. Looking at the other long side of the monument, we have a side view of the fifth burgher. He is an older bearded man who seems to be stepping from the right side towards the left. His face looks blank as he stares straight forward. He holds a large key with his left fingertips. His facial expression and posture seem to express resignation. From this point of view we also see the back of the last burgher, who is placed in the corner to the left. He is slightly leaning away from the group. Moving to the short side, we can see that this older burger has the most dramatic position. He is bent over with his hands covering his lowered head, so that his face is hidden. He seems to be in total despair. From this point of view, we also discover that thick ropes hang around the neck of the second burgher.

Although the size, the bronze material, and the seriousness of the expressions of the men make you realize that this is a monument, the composition makes you feel as if the figures are part of the world in which you are standing. Walking around the work, you discover that the figures also are walking in something like a circle, except for the central man. As might be true in real life, each step reveals new details and hides others. A head or an arm of an invisible figure appears above the other men, or an elbow or hand blocks the view of something that normally would be more important. For this reason, Burghers of Calais has a much more immediate emotional impact on the viewer than a formal grouping on a high base would have had.

Comments : The first test of any description is whether the reader can visualize the work of art. Is this description clear? Could you draw Rodin's sculpture? Do you know what it contains? Do you know all of the facts about it as a physical object - size, material, shape? The next question is whether you are left feeling confused, or if there are things you still want to know. Are there issues that are raised but not answered? Look at a reproduction of it (unless you can see the real sculpture!). Do you find aspects that seem essential but have been left out? Are there things you would have emphasized that have been minimized? Again, there is never only one way to write a description.

Introduction
Formal Analysis
Personal Style
Period Style
"Realistic"
The Biography
Iconographic Analysis
Historical Analysis
Bibliography
Appendix I: Writing the Paper
Appendix II: Citation Forms
Visual Description
Stylistic Analysis
Doing the Research
The First Draft
The Final Paper
About the Author

Teacher Habits

Helping Teachers inside the Classroom and Out

How to Write a Descriptive Essay: Writing Tips & Examples

Imagine painting a vivid picture with words, capturing the reader’s imagination, and transporting them to a different world. That’s the power of a well-written descriptive essay. But how does one harness that power and create a masterpiece? In this comprehensive guide on how to write a descriptive essay, we’ll explore the intricacies of descriptive essays, from understanding their purpose to mastering the language, and everything in between.

Table of Contents

Descriptive Essay Writing: Key Takeaways

Descriptive essays strive to create a vivid experience for the reader through concrete details and sensory language.
The purpose of descriptive writing is to provide an engaging representation of the subject, aiding in forming understanding.
Through self-review, peer feedback and editing tools one can craft a polished essay that leaves a lasting impression on readers.

What is a Descriptive Essay?

Descriptive essays are more than just a simple narration or description of a subject. They aim to provide a detailed and vivid depiction of a subject using concrete details and figurative language, engaging the reader’s senses. Whether it’s describing a family member, a favorite food, or a memorable experience, the goal is to paint a picture so vivid that the reader feels as if they’re experiencing it firsthand. A good descriptive essay achieves this by striking the perfect balance between narration and sensory details.

To achieve this, writers must use vivid language and create a strong sense of imagery. They are.

Purpose of a Descriptive Essay

The primary objective of a descriptive essay is to create a clear and detailed picture of a subject, allowing the reader to visualize and understand it. It’s about immersing the reader into the world the writer has crafted, much like an argumentative essay, which seeks to convince readers of a particular viewpoint.

A descriptive essay, however, focuses on creating a sensory experience, engaging the reader on a deeper level with the subject, rather than just communicating facts.

Characteristics of Descriptive Writing

Descriptive writing possesses certain key characteristics, which include organization, detail, sensory language, factual information, and the abstention of opinions. Organization is crucial as it helps the reader comprehend the essay and follow the writer’s line of reasoning.

Detail and sensory language bring the subject to life, creating a vivid image in the reader’s mind, while factual information and the absence of opinions ensure an accurate and unbiased portrayal of the subject.

