A Short Guide To Writing about Art MINTH EDITION BARNETDas the paper have a thesis, point Dnt uppent my argument th saiclent pera deta? Hise Thept the needs of my aence i ind frase have Sofie unfair terms? Tsthe paper ganized, ands th nguizaton cleat the eer? ve Uae rth ny views ellectvely and yet ne lke too ich slvot mel? Dis he sy Fall eh aspen lengths ] ANALYTIC THINKING There on the te Than mcs ‘SEEING AND SAYING ysl aacprtng to pts in onerous the ‘When yn analyze you are sek to asa for yr expen the work (Anais thas ince syed, He cotination of the parts int the whole.) You might, for example, analye Miche + tts sources Gn the Bile, n elles sculpture in Donte brome Da tdi he poli al sel deus ofthe Dass ascive em the ene of yas and Das the embodiment Fortitude +s mater ad the ination of that stra (nate es it cert postures it ot es tlle intestate an color—dht gute ob ‘hes nat he 4 me ui gs the stat ts nln its i ais ecloned spaces or lickof the) ‘Tf expression est Gee Ada ays stale bat hy atule Dai? Stats of Greek hers sd yds wee dle, 50Michelangelo dressed —so to spake—his David ia here a even folie ity. Farther phys! beaten serve as metaphor repressing apt stent) 4 ipsa re, this corte-size gre, an 8 Teecontext, expely ie te in he sitet ent ay Mundie ratnds ofthe Aca of ine Arts, tn 5 Shot at the entrar tothe Paizo Veco tow hl ‘Sure it embodied the prin othe etieevarior an sig Fil he veto of sepacanian one any Cons well anything ee yo think he seupire consis of or Sher na onsst of for Milango, ale his predecessor Donate {Ics atic te bs the ain Goat Hs Mesa Iatot rally that of convening her, Ox yon night confine yor senton to anyone ofthese eemens ‘vais ta proeess seein alg sont att commonly pple in shaking shat ys! any complex mater, Martina Hing lbs deal zune of fen, What rakes iso gun? What ds her Jiekioateomtshute? What dhs her served to her opponents? Te re ‘cance uf such question sche, Sina it make sense, when yo ae “rita asf ty to sete compaoent the work Tere tssvery short alse of ne aspect of Michelangelo pa ‘he Creation of Aa (1508-1312) on the eg ofthe Séstine Chap! reps 50) Th writers hes, the pt ha ude hs nabs Saat Hes a pattern ay sue, mnt something finery ee He pater tothe viewer and second, ha the viewer de Trt aso capes priate sit ingen vd alas party oe yt tat per The “ty os Craton of oo he ing Aheapyachingrte The dl peta pat tt Sw Cetin sms wa oth nk wa a nated uae et ew lead apres tthe pe. Te ret teal teenie arm ol Silty ly uo oat Ouran ows a recreation healt crt Tiwi ts tout wok the tft malt mete, se fhe ath cet a of ‘int Frethg tect don thems lth soy Ae ee atone iter cay sa neon y Hasna sn tet pena avn fet he bere tne a vet the rer apc the bin rnptd terri fo “ Notice tat Amen des nt discuss ol, the Reals ack the place al the work ni te on fess, Hs ac mgr deel une Arent hgh ayo af se ae ‘element, but his paragraphs are am anal step econ percepts and reflect on Hr ‘SUBJECT MATTER AND CONTENT ane ofthe wags in whit com analy . the abet eter ofa wk nt distinguish bate in thiveh sca ta amon inh eomtent ox meaning, “Sv the canter or mening xp The sy of arti nages sl he ltr tho thar they velcet ea enol se pas 210-45). To eres the sane subject matterfor sistance the Cruifivon ea expres erent watings + Clr cones of death (ad igh, ees open, feo ur hata oa tively straight na sl psn fl dete with an ankle-lngth i of ing + Cts pina death (a droping se, ges ose Trost mouth torts apie nto wy the wet cl the by, body tite nt a spe, bay vere Toy wi inet These ater hs thst Cent ena sof atl ine tage pani death Cha Tuan inthe telth the other i ely sent Th as Divine Miler an Judge—as conn {hincenth centre, the SalTeing Christ oral asp outset To tur to anothor ene, swe lnk ut se nineteenth-cen landscapes ie nay soe (ded Hy Barta Noss Nate ad Cale Anercon Lande and Painting 1823-1873) tha ‘shies steeaed with eel and yellow eryaies evn? hat can be Sleseribed a lot righ ere af Ca. Pope Pal Kew ‘va yng tr ou tention from setter to cent when he Sid, "Art doesnt repratic the vl t mus vse. Uns freer tration), A ost epee see ater The cntentone ght ay, ithe sujet unter tear recreated or ini Stshen il ha drain ers of pst desert It hoveall mao expressing tinted ms Een abstract aul nonobjetive works of art pb ke vie ‘he atnnerexperies a sha ase! ma a meaning, Consider Psst woslin tebe bones Te mors poner, Waly Kandi remarks “Ta int of srt Mtn ona sphere wenerates ss mach emt pect the of Gat aad Aa in tangs Creation ths exe ee steven etn cneys mor tha he | | Hw Karn telson he tah hat pining | BARES represents Sil ets tb far in searching for content | reed or under the salt matter we should rc story the | Teeth pt Pal tard was chen ting Jon Min ab vat Ela tok tobe a