2. Introduction
The artist uses a visual language to communicate ideas, beliefs, emotions, and opinions
Content: Subject
Analysis: Finding meaning
Imitation and individual style
Learning from the masters
Developing a unique style

3. Content Content refers to the meaning and the subject of a work of art
Identifying the subject of an artwork:
Representational (one can identify the subject)
Non-objective (unrecognizable subject matter)
Abstraction

4. 1. 161 Equestrian statue of Marcus Aurelius, c. 175 CE
1.161 Equestrian statue of Marcus Aurelius, c. 175 CE. Bronze, 11’6” high. Musei Capitolini, Rome, Italy

5. Equestrian statue of Marcus Aurelius
Representational
Recognizable as a man on a horse
Artist tries to create realistic movement and expressions

6. 1. 162 José de Rivera, Infinity, 1967
1.162 José de Rivera, Infinity, Stainless steel sculpture in front of National Museum of American History, Smithsonian Institution, Washington, D.C.

7. José de Rivera, Infinity
Non-objective
Unrecognizable subject matter
Subjective: individual viewer creates his or her own interpretation

8. 1.163 Allan Houser, Reverie, 1981. Bronze, 25 x 23 x 13”, edition of 10. Allan Houser Archives

9. Allan Houser, Reverie Representational Abstraction
Can identify two faces
Size of faces and positioning of forms suggest mother and child
Abstraction
To emphasize, distort or simplify forms
The degree to which an artwork is less representational and moves toward non-objective

10. Modes of Analysis Iconographic Biographical Feminist Contextual
Psychological
Formal (or visual)

11. Iconographic Analysis
Interprets signs and symbols within an artwork
Historical and religious references

12. 1. 164 Audrey Flack, Marilyn Monroe, 1977
1.164 Audrey Flack, Marilyn Monroe, Oil over acrylic on canvas, 8 x 8’. Collection of the University of Arizona Museum of Art, Tucson

13. Audrey Flack, Marilyn Monroe
Representational:
Marilyn Monroe
Still life objects
Symbols of vanitas (reminders of mortality):
Time: Calendar, watch, hourglass
Vanity: Cosmetics, mirror, jewelry, perfume
Death and decay: Candle, fruit, flowers
Wealth and fame: Marilyn, necklace
Individual meaning:
Our mortality
Photograph of artist and her brother

14. Audrey Flack: Photorealism and Vanitas

15. Biographical Analysis
Relates artist’s life and experiences to artwork
Considers gender, race, nationality, and class

16. 1.165 Eva Hesse, Hang-Up, Acrylic, cloth, wood, cord, and steel, 72 x 84 x 78”. Art Institute of Chicago

17. Eva Hesse, Hang-Up Representational Biographical analysis Empty frame
Materials are wood, cloth, steel tube, and cord
Biographical analysis
Title may relate to issue (hang-up) artist has not resolved:
Born a Jew in Nazi Germany
Mother’s suicide
Divorced
The artist herself did not claim these associations

18. Feminist Analysis
Role of women as:
Artists
Subjects
Viewers

19. 1. 166 Jean-Auguste-Dominique Ingres, Grande Odalisque, 1814
1.166 Jean-Auguste-Dominique Ingres, Grande Odalisque, Oil on canvas, 35⅞ x 63¾”. Musée du Louvre, Paris, France

20. Jean-Auguste-Dominique Ingres, Grande Odalisque
Feminist analysis
Objectified subject (nude woman in a harem)
Male audience/viewer
Pose is sensual and submissive

21. Contextual Analysis
Interprets artwork based on time and place in which it was made
Considers historical, religious, political, economic, and social factors

22. 1.167 Leni Riefenstahl, still from Triumph of the Will, 1934

23. Leni Riefenstahl, still from Triumph of the Will
Contextual analysis
Film made for Hitler of his speech in Nuremberg in 1934
Film as propaganda for Nazi regime

24. Psychological Analysis
Considers the mental state of the artist when the artwork was being made and uses this to help interpret the work

