Writing about Art: Methodologies and the Keyhole Method for Composing a Comparison Essay or Comment. A. Materials and Techniques:

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1 Writing about Art: Methodologies and the Keyhole Method for Composing a Comparison Essay or Comment I. The methodologies (or aesthetic approaches) for writing essays comparing one work of art to another include all of the following. You may know them in other contexts or by other titles and there may be additional methods. However, in the discipline of Art History, these are the most common. A. Materials and Techniques: This method is a fairly straightforward one. You speak/write about oils, watercolors, etching, embossing, etc. and the ways those materials are applied, manipulated and utilized. Sometimes techniques of one artist or another makes for easily identifiable style; however, the two should not be confused. We can speak of Leonardo s use of a technique known as sfumato or the blurring of edges but that technique becomes a part of his style we might describe as Renaissance realism. B. Style and Formal Composition: This approach analyses how the work is visually organized. Style generally refers to words such as realism, abstraction, idealism naturalism, non- objective, or photorealism but it does not include art movements such as Cubism, Romanticism or Realism (when the word is used to identify a 19 th century movement with Gustave Courbet as a prominent master). Formal qualities of a work of art refer to things such as the use of ideal proportions, asymmetric or symmetric composition; negative/positive spaces, line quality, color schemes, etc. C. Subject The subject of a work of art is generally simply what you see. The methodology of subject matter asks that you clearly have researched and become informed of the things, objects, colors and shapes, etc. in the work. But keep in mind that in much of abstract and non- objective art the subject may be an idea. Mark Rothko famously said, "If you are only moved by color relationships, you are missing the point. I am interested in expressing the big emotions - tragedy, ecstasy, doom." Page 1 of 6

2 Robert Motherwell painted a whole series he called Elegies to the Spanish Republic. He said they were non- objective paintings the subject of which was "a funeral song for something one cared about". The iconography (as in the discussion mentioned below) is purely Motherwell s own so colors, shapes and compositions in each painting in the series are meant to represent or be symbolic of several ideas connected to funeral elegies/songs. This is what the Metropolitan Museum of Art says about the series. In the quote below you will find tight, concise use of methodologies of not only subject but also iconography and meaning, form and composition, context, and materials and techniques: Initially inspired by the Spanish Civil War as well as by the poetry of Harold Rosenberg and Federico García Lorca, the real subject of Motherwell's Elegies is not any particular literary source or political event but rather a general meditation on life and death. Although specific paintings may express an individual spirit, or "tone voice," they remain a family group, related to one another by subject and by similarities in composition and format. In all of these paintings, the horizontal white canvas is rhythmically divided by two or three freely drawn vertical bars and punctuated at various intervals by ovoid forms, creating a structure seemingly heraldic in nature. The paintings are almost always composed entirely of black and white the colors of mourning and radiance, of death and life. Motherwell has remarked on the entanglement of these forces in these works as a metaphor for his understanding of the experience of living. ( collection- online/search/ ) On the next page you will see one in the series I come close to weeping over every time I see it. It is very large. The only title is #110 so can you imagine how most people react when they see it and do not know its context (personal, political and museum), iconography and meaning (content) or even subject. You can read about it at york/collections/collection- online/artwork/3047. (Some Abstract Expressionist artists and critics claim to have no subject matter except the painting itself but that is for another day. It remains that how they are arranged is composition and style. Interpreting what you see is not easy for those works and context is most often a museum one in that they are specifically painted for a museum, usually an entire institution or a section of one specializing in contemporary art.) Page 2 of 6

3 Robert Motherwell, ELEGY TO THE SPANISH REPUBLIC NO.110, Easter Day x 114 inches (208.3 x cm) Solomon R. Guggenheim Museum, New York. D. Iconography and Symbolic Meaning Iconography in art history is also a relatively easy one to describe because of the contemporary vocabulary of computers but often becomes a difficult one to write about if, and only if, you simply interpret the symbols. Iconography means that you must realize that a symbol in one context means something entirely different when used in another. Iconography speaks of the entire symbolic language an artist might be using and the individual symbols that have meaning within that linguistic arena. Here s the computer icon example: We speak of the symbols on the desktops of our computers as icons. Notice that the words desktops and computers belong to an entire linguistic family that also could and do mean something very different elsewhere. In addition, we know that the word icon refers to the stylized but readily identifiable pictures such as Page 3 of 6

4 , or. In the world of computers, each has a distinct meaning that may or may not mean the same thing in a different discipline/visual language. Working out the interpretation of each symbol in its very specific environment is iconography. The trick is to recognize that in one case a particular icon (aka symbol) can mean something very different than in another environment or in our case work of art. Consequently, the image of a shoe in Rigaud s portrait of Louis XIV and Louis world of French Baroque means something very different indeed from the mountain of shoes belonging to murdered prisoners at Auschwitz. Below left: Rich Lofthus Photography, THE SHOES OF AUSCHWITZ, 2012.( Hyacinthe Rigaud, LOUIS XIV, 1701, oil on canvas x Musee d Agesci, France. ge=1560 ) Below right: Hyacinthe Rigaud, LOUIS XIV (detail) Page 4 of 6

5 In Louis case the iconography is that of his belongings that indicate excess and vanity (and perhaps even depravity). In the other the iconography is about belongings that stand for hatred and depravity. To a certain extent, therefore, the study of iconography cannot be adequately addressed without thinking about context the next item on our list. E. Context This methodology includes requires that you are cognizant of several environments: where the work of art is exhibited, including don t forget a museum. A museum is tends to take works out of the natural or original environment, thus changing meaning depending on the room, storage facility, exhibition and collection practices of the museum. The work has several other contexts or settings, including but not limited to its original physical or political contexts. This methodology is a critical one is you decide to use the keyhole method in writing about a work of art. So a thorough understanding and description of the context(s) involved in the works must be done first. II. The Keyhole Method of writing about art can be a very useful one. Imagine that the first work of art is a door. You describe it, analyze it use several of the appropriate methods (each having its own topic sentence(s) and paragraphs supporting the topic sentence(s)). Then, you use those ideas to interpret or look at the second work. The outline looks like this. I. The thesis (regarding looking at works of art) INCLUDING a claim (that essentially reverses the question) II. The evidence supporting the claim is/are... (and possible disclaimers) 1. Evidence 2. Evidence 3. Evidence III. The methodologies best facilitate (or words to that effect) analysis of the evidence is/are Iconography 2. Subject 3. Context Choose from 4. Content/Meaning 5. Formal qualities and style 6. Materials IV. Work No. 1 3 et al should include all of the following A. Description (What do you want us to see to explain your claims/evidence?) B. Development of analysis and argument for Evidence #1 C. Development of analysis and argument for Evidence #2 and/or D. Development of analysis and argument for Evidence #3 Page 5 of 6

6 Here is a graphic that may help to remember. Work No. 1 Work No. 2 You can use connecting or transitional phrases to join the parts of the comparison. A very, very helpful list of phrases is at I ve put the list in a pdf format but the entire writer s handbook is at Page 6 of 6

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