solar ynbol i one of Mis pnting. Aer a | dite itp | FoRM ao CONTENT | |) teem inant she sa of he ork, \| ‘the kinds of brush stokes in a painting, and the surface texture of \ | seul —Is pr ofthe mesg or example, x ptre with sb ‘hogy nla nes ly" sothing dee fon pt wth spotlcure,wen ng the wc ater tesa tna sta “When Pl Kl ple ging fora walk with ine” he hl nn a ably to speak tones ray serine temtel OF cure ya he mods ease in tall at nes orale sore —re capi foray tat in-aptatel” rns tentative” oak we ae ping, tha the ee Mealy and eave wth fing We ae really tall at the ys ch we pec the ‘weare sein thon fo a ha poate Arete neo a ding thick oti, cued rth, raken or vn? Ast pene slewing on ple ay paper wil someting, Aiterent fm po croving made wis eae if reed iho bright hte ger a the er et thes an the sud con frat ofthe one are ter han he the oer inary pining sich Jos Pango Miles Phe Winner (188) tha ough sae nut up oth igneous stokes, wil ut sy the sane things ae hte sane mnngeas png th asd pond tice ht geno wide the ee H pti be, the fainting tat ges cade of bach sok unonnees the presence {he nes heres tho pale sora cms to lint the pater fro the yt Ivan ge nen os pang al Suet srs Miles wl he cntent was elton. cee Top Gautier sid ht Mi" top of dst of aa wh cnt or ent an wea of pint so that no vari cold yuh td sor bya Aton ptr ofthe 14 sa the 15 sot Jason Polk wth «wort by a Pap att such as Ady Wacol or bert Tnaana. Wherene Pollok excete ppt fe, sptannons sl ccc ul Hee reprise strctres, keds not pent the Kil ra nat we ave ron to expt Ga sac seats ustrtion for a bask on the varios svn py moter ene, He tintons Between he atte pave the documentary pra sr es lear from interna ve Nh sineteenth-cetiry photographs that were originally come of perwnal visto, Thetur-oftheentary Evol pi Age eared ising selling sonal prints ‘oF Atget death in 1927 ape atts ere sek bythe vn ‘lls and nan ht fay of is ph them ae the work of naive genius As tases Ive cha recon of ral expres tographer Ey eshte ovarhitecture am ply diapering itr By tn intended fnctions of phot funtion rdevnventary othe westhei nwiting sent en shee aur oft ay thal he aso ea pic images have been nrapy a abr ated tow eth he chang in contest transforms wht plotographs mewn, We dot respond Io frame phtgraph onthe walle ft museum in he sme ay thal respon to that pltgraph repr n Life gine tarot athe Mester af the smn, ptographes ae pte take fst or eontemporay paintings or dri sll or raph They ntce! Rembrantese gti re compestons intating Raphael or lit. late nintowth entry to dng thee woes rom the bod male smaphots often sel-procalunl at pograpers nnd exons haad manipeltion of negates alps ‘hake photograph that ek Ike eco drawing. These petri, whose gal wast elevate phtgrapy tothe rank of srk at yin tang the loko at, ene condemned nthe ea went century rphers ss Ale Stigite S61 1940), wy are hal that weve nest othe wage proper ese ithe rsguton tha hee ys the best ph properties were thems changing = euipment and. proces ‘hanged Wheres mem progres hve ray tre ogame ther prtce by ltenally cing fron pining, they h ‘Sued mal manips and lara staging Aman {ograph sine in whl either the negate othe postive te the pittas bu tere hy hn of ore recent hy cemnpter Negaen may Iecseratced. dn am, eel lg trp ps ye a. final etc enone he ceating the per that contain lidt-senstne material sere wth brs. Competed processes aren fn rl nunipt ge Por instance, ngs frm gic un be pt nto tl fro and come sel eased ot Compute alli he utst,n Did Hackney words Yo work on pho raps the way draftsman might (Aperture, 1D). Yass Moro, one ofthe mt gents makes of manipulated pcre, thes compute technol to erate composite pltegrape of favo ntngs wi ages nell —asualy cont the appropiate fev or semi-nude. Ths for his Port (Nine Fae), he cm ptr to el part of hs an ac toh nine faces nln Ta Erte comps) a Rembranits The Antony Lesun. fread photo {graph is ne in vt the subject as vn onstrate or tage to raga I cea sve, al til es ae fected pata More teenth petogrpes conning nt of at school Degree hospi events or ee eionments to cullen ar elie in plologepbic tutor sation cements of wept, For pe Wil Wega ack «angle ot of cpl of plats ad ne Fis dint an leant by ean of long ack Dig pty, in which Wight strikes am nage sensor elle cagecupled device (OCD) an stated ta sete ltr Senha become the dominant soe of commercial phtomanhy Sl rapa replacing fl or wet) phsrapy Tor atte a well. Dita es can eal snipe ving computer software ch Photoshop and printed with ealored ikon vac shar of pera ther materia, Theres no eve ven dg prints atl nowy toprone that an imag or part fan nag) ws sth ie rar an nude the compte. Iiget prints re abe Figs, and ore nae Mes may ogee Hough tne oF