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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.
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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]
Venus de Milo, at the Louvre. Art history is, briefly, the history of art—or the study of a specific type of objects created in the past. [1]Traditionally, the discipline of art history emphasized painting, drawing, sculpture, architecture, ceramics and decorative arts; yet today, art history examines broader aspects of visual culture, including the various visual and conceptual outcomes ...
14th-century Islamic ornament in ivory, centred on a palmette; Alois Riegl's Stilfragen (1893) traced the evolution and transmission of such motifs.. Classical art criticism and the relatively few medieval writings on aesthetics did not greatly develop a concept of style in art, or analysis of it, [12] and though Renaissance and Baroque writers on art are greatly concerned with what we would ...
Alois Riegl (14 January 1858 – 17 June 1905) was an Austrian art historian, and is considered a member of the Vienna School of Art History.He was one of the major figures in the establishment of art history as a self-sufficient academic discipline, and one of the most influential practitioners of formalism.
Art criticism includes a descriptive aspect, [3] where the work of art is sufficiently translated into words so as to allow a case to be made. [2] [3] [7] [11] The evaluation of a work of art that follows the description (or is interspersed with it) depends as much on the artist's output as on the experience of the critic.
Institutional critique is a practice that emerged from the developments of Minimalism and its concerns with the phenomenology of the viewer; formalist art criticism and art history (e.g. Clement Greenberg and Michael Fried); conceptual art and its concerns with language, processes, and administrative society; and the critique of authorship that begins with Roland Barthes and Michel Foucault in ...