Compare the following two painting art work and follow the instructions please Camille Corot, Pleasure of the Evening, 1875 Eugene Delacroix, The Last Words of Museum Aurelius, 1854

Compare the following two painting art work and follow the instructions please

Camille Corot, Pleasure of the Evening, 1875

Eugene Delacroix, The Last Words of Museum Aurelius, 1854

Assignment Goals:
1. This paper is intended for you to learn how to look closely and carefully at works of art and to contrast and compare their stylistic differences. This is an exercise in looking; it is not a research paper.

2. The comparison should stimulate you to explore the differences between the styles of the two works compared. Through close looking and detailed descriptions, you will practice your ability to analyse a work of art.

3. Begin working towards making conclusions about the way the visual effects communicate meaning

Begin with description:
1. Write this out separately to use in your analysis later.

2. Spend a good deal of time in front of each object you choose. At least 10-15 minutes of close looking should ensure a good start on describing each work in detail.

3. Describe as carefully as possible the color, shading, brushstroke, line, composition, etc. See categories of formal analysis, copied below.

Then bring in your analysis:
1. Move beyond mere description to show how the techniques the artist uses communicate something to the viewer. What is the artist trying to communicate? What problems are they working towards solving? How are they presenting their perspective through the medium?

2. This will lead you to a thesis statement: make a claim about the two works of art and support that claim in the body of your essay with the “evidence” you’ve gathered from close looking and description.


1. Line
hard contour
open forms
diagonal and curved—add movement and rhythm
broken or jagged—can also suggest movement, activity, or harshness
repetition of similar lines
horizontal—can imply upward energy or create stability
interaction of verticals and horizontals

2. Space
foreground, middle ground, background
linear perspective (mathematical system developed in the 15th century to suggest convincing three-dimensional space)
deep space
shallow space
flat space
infinite space
positive and negative space
Things that suggest depth
forms get smaller as we recede, forms get less distinct and light as we recede

3. Light
light coming from a definable source (e.g. window, door)
light emanating from an object (spiritual, symbolic, or subjective light)
types—diffused, bright, dim, dramatic
How does the use of light and dark add volume or three-dimensionality (modeling)?

4. Color
value—amount of black or white added
warm and cool
arbitrary, subjective or objective color

5. Composition
arrangement of forms (consider types of forms—hard-edged, geometric, organic, flowing, shapes used, degree of distortion, mass, flat)
symmetry vs. asymmetry
repetition or variation of forms, patterns
balance of forms, figures, objects
structured vs. unstructured
Are forms in composition supported by the repetition of color, strokes, etc.?
How are forms placed in relation to the viewer?

6. Brushwork
type of paint used (oil, watercolor fresco, acrylic)
heavy application or impasto (brush loaded with paint results in thick application)
thinly applied (transparent, filmy)
surface texture of canvas, wall, or paper (e.g. coarse, encrusted, smooth, uneven)
types of strokes (clearly visible—assume a life of their own independent of object, long and sweeping, wispy or feathery, short, dab-like or brick-like, rough)
method used or speed at which paint is applied (frenzied, slow and deliberate, scumbled—use of dry brush, diluted, dripped, poured)
What is the effect of different types of strokes in the same canvas?
Miscellaneous—scratched, incised, layered, sketch-like


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