25. 1. 168 Edward Hopper, Nighthawks, 1942. Oil on canvas, 33⅛ x 60”
1.168 Edward Hopper, Nighthawks, Oil on canvas, 33⅛ x 60”. Art Institute of Chicago

26. Edward Hopper, Nighthawks
Psychological analysis
Made during America’s entry into World War II
Emotion conveyed through figures and setting

27. Formal Analysis
Considers the elements and principles used by the artist
Elements of art: line, shape, form, mass, volume, color, texture, space, time and motion, and value
Principles of art: contrast, balance, unity, variety, rhythm, emphasis, pattern, proportion, and scale

28. 1.169 Diego de Silva y Velázquez, Las Meninas,
c Oil on canvas,
10’5¼” x 9’¾”. Museo Nacional del Prado, Madrid, Spain

29. 1.170 Detail of Diego de Silva y Velázquez, Las Meninas

30. Diego de Silva y Velázquez, Las Meninas
Combining modes of analysis
Formal analysis—Multiple focal points discovered:
Princess Margarita
King and Queen
Velázquez painting
Nieto in doorway
Contextual analysis
Identification of members of the court in scene
Biographical analysis
Artist’s desire to be knighted
Artist’s relationship with King Philip IV
Iconographical analysis
Cross on Velázquez

31. What Is the Meaning of Las Meninas?
Velázquez used Las Meninas to show his importance as a painter and his intimacy with the royal family

32. Diego Velázquez: Las Meninas

33. Imitation and Individual Style
Artists often train themselves by studying and copying earlier masterpieces
By referring to earlier masterpieces in new artworks, artists associate themselves with other artists who preceded them
By studying other artworks, artists may learn how to differentiate themselves

34. 1. 171 Picasso, Las Meninas, first in a series, 1957
1.171 Picasso, Las Meninas, first in a series, Oil on canvas, 6’4⅜” × 8’6⅜”. Museo Picasso, Barcelona, Spain

35. Picasso, Las Meninas
Picasso painted 45 paintings using a poster of the original Las Meninas (by Velázquez) as a model
Picasso competing with earlier Spanish master

36. Comparison
Compare the original Las Meninas by Velázquez with the reinterpretation by Picasso

37. 1. 172 Thomas Struth, Museo del Prado 7, 2005
1.172 Thomas Struth, Museo del Prado 7, Chromogenic print, 5’⅞” × 7’2”

38. Thomas Struth, Museo del Prado 7
Artist is studying the act of looking
Discuss whether the students are viewers or are subjects of an artwork
Consider the experience of looking at this photograph while it hung next to Las Meninas in the Prado

39. Conclusion
Artworks can be representational or non-objective; the degree to which they are non-objective is based upon the level of abstraction
Best interpretations are based on synthesis of several modes of analysis
Artists often look to earlier artists for inspiration

40. Vincent van Gogh in His Own Words
For a video that uses formal analysis, watch:
Thomas Cole: The Oxbow
For a video that uses formal and contextual analysis, watch:
Sandro Botticelli: The Birth of Venus
For a video that uses biographical and psychological analysis, watch:
Vincent van Gogh in His Own Words

41. Gateways to Art: Understanding the Visual Arts
This concludes the PowerPoint slide set for Chapter 1.10
Gateways to Art: Understanding the Visual Arts
By Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Copyright © 2011 Thames & Hudson

42. Picture Credits for Chapter 1.10
1.161 iStockphoto.com © Andia/Alamy Allan Houser archives © Cliinde LLC Collection University of Arizona Museum of Art, Tucson, Museum purchase with funds provided by the Edward J. Gallagher, Jr Memorial Fund © the artist The Art Institute of Chicago, Gift of Arthur Keating and Mr. and Mrs. Edward Morris by exchange, April © The Estate of Eva Hesse. Hauser & Wirth. Photo Susan Einstein, courtesy The Art Institute of Chicago Musée du Louvre, Paris Courtesy Archiv LRP The Art Institute of Chicago, Friends of American Art Collection, Museo Nacional del Prado, Madrid Museo Nacional del Prado, Madrid © Succession Picasso/DACS, London © 2012 Thomas Struth