Choosing Descriptive Essay Topics

The beauty of descriptive essays lies in the versatility of their subjects. From people and characters to places, objects, emotions, and experiences, there’s a whole world of topics waiting to be explored. When selecting a topic, consider aspects of your own experience, things that interest you, or subjects that hold personal significance.

The key is to choose a subject that you can describe in detail, allowing your reader to immerse themselves in the vivid world you create.

People and Characters

Descriptive essays about people and characters allow you to dive deep into the intricacies of their personalities, traits, and relationships. You can focus on family members, friends, teachers, or even fictional characters. When writing a personal essay about a person, consider aspects such as their physical appearance, personality, behavior, habits, and accomplishments.

This provides a comprehensive and engaging portrayal of the entire essay that will captivate your reader.

Places and Settings

Places and settings provide a rich canvas for descriptive essays. They can be real or fictional locations, such as hometowns, schools, or imaginary worlds. When describing a place, focus on its physical characteristics, cultural significance, or historical importance. This will create a multi-dimensional image that transports your reader to the location and enables them to experience it as if they were there themselves.

By focusing on the details of the place, you can create a vivid and engaging description.

Objects and Items

Descriptive essays about objects and items give you the opportunity to examine everyday items or objects with personal significance in a new light. From a cherished family heirloom to a simple household item, the possibilities are endless.

To create a vivid description, focus on sensory details such as texture, color, smell, taste, and sound. By exploring these aspects, you’ll breathe life into the object and make it come alive for your reader.

Emotions and Experiences

Emotions and experiences are a goldmine for descriptive essays. By delving into your own feelings and personal reflections, you can create an intimate and powerful portrayal of an emotion or experience. Consider topics such as love, fear, happiness, or sadness, as well as personal experiences, memories, and favorite things.

Through sensory details and reflection, you’ll create a palpable connection with your reader, allowing them to share in your emotional journey.

Crafting a Descriptive Essay Outline

An outline is an indispensable tool in crafting a descriptive essay. It helps organize your thoughts, create a smooth flow, and ensure that your essay is structured coherently. A typical descriptive essay outline consists of an introduction, body paragraphs, and a conclusion.

By following this structure, you’ll ensure that your essay flows seamlessly from one section to the next, making it easy for your reader to follow along and understand your message.

Introduction

A strong descriptive essay introduction, also known as an introductory paragraph, is essential for capturing your reader’s attention and setting the stage for your descriptive essay. It should be brief, engaging, and introduce the subject you’ll be describing. The introduction should also include a well-crafted thesis statement, which provides a succinct overview of the main arguments of your essay.

By starting with a compelling introduction, you’ll entice your reader to continue reading and immerse themselves in the world you’ve created.

Body Paragraphs

The body paragraphs of your descriptive essay should focus on specific aspects of your subject, using vivid language and sensory details to create a rich and immersive experience for your reader. Each paragraph should begin with a topic sentence that encapsulates the main idea of the paragraph and connects it to the overall thesis statement. By following the descriptive essay format, you can ensure a well-structured and engaging piece of writing, such as a five paragraph essay.

Remember to use transition words to guide your reader through your essay and maintain a logical flow. These words can help you to move from one idea to the next, and to connect the ideas.

In the conclusion of your descriptive essay, it’s important to restate your thesis statement and provide a brief reminder of the topics you’ve covered. This helps to reinforce your main points and bring your essay full circle.

Consider leaving your reader with something to ponder or a memorable phrase that encapsulates the essence of your essay. A strong conclusion will leave a lasting impression on your reader, ensuring that your descriptive essay is not soon forgotten.

Mastering Descriptive Language

The key to a captivating descriptive essay lies in the language you use. Mastering descriptive language involves harnessing the power of figurative language, sensory details, and strong word choices to create a memorable and vivid description. By employing these techniques, you’ll not only paint a vivid picture for your reader, but also evoke their emotions and engage their senses, creating a truly immersive experience.

Using figurative language, such as metaphors and similes, can help you to create a vivid visual.