heeome weal thanks tthe lame obslecence of ltt ad hardvate Athovgh many peopl ear that dtl petegrapy waders the ‘ery definition of the ptograph asa permanent record of reall tga, ewe have seen ier ror human pereeptens of the Aro Wha the dtl revoltion awn mere, a expe in auatewr photographie printing and wll cote ating ere ‘ror can be deleted ih he pst ultn, With greater experimen: lato inthe antic of egal camer, which ill Breed thet forating and wel rv ia canes (ontas”-porte Semi format" “wite akan” eam expt the nest gence of hl hotorphic artists to expe new modes vin afar sen Fn pga a rn ding ‘When we tir to-analye photugraph, ay of the yusion om Arawing snd panting for sample, thse oo flo apply But cane of the diferent way that ph ‘ced hee psu lai seme pol in the pas, ander nih fictions, we nee ex ‘urestions tole these special concer Ourfirst concen in aaling« phengrarh iemtiieation ofthe ‘work ch ofthis information afte pve by x walla w pt “aption). Who tao the photograph? Was it an ind or «phate ‘lic ir (sally ete on the vege in tan or lal? ‘Mas th pit print produced by the same inva or fr) exposed the negative? I the photographer unknown, ca he pose ‘hb assign ocr cw een of proton? ‘What ithe title of the work? Wither given ile bys ator) in he fom ofan inacipion on the netic poste? Or vas the tte led by ltr hewers? What dis the tite tl yo abort hy Intended Faneton ofthe pra? Di he photrpher Ment th date ofthe work? When the expe hae? When was the poi prin mad? Whit type of photographic procens ws wel a pthc the ne tiv? The patie? On aha rf per ws the pve pre? Av {hese prices type for the peraalS Why da om think the pte pher de thse pte processes? ‘Analysis of « photographie work ao ius king at ts physical propertice What atthe dinensine athe photograph? Ace ese Sp {forthe tchniques chen? What elt des the sve of the work hae tn the sewers unas of #2 ste photograph pte on paper oto some other typeof ote, sucht etal sll? the rae son pe, the paper mute, los orersehers bn buteen? What the col a the prt? Has i been hand te or retolel® Hae da the psc proerties f the print iflence the viewer’ neato? I the prt tas ge to bru, ad? Hs the paper been timed or eropped? 1 hema ison etl his thee bon corres triste a ‘ge tha alors yur ape he hag’? Are there sgn the print ‘of dng tothe neti? Telly desert the aajet of the phsezraph. It tratn u jeot—a dcop, astil Me pot gemne an allegorical or isticsownt, ar dsatentay? Do the igure or objets inte pre scom ranged by the photographer or eaught "as they wen? Ar prope inca? To whl extent cid the photographer fart o eat the Tage y ply constructing arranging, ov aleructing wth some oF alle tvearoponents? Hn des ths affect the vewer’s response? Tn ult. the many formal properties of a photograph ae eh vant to an aalsis the work cotdered ae «two-dimensional con poston, how eth subject represented? Whi ane the most portant oem ud were ae they located onthe ptr’ plane? I the compen tion lance or unbalanced? Hw ds ei ye ea te ptographi? ‘Wat dl thepltograpes le ont of rane? What happens slong the edges of the photograph? How obvious unl portant he or ‘mensional compost? the work i consider 4s 4 three-dimensional composition, where is the main activity taking plain the foregrtind, the Inidgnnd, the bacon, or a combination ofthese snes? How di the photogrpher define for nat din) the threeimensonal space? ear can yon decrbethe spaces shale dep, static or dn lavstophobic or open, eatinal or ational? Hove important he threes compotion? ‘Look for the photographers choice of vantage poi and angle of vision How ner far dacs th subject pest? Does the pho raph draw the viewers attention to were the photographer wa esl on lve te pl ‘which hy ite ws ken sm tnbute tothe me content of the sage? Whats he ange of ise? How does compare witha inn? I here lene dstortion? Why don think the photographer cose he lens he or she id? "amin the ota and foes ofthe work. Can you charter te ral acs? Where at the areas of sharp Fai? St fos? What th depth of eld (ie he minum an nn dances rom the cam ‘et tht ae sharp fice? Howe dhe photographer ne Faces cone meaning? Is the ine dete or rity? Howe thas he dtl or ain ‘mtbte to or ett fo the age? ‘What sort of Bighting was wae Was dhe phtogriph taken out-of hors or nsdn natural or artical ib orn some combination of the tw? oe dhe season oie of day lfc ting consis? {Whee ithe mai igi sour? The secondary Hehe sourec? Was ted? Hea yo characterize the Hight harsh, subi, at de thai, gia or what? What fot co on think the ptorape wa trying to actevethengh the we or conta of ig? Reese: Consider so contest sl tonal ange. Wi the Hock nl ate print eat the range ight ad dk? Where ae th {stareas? Does the print hivehigh et, wth