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A formal analysis is an academic method in art history and criticism for analyzing works of art: "In order to perceive style, and understand it, art historians use 'formal analysis'. This means they describe things very carefully.
Heinrich Wölfflin (German: [ˈhaɪnʁɪç ˈvœlflɪn]; 21 June 1864 – 19 July 1945) was a Swiss art historian, esthetician and educator, whose objective classifying principles ("painterly" vs. "linear" and the like) were influential in the development of formal analysis in art history in the early 20th century. [1]
By means of this theoretical apparatus, Riegl could claim to penetrate to the essence of a culture or an era through formal analysis of the art that it produced. Riegl's final completed monograph, Das holländische Gruppenporträt (The group portraiture of Holland) (1902), focused on the Dutch baroque, and represented yet another shift in ...
The word ekphrasis, or ecphrasis, comes from the Greek for the written description of a work of art produced as a rhetorical or literary exercise, [1] often used in the adjectival form ekphrastic. It is a vivid, often dramatic, verbal description of a visual work of art, either real or imagined. Thus, "an ekphrastic poem is a vivid description ...
Composition can apply to any work of art, from music through writing and into photography, that is arranged using conscious thought. In the visual arts, composition is often used interchangeably with various terms such as design, form, visual ordering, or formal structure, depending on the context.
In the early 20th Century the German philosopher Martin Heidegger explored questions of formal philosophical analysis verses personal interpretations of aesthetic experience, preferencing the direct subjective experience of a work of art as essential to an individual's aesthetic interpretation. [3]
A scientific analysis of Pablo Picasso’s ‘The Crouching Woman’ revealed that the artist made a compositional change during the painting’s creation.
The painting depicts a sailor and his companion sitting on a mooring dock surrounded by sailboats, the deep blue water of the Seine, and the town of Argenteuil on the far bank. [4]: 353 Art historians have described Argenteuil as a response to Claude Monet's depiction of similar subject matter. [1] Manet held the painting until his passing.