Figurative Language

Figurative language, such as metaphors and similes, can add depth and creativity to your descriptive essay. These literary devices help convey unique perspectives and create memorable effects. For example, instead of simply describing a park as green and lush, you could use a metaphor to compare it to a paradise or a simile to liken it to an oasis.

By using figurative language, you’ll breathe new life into your descriptions and leave a lasting impression on your reader.

Sensory Details

Sensory details are the secret ingredient that makes your descriptive essay come alive. By appealing to your reader’s senses of sight, sound, touch, taste, and smell, you’ll create a vivid and immersive experience that goes beyond mere description. For example, instead of simply saying that a room is warm, you could describe the gentle caress of the sunlight on your skin, the soft hum of the air conditioner, and the faint scent of cinnamon in the air.

By incorporating sensory details, you’ll transport your reader into the world you’ve created.

Word Choice

The words you choose can make or break your descriptive essay. Precise and original words can help you avoid clichés and create a strong impression on your reader. Be mindful of your word choice, and consider using a thesaurus to find alternative words that better capture the essence of your subject.

By selecting the right words, you’ll not only create a vivid image in your reader’s mind, but also convey your unique perspective on the subject.

Reviewing and Revising Your Descriptive Essay

The final step in crafting a captivating descriptive essay is to review and revise your work. This process involves self-review, peer feedback, and the use of editing tools to ensure that your essay is polished and error-free.

By carefully reviewing your work and incorporating feedback, you’ll ensure that your descriptive essay is the best it can be, leaving your reader with a memorable and vivid experience.

Self-Review

Self-review is an essential part of the revision process. Start by taking a break from your essay to gain a fresh perspective. Then read your essay aloud, listening for awkward phrasing or unclear sections.

Ask yourself questions to ensure clarity and coherence, such as “Does the essay make sense?” and “Are there any areas that require additional clarification?” By critically evaluating your work, you’ll be able to identify areas for improvement and make the necessary changes.

Peer Feedback

Peer feedback is another valuable resource in the revision process. Sharing your essay with classmates, friends, or family members can provide fresh insights and suggestions for improvement. Be open to constructive criticism and consider the feedback you receive before making any revisions.

Remember, the goal is to create the best possible version of your descriptive essay, and sometimes an outside perspective can help you see areas for improvement that you might have missed.

Editing Tools

Finally, consider using editing tools to help polish your descriptive essay. Programs like Grammarly can help you identify and correct grammatical errors and improve the overall quality of your writing.

By using editing tools, you can ensure that your essay is not only engaging and vivid, but also polished and professional.

Descriptive Essay Examples and Analysis

Analyzing descriptive essay examples can provide valuable insights into effective writing techniques and strategies. By examining the work of others, you’ll gain a better understanding of how to craft your own descriptive essay and learn new approaches that can help you bring your subject to life.

In this section, we’ll look at two different examples of descriptive essays and discuss the techniques used to create vivid and memorable descriptions.

Consider this descriptive essay example, which showcases classic approaches to descriptive writing: “The small, sunlit room was filled with the scent of freshly brewed coffee and the sound of soft jazz playing in the background. Every surface was covered in a layer of paint splatters, a testament to the artist’s dedication and passion.

The large canvas in the center of the room captured the essence of a summer day, with vibrant colors and bold brushstrokes. This example employs vivid sensory details and strong word choices to create an engaging and memorable description that transports the reader into the world of the artist.

In this second example, the writer takes a different approach to descriptive writing: “The city was a maze of towering skyscrapers, their reflections shimmering in the glassy surface of the river below. The buzz of traffic echoed through the canyon-like streets, while the aroma of street food vendors wafted through the air.

It was a place where dreams and realities collided, each vying for dominance in the ever-changing landscape.” Here, the writer uses figurative language and a more poetic style to convey the atmosphere and energy of the city, creating a vivid and captivating description that leaves a lasting impression on the reader.

Frequently Asked Questions

How do i start a descriptive essay.