hr Tr it dak ds ae Tw coral ‘What ewer effect do contrastand tone crete? What exposure time dit the photographer chow? Ha Aen of the expose nflence the age? Do any Br wa aon gal the psi of tne? Han ds the length a the ar ‘nko detat fo the ing? Taking ino cmsideratir dhe prvcing points, what ds ish the photographer wa ying to syn this ge? What spect sult ithe phtographer sont to accent? Whit we the pe Iapher® ttidekva he jot? What dvs the photograph nr toryon todiy-abont place atime. a person. an event or weal Note: The Web ste epofonasong> includes ant 20,401 images rem the George Bastian Hose ad the Intentional Crater Photography Video Art ideo art originated 1965, when Nam Jone Pak (oscar eu Alnus) wed the Sony Ponapk the fst portale videotape sen, to record fom ata th si af Pope Pa VI to New York He the showed the tapes at a New Yor cae Grequented by aris. Th Sooncement fr the erent sk, “Some dy atts ll work ith ‘quite, reir, td coadctre juts they yr ay th bles, ‘ai ajuk" Video at sed, ike lpg photograp, Dotan: the solr san fe inenge on washed the aes can ‘orbe ail, the recorded materhd can be spontancons (asin tekvsbo, snows anne) or dyer (asian), he work can eet Populi caine oe Kean bee of HH uses the technology of co eal ceison bat fr purses segrde satis rae than ow tea. Some exanples wee mentioned on puge 2 his Hook mt Mona Harton Corps Efowiger, ven in which Harty pss Aer optic vdeo eames thro her badly oes Te monitor ssn the tape nase be prt flanger work, which ease the whole can be considered a sculpture, Tins, Paks lstronteSuperhighay(195), 15 fot tal and 32 fet long ne to represeata snp ofthe United Stats and in wha ight aot ‘alle neon dong are set dove of televise sk1. ther works hy Pk: bn FV Billa (1982) 8 Toe camer irae ofthe notions hea a Bulli who stings nn gene notre Pas (GS), tanks th Te fia rein font Be nies wth vie Tish, Th, he tanks seen fo be monitors a the ‘oe ike TV Bula) sults relationship betwee reality ae represent the rlatonsips beiween medaton recor th spears to the sewer tion and ded, + the nul impact (eu the work as suture 1 the ww of sound se, alk ose sual pat ofthe work 1 the contests the work shan mane at fa, ome of the alles rn th eateri—ovom he set or wale the work is shen sercen la your home, how does tis on For statements by ideo atts, se Video Art fru Sener sea Ber] Kot (8) An Ant or a exhibit catalog vith esas, see Vid Ae (1ST, eto, bt eas Dash Ann anal thers), See sly Dag Hall nd Sally Jo Fr (000) al Mel Hh Vn rt 340), Another Look at the Questions As the proceing dsrsion fats Ki ofa has vn ther any ys of roll te sc, Inst, yang eres ston ther? Why the woe fa either hn in are? Or pt it this ay What isthe ats up Whip have this Why do find this lncape thal Lace tng, hic seine Ih that hl Fniting? That wd he arts an [ie the ater in order t prince the tong el ha Teaperence? The fet of those questions (What i this iy yrs with tats, ee pepe hy the ati chose she, wheter pen i eter th Tater anal pn forts pti ‘Sometimes ats elas whit hey are yp Van Gogh forex in aletor (11 Aust 1885) to hit bor ep to aestan why 1 ae backround the portato on ars“ Bebin th instal of panting the ony wal ofthe sea em pint ifn ia plain background ofthe ict. ater tat by the siple combination of the bight bead ast the ch la Iaelgonnd It mysterio fit thea star the depth shy But remote yon cannot ws tha een fille the work el The second seston (Wh tt your eh ne tha he atts Hate intention 1 have thi rps) series yo to tse or ep or or sted ase tht your eespenee appt and Fl it ple ings (The portant comple “eT the wrk oar" ot erly com Fn the nt to “Trt your felines Ty it enlarge felAlnnot any ast sory book thal yo sme dross il alten answer quests pone by the aor For esp, nthe inaction to Plies of Eerie 1991), lath ‘American Genre Pantin Th Jolin wet Te simple mts unencoe ydgons“utwlon "ey ie dept” What the lato of the store hs ‘ely ie tthe viewer The fk ont her answers Inde wes hen we pid E torts ‘ypieally ak the questions Whi"—and fer wer. fy Welch on pug 56, tis ow What? Why and 0 \ RULE FOR WRITERS: Generate Kes by asking yours questioned in ths press Ad not hesitate tv gn bak wer the sare groaned, Good writing ‘depends ong tkdng, and god thinking keep eexamining Atsconchosons 4 FORMAL ANALYSIS AND _ STYLE his syleen be Alan ina WHAT FORMAL ANALYSIS IS. ‘The word formalin foal analyst mt se the oppose of iforal sinatra aera ia decease theres ofoting aay ia othe or the a pr ln tha asso he work oat ic male up of Sah thing ine hue lr eae rt option, These ig Hi as a ees ln reson of dan coy irene, Meio sera 0 het camp (See pg 5) Sinan gt sy hat pra sting isha cove aby were an etd pete nai teintconey inl pcs: Bren ne a th es forms may nok universally