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GEOGRAPHY AND HISTORY DEPARTMENT. IES FRAY PEDRO DE URBINA

ANALYSIS AND COMMENTARY OF A PICTORIAL WORK

1. TECHNICAL FEATURES

1. Title

2. Author

3. Technique and support

4. Dimensions

5. Dating: year and historical period

6. Art Movement

7. Gender: still life, portrait, landscape

8. Location

2. DESCRIPTIVE READING

To set what we get in front of our eyes, ie. the description of the scene or depicted

situation, the visual content of the picture.

3. INTERPRETIVE READING

3.1. Formal elements

3.1.1. Making of

(Note that it is not always possible to see certain elements of the making of in a paper or

electronic reproduction).

- Stroke or touch (short, long, finished, broken, loose, firm...).

- Texture: flowing, smooth, thick, rough, matte or glossy.

- Line: the existence of lines or contours, their intensity and continuity, their function

(because the lack of volume, ornamental, due to composition).

- Modeling: representation or volume achieved through gradations of light or contrasts,

soft (sfumato) or violent (chiaroscuro).

- Light: type (natural, artificial, studio); origin in a specific focus (lamp, sun) or arising

from the object itself, intensity and contrast with the shadows; function (volume creation,support in perspective, expressive values).

- Color: range used (cold, warm) and shades, its nature (local / realistic or symbolic)

relationship with light and modeled (flat or blended colors), function in the work (primary

or secondary).

- Perspective: disinterest in space and depth (characteristics of the background), interest

in spatial representation, type of perspective used (cavalier, linear, aerial, cubist ...); other

technical resources (landscape or architectural scenes, a variety of plans, use of light,

foreshortening).

- Composition: distribution of figures (simple or complex); formal structure (linear [axis of

symmetry, diagonal, curved], geometric [triangular or pyramidal, pentagonal ...]); internal

motion (dynamic or static composition, achieved by resources as the movement of the

figures, the distribution of light and color...); expressive value of the composition, its

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potential originality.

3.1.2. Forms of expression.

Abstract or figurative.

Naturalistic: idealism (archetypal beauty interest) or realism (fidelity to the model).

Antinaturalistic: symbolism, stylized, hieratic, and hierarchical conventions of all kinds ...Elements of Expression:

Anatomy: right or wrong, proportions, scale, muscle ...

Robes and folds. Function: hide or show the body, movement ... Shape, size and depth of

the folds, angular or wavy, thin or heavy.

Elements of Nature (landscapes, trees, roads, rivers, springs, etc.) or interior (furniture,

etc.).

Temporal dimension of the work: eternal or ephemeral.

3.2. The depicted: content elements

By studying the content it has a place the knowledge of the work we have, even that can

not be seen in the picture, whenever provide a better understanding of it. The diagram

below is flexible enough to be applicable to any sample, so that depending on the

circumstances, we can make in-depth treatment of one or another aspect.

3.2.1. Content and function

Theme of the painting (which the artist has highlighted, the message or idea or complex of

ideas that the table attempts to transmit).

Way to represent: Iconography (how it is represented, traditionally or innovatively) and

symbolism. The iconography and symbolism of a table always have to do with cultural

references (religious, mythological, historical, political) and the more or less codified way

in which they have been treated by previous painting.Function at the time of its creation: mythical, religious, magical, civic, political, educational

...

3.2.2. The context of the work

Circumstances of its execution and relationship with the sociocultural context in which it

appears.

Possible precedent works.

Its importance in the total production of the artist.

Its significance to art history (influence on other later works).

3.2.3. The AuthorBrief review of the authors life, with emphasis on the circumstances that affect the work

under study.

4. ASSESS READING

Synthesis of the relevant formal and content aspects and comprehensive personal

assessment of the picture.