To start a descriptive essay, begin by describing an event, place, object, or person in the opening sentence to engage the reader’s attention. Then provide relevant information to support your description, compile pertinent information on the topic, and create an outline prior to writing body paragraphs and a conclusion summarizing the essay.

Lastly, look for ways to enliven your language to make it more vivid and compelling.

How can I write a good descriptive essay?

To write a good descriptive essay, focus on a specific topic and compile information to create an outline. Use vivid details, figurative language, precise language and thoughtful organization to make your writing come alive for the reader.

Include a hook sentence in the introduction, a clear thesis statement and make sure to end with a summarizing conclusion.

What is the format of a descriptive essay?

A descriptive essay is a written account of a particular experience, with a good thesis statement at the beginning of the introduction, three body paragraphs, and a conclusion.

It is written in a coherent style using formal language.

What are the 4 components of descriptive writing?

Descriptive writing typically employs sensory detail, vivid imagery, figurative language, action-packed verbs, and an overall evocative tone to create an engaging narrative for readers.

This type of writing can help readers visualize the story and feel as if they are part of the action. It can also help to draw readers in and keep them engaged with the text.

What is the main goal of a descriptive essay?

The main goal of a descriptive essay is to provide the reader with a vivid and detailed picture of the subject, enabling them to visualize and understand it.

By using descriptive language and sensory details, the writer can create a vivid image in the reader’s mind. This can be done through the use of metaphors, similes, and other literary devices. Additionally, the writer should use vivid verbs.

In conclusion, writing a compelling descriptive essay requires a combination of organization, detail, sensory language, and strong word choice. By understanding the purpose and characteristics of descriptive writing, selecting engaging topics, crafting a well-structured outline, and mastering descriptive language, you’ll be well on your way to creating vivid and memorable essays that captivate your reader.

Remember to review and revise your work, taking advantage of peer feedback and editing tools to ensure a polished final product. With practice and dedication, you’ll soon be painting vivid pictures with words, transporting your readers to new worlds, and leaving a lasting impression.

Descriptive Writing with Still Life

Students will learn what a still-life painting is. They will observe and discuss two still lifes and then write a three-paragraph descriptive essay based on their observations. Students will then draw a still life based on their classmates’ descriptive essays. They will then discuss the similarities and differences between their writings, drawings, and the original paintings.

Students will write a three-paragraph descriptive essay.
Students will create a drawing based on classmates’ essays.
Students will compare and contrast their own ideas and understandings with those of the artists in discussion and in writing.

Vocabulary: still life, medium, composition

Still life painting with pitcher, bowls of strawberries, and plate of cheese

Discuss with the class what a still-life painting is. (The subject matter of a still-life painting or sculpture is anything that does not move or is dead.) Give them an example of one to look at. Once the students have a good understanding of what a still life is or can be, divide the class into two groups. Give each group a different painting of still life to observe. For example, Still Life with Brioche (1880) by Edward Manet or Still Life with Strawberries (ca. 1890) by Levi W. Prentice. Make sure that each group of students doesn’t see the other group’s painting.

Have each group create a graphic organizer such as a circle, idea map, or word bank about the still life they were given. Tell them to list everything they see in the still life. For English language learners, you may wish to provide a word bank already containing words that may describe the still life, or you might display real objects that are visible in the still life.

Have each student write a three-paragraph essay that describes the still life in detail. The essay should provide enough information for someone to draw the still life based solely on the written description.

The essay should include the following parts:

1st paragraph: Students write an introduction that explains what the artwork depicts, the orientation of the composition (landscape or portrait), and its medium. (Medium can refer both to the type of art—such as painting, sculpture, printmaking, drawing—as well as the materials an artwork is made from, such as pencil, ink, pastels, painting, watercolor, acrylic, oil, film, mixed media, collage.)
2nd paragraph: Students create a detailed inventory of what is included in the composition, using adjectives to identify and describe the objects in the still life.
3rd paragraph: Students describe key details (e.g., colors in foreground and background, details about positive and negative space, size and placement of the objects in relation to each other).

After students complete their first drafts, have them proofread their essays and revise them as needed.