ear these seaming eats pap ae tat at Teast in one cate they do That fy cmb of gem Imerpreteecomamanity perce cert ors line oto Sat Formal ahs sues a work ofa 1. seansimied jot 2th astable meting tat ean he serine by stu the elements of he work, he relationships betwenthe elements “hore,” the work neg” That the work ‘ofartisan inkepenent cj that prises cern prope, adi te thnk stig ca examine these properties and cn sy ha the work represcats ad wt teas, The work peaks diel to al we tealrtand ts Lge respon apprpeiatly to Hs charaerstes (hap color, texto, ad wo neat Feat I esha the wit cata "Tus apletre (or anyother Kl of arbors ike x char chair cm be tod im or Buse fr wa or we wep, ak ‘rad wt «specie pape hat wa event al eras vent 0 ‘ll ecompetent yewers-via this cate poople sho ar uni wih eas Fst ea be ealate ih referent toi perpen ean af Fnac, that itis poor cir ec score and le iw tots we wl consider opposing ews) FORMAL ANALYSIS VERSUS DESCRIPTION Is the tenn formal was merely peetentons substitute fords tion? Not pate description in persona ventory dealing wi Mh ete obs, pti what a ee mh see "A woman vite desis at ales vainguleter Behind Her. Heca also ‘Sommer the exeetion of the ork Unik stokes of pain.” a highly Polished sorte") tds tf Inference, ae tds tea ie highly dete desertion ht seks eo rng the image bere the Feder eye} —a kind of writ common nthe day before str Tons of tors were realy salen ook erties calle an ‘lphrsis or ecpeai plu ekphrase), from the Greek wor fae escrgtion’ (ek = ut pein = tell declare) Sch dserption muy fre set ft jn eons tha also see to convey the writers emotional espunse tothe work. Tht he deseiption praises he work by seeking five the reader w seme of being ns presence, eapecaly by eo tnenling onthe presi erations expressed by the dept Here isan evap "Me eo wh the ter nf, wh aes is ye rn he sir whose artis ards hs brie eo "Writing of hist tno ler como description days mae oy ttl, forse. thit he oud of rt port seulpre aces font the upper pat ofthe ne and the rin of he ight eta ares». Telly copped bea snl mtb are leat iy SKowt ravdom stokes of the hse sofort. These statements fom sentry nthe catalogofan esi ae alta they ci Dut thy scarey eve the tht sets that san dithanbsic When the entyin teats lesen tay te sce the ey ated chek a senthely mole ane st the sft Mes frm of” we gto el hat lee veer aging has 1 cited th tent the anes nese sition’ prey deserptive (despite the apparent vale best len) the et tha he “mina Dor ofthe tat contibtes "the impresoras an rena called ast One eon we can characterize this statement anal athe han deserters angen ns instance a ramen encore nec. Tae nina ec oe the winter argue, produces an lets to i ep ete contin ‘fren ton : Much of any Frealanals will italy (the pupils the eyes an tamed upwan nt of description ad aca deserve vwniting tel epies cael craton ofthe jet an earl we of words But ah esa is Formal unas rer than a deserpton ‘only eames effects with causes thereby showing atthe Aeseribed abject works” Fur example, “The pupils a the eyes ste tured upward” eu description, nt the flowing tes fs an an Iiesttement “The papi ofthe eyes atures ypwan, seston i heaven-fixed gue, or more Bunty, suggesting thatthe Gur “sins inspite ‘When oe writes oral abscess the hao Inthe words af Professor Realind Kens, Aner ay of ptt to Say that anal tris to nee the somewhat esx “Hoa dows the work anean?™ Ths. the flowing parapet concern wih te fra aes ing cel sear a Shserpte. The ahora mae ht hte Presta heh sepsis ern alar ore psa els th eacalps thf alt espe Pn cnet esta ‘Te xan othe spac othe nero of Gotcha poline st tee coca fl al fal om the er ted hy dh tating a fpshe arab. So ne by desig, the i the nel gw ta stun Th oor Blow tur the xe 1 Inthe ng pat of a ther eo sec (Cae ace ih ds tn pat ih my ars ee aon det Vt Hse em The rte th in tn aa enh a In his passage the writer telling us, snail, tow the cathedral Opposition to Formal Analysis Formal aaj, we ive se, sues that its shape th a Soar ewer of at emboli partar meaning al evokes peau She response nthe stato he veer ty hes ot Hy To 00 the Hore eject with per” eyes but, tees wth an esthetic Ito purpose foal aa to she tended Sc sent 170, howeve, thse ssunstions have heen strong calle nto question. Tn has eer marked shi fers frm the ‘rk av thing us meaning cotaed wii tela dente {ed eject“ a thing whowe meaning pat, lary, or even ene nists of scott ong cle of oe or nt the stations or nda fr whom the ork mas paced spe lly its elatonship othe person wl pects "nto theese shit from sewing am atwork as ahing of vals a oc th roe esr tha ones Eroort as un ubjc hat reeas the power strate of «sei The storks brought down to earth, so to peak, ands said therey tobe