Tell each student to trade essays with a classmate in the other group. Then pass out white construction paper and drawing pencils. Have each student draw what is described in his or her classmate’s essay. Give them the following instructions:

Read the essay thoroughly.
Begin sketching out the composition with pencil.
Add color to the drawing using pastels, crayons, colored pencils, etc.

Compare and contrast students’ drawings with the works of art created by the original artists. Lead a discussion asking the following questions:

How are the works of art similar? What do you see that makes you say that?
How are they different? What do you see that makes you say that?
What could you have written to help your classmate make a more accurate drawing?
What could your classmate have written to help you make a more accurate drawing?

Have students revise their essays based on the class discussion and what is inaccurate in the drawings. Students then complete their final drafts.

Painting Description Essay Example

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Author Sandra W.

Painting Essay Example: Description of a Work of Art

The artist of this surrealistic painting uses the shades of red, blue, and black to (with perfect harmony, perfection and precision) bring out visual illusions and abstract figures similar to those found in works of some of the world's renowned artists. Abstract arts like these ones, unlike paintings of objects, know no boundaries. The shapes that make up the arts meld together and, the different shades of colors used to make the painting often flow together to create a harmonious pattern or clash into a violent frenzy. Either way, abstract artists concerns themselves with engaging the emotions of the viewer without the destruction found in paintings of objects. Abstract Arts or Pictures of Nothing describe nothing but themselves. This paper will provide a visual description of one of such pieces of art.

The focal point of thus painting is at the top left hand side of the painting. Here, there is what appears to be the visual representation of some strange animal (dragon) inside a cave. The painter used the bright circle at the middle of the painting to elude the sunshine. The dark part of the painting that starts from the left hand side of the painting and end at the top appears to be the walls of a cave. The illusion of a wall is given by the uneven surface of these rocks and the texture. The rest of the painting is covered with a strange light blue, organic background with shades of white, blue, yellow, and red. The streaks of blue, yellow and white at the background appear like water running down the entrance of the cave. The red and yellow colors appear to be from the reflection of the sun's rays against the water running down the entrance of the cave. The illusion of water running down the entrance of the cave is enhanced by the curvy shapes of the blue streaks of color at the background. The water would also explain the blurred vision. Nothing on the other side of what appears like a cave is visible apart from the strong bright light.

The lower part of the picture is an organic shade of velvety red surface. This is the most confusing part of the painting. On the first look, it appears like fire from the dragon above but changes to look like water on further inspection. Just like most abstract paintings, merely looking at the different parts of the painting give one no idea of what the author really meant to portray by such a painting. For example, it is hard to figure out what some of the figures in the painting really are or what they add to the concept of the painting. In addition, its also hard to figure out why the surface of what appears like water is red. Despite this, the painting is exciting to look at because of the manner in which it captures the imagination of the viewer.

How to write exhibition, artwork & object descriptions

There’s an art to writing compelling exhibition and artwork descriptions. Read on to find out tried and true tips for successfully introducing your exhibition, artworks and objects to your visitors.

Writing Your Exhibition Description

Writing artwork or object descriptions.

The Exhibition Description acts like the entry text panel in a bricks and mortar exhibition space. It is the first piece of text visitors will see and read before they enter your exhibition and it should explain the themes, ideas, concepts and inspiration behind your exhibition.

We have compiled some pointers to help you write a compelling description and successfully introduce your exhibition to your visitors, so keep reading!

1. Include the ‘Big Idea’

The ‘big idea’ of your exhibition answers the question “What is this exhibition about?”. When writing your exhibition description it is important to make sure you include the Big Idea so your audience can understand and make sense of the themes and ideas you are presenting to them through your artwork.

It is also good practice for exhibition description writing to start with the specific and then move to the general, start with the present and work to the past.

This is the opposite to how we normally write as we like to paint the overall picture (no pun intended) before we get to the nitty gritty details. But if you introduce what you are trying to do now first, you can take your audience on a journey as you explain why you are doing this and how it fits into the big picture.

2. Don’t Repeat Your Bio

It is easy to think you have to talk about yourself and the artists being exhibited in the Description. However, this is not going to get the ‘big idea’ across to your audience and they will have to keep reading to the end before they think “Oh, this is what I’m about to see”.

Instead, on The Exhibit, the Exhibition Entry page has several prominent links to the Exhibitor profiles of the artists, curators, galleries or cultural institutions involved in the exhibition. And on each individual artwork page inside the exhibition, visitors can also read the artist’s bio information (please note this feature isn’t available for Collections Pro users). So there’s no need to feel as though you have to repeat information about yourself in the description as this information is all easily accessible to your visitors elsewhere throughout your exhibition.

3. Avoid “Artspeak”

The art world has a tendency to use lots of jargon and w*nky concepts which are particular to the discipline of art. However, not all these words and ideas will be understood by your visitors and you don’t want to write your description just for visitors who are art professionals or who have done a degree in fine art. If you make your visitors feel stupid, because they don’t grasp the language you are using or the points you are trying to make, they will disengage from your exhibition.

4. Don’t dumb it down too much

But to continue on from the point above, you don’t want to do the opposite either. You don’t want to make your exhibition writing seem like it is for dummies, by over simplifying your language and avoiding central concepts and ideas. Instead write in a direct and friendly way and as though you are talking directly to your audience in person.

5. Keep the structure short and simple

Lastly, if you keep in mind that your Exhibition Description is the same as the entry text panel in a bricks and mortar exhibition space, this will help you keep your description short and concise. You are not writing a long winded essay but instead a description introducing your exhibition concept and rationale. You want to give readers just enough information so they feel engaged and confident to click through into your exhibition and excited to start viewing the artworks.

It is also good practice to keep your overall structure clear and easy to read. This means using shorter sentences and avoiding any dense descriptions. You want to make it seem like you are talking directly to your visitors through your description.

Artwork or Object Descriptions are the blurbs which accompany each of the artworks or objects in your exhibition. They are just like the wall labels which are pinned next to each artwork or object in an offline exhibition. On The Exhibit, Artwork or Object Descriptions are automatically accompanied by the artwork’s title, manufacture date, medium, and size, as well as the artist’s name and a link to their biography. (Note: the artist’s biography information and link doesn’t appear on individual artwork/object pages for Collections Pro users)

Artwork or Object Descriptions are not required in your exhibition for each artwork/object, but when you take the time to add them, they do boost your online exhibition and give your visitors more information.

The more information you can provide, the more engaged your visitors will be with your exhibition, this is because they will grasp what you are trying to achieve and what emotions you are trying to illicit through the art and objects.

To really engage your visitors through your Artwork or Object Description copy, here are some of our tried and true tips:

1. Don’t make descriptions chronological

You have to remember that even the most diligent visitors aren’t stopping on every artwork/object and reading every description. So, we recommend making each artwork/object description stand alone and able to be read independently of any others, because as soon as visitors read a description that assumes they’ve read a previous one, they end up confused and frustrated.

2. Make it Beneficial

Visitors to your exhibition are looking to find something out when they read your descriptions. If you provide something beneficial to them, an insight into the artist’s creative practice, what the artwork imagery means, or the historical significance or story of the object, you will hook them in. And once they’re hooked, they’ll delve deeper into your exhibition, read more of the other descriptions, look closer at your images and maybe even buy a piece if you have ‘for sale’ works in your exhibition.

3. Tie in the Big Idea

The Big Idea which you introduce in your Exhibition Description can’t just appear just once in the introduction—it has to be a thread that weaves its way through the whole exhibition. This links all the artworks together and creates an overall sense of purpose. Visitors will also be able to follow and make sense of your visual narrative from the first artwork/object to the last artwork or object in your exhibition if you do this.

4. Be concise

Some of the points we have mentioned in our Exhibition Description writing tips above, also apply to your Artwork or Object Description copy. Your Artwork or Object Descriptions also need to avoid any jargon and artspeak, avoid talking down to your audience, and be structured in a simple and readable way.