ley. Tins the sent does yt look fora presumed nid ‘tide On the contrary the sent "eons the ork by looking for “Bases” and “aligpages” that give wmay—reveal anos the unervingpitead and sil wate that ‘ith sens pel ‘Adasen of neatly nlnetoenth-ceatury Kile Lace pit ing forint, tay igh el atten mt the elegant brshverk an the calor harmonies (which earn ight have een seat Senos oe plese, even tothe net ges an tear le pleasing erations), bt to such stl we pppelingeal mates asthe painters envi’ to dept the har "hipsof ral fe and the cruel economic eae of nd ners sn ue en or fle cok be dv fon thelr homes tthe whim of ‘ich Lndrwner Such adseusson might even aretha the pctre by of ts ial setivenese, seeks to letinize sil Ine. (We wll turn to the matters of destin wel deconstvetion in Chapter 1, ace 8 lnk tthe sacl toro’ ppm to artworks ‘We cin grt that works of art ate pry shape by scl ad palit cal faces tae ate the abjecs of historical sd pial appre dscns 1 Chapter 1 ad we cam grant that wrk of at ae party shaped by the sists personality Uwe subject of paychoanalyfical approaches, seo dicansed in Chapter 10) Bu thi onl to ay that ‘ors of at ean best rn several pnts of view, de ttl hte the sew tha these works ur lo ews pt, shaped By cone "clos ttetions, and that the shapes or cstrutins hal We atts ‘STYLE AS THE SHAPER OF FORM 11s ow tne to define the elasive wor tye. The int thing sy tht th warn use ys at storia to convey prs in He Ins sl Rather ti wed neatly fr ewer and eerie Jus teas, o ferent The porson who, as we “talks hea bn” wt ply an anvyng one) ar he person wb reps saying Uh, you ko et Teas wt too Gifenet, but ssl mcg. Sin, wher we wear jeans or palaters pants or gry nel sla, eave ye oe des, We may laity wear nyo hing, Fotin ft we dan there ar cht dle we wear ae expressive they woulda ecu dead i. The nee thal eae pale ficsorkanker or tarts o elle shentt—or a ea they show what we Stunt te tho oes ax when i the 19808 any yong idles Stents woe ated cating this showing eallanee to the por nthe enmity tard whl es allel he Esthet ti ot il tothink omar cuthing vaso fart that make- Once we go beyond ‘thing as something thar mercy serves the weeds of moves an that pros pection apt het ale and ran we gelatin whose es expresbe To tur mato or cet tp ste nate ca al stanly tellthe ference etwcen a its by van Gogh and one by Norma Rockwell Wal Dis, ven hong the sje ater ofall Ue plc tes abe the sae ep seat woman Hew an we el? By the seth by neoliberal ont ear inthis chapter: Walk Disney gues tend oe al pon eres and eval (Uhink of Mickey Nese, a the elo shows no tmoteling or traces of bah strokes; Norman Rockwells methods of ‘kpting fies ae fleret, ad van Gg ae ciferent in yt other ‘eas Sib a Chinese lane pant with ikon kor on pap Sinem lok evan Gogh leap done th ol pat oe {as parts becane the material prt sich entity and pay boca the Chinese puters vison of Lndscpe sally lofty metas) i nat ‘a Gogh son Thee werk "ay" eent things. Aste pet Wallace Severe pt "A change of yea change of sec. "We recogni cram dings characteris Kom large ma ter sta choice of eject an compton, all ters, such Kenia brash toes) that mark an ator per, or a exfare, a thse consi the ss. Ast syne can dtngsh tween lan scape patel by a traditional Chinese aetist and one punted by van (Gogh. Bat tas considerable fanianty th van Gogh tobe ae toy tke work, Probably 1888 cr mane L880,” ta i fakes considerabhe Failany wih the styles of Chinese pinters to be ale tsa. THis {Chinese punting the seventeen in tthe te seventoenth cfr. len tothe Nanking Schl adi work hy Kang ser — tot by flaws al eran tt cay, but the genie ute Sipe thn, ved formants creates for By apne tain ohne to certain mate, newer to nba pias nt lordifeeotagespeoe lave wen hing lly the ml Faas pen the mide bay shel Jss as este er Joos asthe slleer on the ces; hndscae as pleasant, domestic ‘nntyid,o landscape as wil ae Sethe nen se ater sn ony pt ofthe content bt a pr oft asc sn shin characteris that consitates ase Allo the clement of ye Baal ar expressive, Ta ees aneample. The hind fly, the dae het thigh tae te Arca og ay) the sae ofthe esl the theless ‘ol lar slements the potter al, anal ontebue tote raps Sve form: But wat every expressive fan aval exery a ean ‘lon, ad certain Technologies, ae, In certain ages, neva Perec x oppose to pote ree parca Kd of dy ln cate geet ya re ering Stn the bu thr pas yg pee cs sometimes they sn the sure areal The eal bo ff hick, oie cera tht expases emery and earths. fbn rm ene delat Chinese pone that exes eu restate pave of tecnlogor we nigh sy of a) ‘SAMPLE ESSAY: A FORMAL ANALYSIS. The following sample esa, weten by an undergrad, chides gd deal of desertion (fora alts usally eg wth «ey fal Aesrption of he artwork) and the essai eonsplcunls ipersonal lanothee characteristic of «formal mais) Bat notice that even this apparently digusionate aero Gs espa ya thes. we Stand cram theese se tha he Ie ptr argc ‘hiss The sete succes omnes highly conventional syne ea te, onthe one hand, th vl anyonty and deg of con the oer Pts the thesis dost sol esp interesting at that Ise the statement i ttt aking some dal Asterisk hes alo pee an nesting tn senincing In ing an essing ey, fo ters ey thnk “Tat yas osc. Te en lene aver he ewer hen the wer apport i ty calling atenton to spot {Ee tcridewe—an net one tes the illo seis hai so hn oo get och gpl woe ese The ag near ak atl es an they ae nee eect)This stration niga appeared om septate ge thee ofthe pape: ut awe as Bee pt in he sa. cio are nding Eytan sure me ig oem ane Progen lh at an th sxe’ eho kt 2g ve a fom he coin othe neat th as he soap The one geome or in ein por hase tne head win aan he wa eich ‘oven nals. For wxample he foetaidepctd ea ama beat sent eal an by hae aby aa vee. Nena ct shapes ote workin pom fom The cb nog oe tht epreent te neces oft ma nd bat my he simply sy une sop, Whee| - tne bes, a mpl mater tt ince aly are ot acy four aquace but saber oe aghly cuir Norie the smmety neler ie ofthe vera at pees Bon the mouth andthe ose ate yoke toate freuen rusk Aliforon poses, and eat ag given prominence ave the ight Thee departures kom symm and bem geometry eniven he she, giving both an oily snd pascraty ‘iough mt ot tae caved in brow panes, the septa pid parc tensioned te Road. There atom oops salto dati he psc ‘aoe The pasothe eyes, example eyebrows eyelid, ‘yeaa sockete—ato dirint aewhere fu arts 36 01 ‘woe in such robin deta The brats, ritmo ae 208 eredinlarge fos te ile ing about. The atetonto the deta ft tos eugene ait stented reer ae lioness ofthe prise inet Ths roe i epraseted in i's pve ut witout a merely sits The soence of ay open spaces (between he ows and th wake) conmbutes tthe Sue compocute or ol concen, ut sb abe at atone There ie noting mic hoe, The ight upward tho hood andthe gestion of pic gave che eyes othe mprenion that the ert prince intending someone lee, pei is oth the ng. The suggestion nthe tun ene moat wonatar han af workinprocoe stunt ove em may appar eat a, ete solr harman dept anni The detache fice ue overtatebyreves amine pasa a peten.notiet sa dense member tte sna ptesion Surely wien ey tind tas lars of aly win cots cre ‘ona oon nd gece sate te even more compel Behind the Scene: Beer's Essay, from Early Responses to Final Version This essay i gol hecase it char and interesting andl espa Incase it helps the reer to see an enjoy thew oat Ne Ihckstge. soto speak, tos how Steen Beer ted his te elite fal a Beers Earliest Responses. ir sulin the cect andrea ison abel Beer fated den he Notes ppt fa Circus Pons Soft thongh he could jist seas awe ea ther pplaton (se ae 13 or it owt yesh, ‘What historical rman ds th ial prone? (Beer rere the material ona page fr that eject.) Can the euptre be elle liste? Yesind na (Bee pt iresponss, nwt notes ps What ithe condton ofthe per? (Aga he pt his eeunses fhe nm notebook pages Ayer when he retro sper State by another Bok tthe artwork andy reso hi tt Beer made dina tings Organizing Notes, When the uns cane to tn he notes i a deh an the revised daft iat an esa Ber reviewed the motes aa he cl further though. Next heonaniaed the noe pages, ting tat ime section whatever pages ha about (or instance reais ad [ting together, nto another set, whateer note ug a sat fayain, for stance) uekgronnd nite. Reviewing the wats ‘ach Seton, and on the asi of the review after aki a ele ‘copy deleting fe pags that longer sere tf wel as ing an occasional page ino a diferent ston va the Contents ve, Beer stared o thik shot how he might orgie hissy As fist step in selling an ongnation, he ara he te took acto na secs that seen senor sense he thong ton wth ome storia backyraoda i deseription. then to touch on Exgptian sept i general bt soon decided ot to include thi general miter) ta go mt sone lage pints shout the pala pce then to reine stifer some wor of conclusion. This nna thee points, and Bally abe ad would enable is ede t ol his tion fe el, was ea snpument ex Preparing Preliminary Outline. In onder gt a lever ie ‘sere be tight being Bee hem typed an ting Hh gto what at ths stage seme tobe the nganaton of his hie pose pe 125) Inahe OnaiOutiner On Crp lg bee jot as etl tte the Outline view in Micros Word. short he prepared a map or Tongh enti so dat be could enya, alnst at alanee each pat of Isp would ea eof to the ne pat ss ute, Beer bean sr of pints Hat he sh he iced bt that he ad vero tentative otic fer alls ota strajacket ha determines shape of the Final essay. Ta