With Artwork or Object Descriptions, shorter is definitely better, so make sure you get straight to any points you are making. If you’re referencing a historical period, art movement or artist, maybe add a short sentence explaining what or who this is. That way your visitors with art or historical knowledge are reminded and those new to your exhibitions are able to learn something which helps them understand your artwork and objects.

Hopefully you find these tips helpful? If you have further questions about exhibiting on The Exhibit, please don’t hesitate to contact us at [email protected] .

Ready to exhibit?

Start creating your first online exhibition today, for free!

Have more questions?

View our Exhibitor Handbook for more helpful guides, or please don’t hesitate to contact us at [email protected] and we’ll get right back to you!

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Visual Analysis: How to Analyze a Painting and Write an Essay
Step 3: Detailed Analysis. The largest chunk of your paper will focus on a detailed visual analysis of the work. This is where you go past the basics and look at the art elements and the principles of design of the work. Art elements deal mostly with the artist's intricate painting techniques and basics of composition.
How to Describe a Painting: 10+ Phrases to Talk About Art
Or, for example, it makes you calm because you enjoy the sea view. You can use many adjectives to describe your feeling regarding any piece of art. Here are some of them: Positive emotions: inspired, joyful, satisfied, interested, happy, serene, nostalgic, sentimental, excited, impressed, powerful, fascinated, etc.
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A descriptive painting example using these techniques might be: "The painting depicts a serene countryside scene, with rolling hills and a tranquil lake. The colors used are soft and muted, creating a sense of tranquility and calmness. The artist skillfully captures the gentle movement of the trees and the play of light on the water, creating ...
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More than nine million tourists flock the museum on an annual basis just to get a glimpse of the famous painting. Tips on writing a descriptive essay on a Piece of Art: Writing descriptive essays is like writing narrative essays, in the sense that both paint a picture for the reader to imagine.
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Although description is an important part of a formal analysis, description is not enough on its own. ... If you are looking for more assistance with how to write an art analysis essay you may like our series about writing an artist study. BIBLIOGRAPHY [1] A guide for Analyzing Works of Art; Sculpture and Painting, Durantas
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Writing. The conventions for a formal analysis for a work of art is similar to other writing in the humanities. You. should have a thesis statement and structured paragraphs, and you should adhere to general rules of grammar and style. Remember that you are not simply describing the work; rather, you are using your descriptions of the work to ...
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Visual analysis is a helpful tool in exploring art. It focuses on the following aspects: Interpretation of subject matter (iconography). An iconographic analysis is an explanation of the work's meaning. Art historians try to understand what is shown and why it is depicted in a certain way. The analysis of function.
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Frida Kahlo's The Two Fridas paints a surreal image of the legendary artist in her iconic double self-portrait. The painting embodies her strength, resilience, and soul with its dreamy setting and vibrant colors. 9. Grant Wood's American Gothic is a celebrated painting of a rural Iowa couple, surrounded by a rolling landscape of lush green ...
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The simplest visual description uses ordinary words to convey what the writer sees. First he or she must look at the subject - slowly, carefully, and repeatedly, if possible - to identify the parts that make the whole. These parts must be sorted into the more and the less important, since no description can include everything, and ...
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Valued in excess of $1 billion, the Mona Lisa, perhaps the greatest treasure of Renaissance art, is one of many masterpieces of High Renaissance painting housed in the Louvre. The painting is known to Italians as La Gioconda, the French call her La Joconde. The work is arguably the finest ever example of portrait art, and one of the greatest ...
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The good news is, though, that you can then copy and paste the same formula into each listing and tweak it to make it relevant to your artwork. Materials used - include canvas type, materials used e.g. pastels or pencils. Dimensions - include these in centimetres and inches for extra clarity. Packaging - explain your packaging process.
Appendix III: Sample Visual Description Papers
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Instead write in a direct and friendly way and as though you are talking directly to your audience in person. 5. Keep the structure short and simple. Lastly, if you keep in mind that your Exhibition Description is the same as the entry text panel in a bricks and mortar exhibition space, this will help you keep your description short and concise.