the contrary = pelinay map ta ‘vhen examined, helps the ster to see not onl pointless detonre— These wl be elninated in te daft—but abo seeveloped ares that ted to be worked up. As the two versio af Beers tine indicate ater drain hs map he mare sme portant changes before writing fine drt Wing Draft. Working fro his thoghtily essed eatne, Boor ‘potest dai whi then vesised into second al, The seca Uratt, wen fortver revised, Became the lena Mone pressing perms sich ss Micronft Word alo yo to ack the ei ons mae toa dacyent and lok ferent versions of a dune However mony ters find confor in having pated caps ofeach Aft ogo oer wah po the desired changes ean then be mae an Kept track af) on the compte “re word aly the way comes fr dhe se Onis one that gies ws dre, When yo caf rv essay, yu are making sete, ppg paper (or seen) a teh plan tht you wl ater ef Outing a Draft. Ago wat tet the coherence ofa fal dalle Sceifnded t qualifies san ety rather han av adalat preraph by paragraph nto ways dating Ta) hate pang sys (0) aha ach pga dos 2 $$$ iro oun emo ref dob cine of hist or Beers seven-paragiph es tn 4 we got smurf wht Bore sing each prasrph ain we gt the eed word a deception of wha he inthe pgp 1. Historia backgrom 1 dntnatces hearer 2. The condition of the artwork 1. Petes farther cea desertion, pearson the The geometry ofthe work Intnaduces the thes, concerving the base 4 a Siguticant deals 1. Movies fies) the agent 54 Thelwad 1 Compares the realism of bed wit the si eo tuk the pin ha the etal The pene 1. Aesth the pose na tale 2 Geometry india ideo clades, agely by smartingPublier 5 & RULE FOR WRITERS: ‘You may ay not want ost argh nine bare drafting sonesea It yom certainly shold online chat yo hep yon Thal dato sca 1 orgie, and (1) the oration wil Ie evton fo he ee. An out ofthis sont, in whlch yo Ke sl to comer nat ithe tet hat th anti each paragraph, wil help yout se ares aps seth and (0) aye wh the ely on fc tint the tracheal yor anne wl ely POSTSCRIPT: THOUGHTS ABOUT THE WORDS “REALISTIC” AND “IDEALIZED” In is ih paragraph (page 12 nis Bal pare om an, deserve on cers wes the word “rests” and a ue “Helin” These word cerita in es nen. Lets begin «bt nity Arse (38 nc) sista thea orga nf aera apse, heap to mitt frm the Greek word mimes inatation treate pallens or harnony. Ta anal chiki we impute einitate nthe mir fetes ad (2 1 he impe to ath) the inp to ha In thee fondness fr racking an or steogy lytic nursery s. Sst works of uae shal see, combine ation (ery epee af wha the eye ae, el) wih harry (an overriding, fore or pattem pradaced fa shige) “We can nage,” Kenneth (Clark wore, the ath selptor who fowl the features ofa head conforming tooo the ay conor to clan, ad deep Sf, Now it os 0 t woud st Utrolctono stemieces of Fifty Censure, 190, pe 15}. short att ha ees, bt they ls Thve earn! bask pater thal midere Une varied plenomens or au extreme sxample os bay shaped by the doa that plied toa edu —a forms toa cokumn—we ean bak at ir Brana oo ofa Yorn Man (20, Here the arin Fas cewrlydnninate hs eye we cn sy tha this alizedReals hates to meanings awrite st a (1 noe suc in ai-nintenth-ctary Western Ene and Asterin hich tpl the sven ets of erinay jets dra fou mythology, histo stad pclae experience: and 1 pers cen ft act ‘ithe seo di Naturoio fen eng or Srl th work tht epee srs ys Be wale rota orlassi ec al wa, tos eon The Complete sinr—the ated onthe tre Fan the war son unl staging wat with he parse of The vow, ut conus mth a sb of cen theme, so even iy a elisa ender, hey do {Wace hk at most ngs ne are sae tha we ae Toki nota aly uth van eng Dut at the proc the att ge acl Teal thingy, Further. the median self may profit sions a ttpainte stone or boone be weve aoe ns representation tt Cheeks ha the shape he se ad o forth, cat be taken foe brah Linen Teal, ash tes wo wg nat (1) he ei that ark conveys an Meas well append (2) the bei rive party fou he fist meaning tha shoal convey an de that hts of he spt, aa oes eis hy presenting an rasta heros ea jet a ce ei asi trates the tho Tiga of heres sree se here worl ard sD Sed nar witht evey ning vin" heres she ted Jer data. whor the worl eas noble gue") The sy of Rapa! {guest fora motel or alata (mention pes 128-28) relent hee wu sone sina he Hacruniesepors who made umages of Ws the wer he Meroe Muses Bln si ms ofp bent Fave a in iad pret yuth at h By vr of entra esd Sir Peter Leys ence with Over Go (1509-1655, the Ens genera an staesan, Crone i sepa to hae sa the pater “Mr Ly. ese yn wold we all Sours to pint my ptr trl ike m,n ot Ber eat alls ut “emake take nosee ff ll ese roves, pps, wars rd Sething syn scene “Cromoel i aking fo reat (or taal Sor verse) porrat at an Kealzed port Me the scape of Ants, What ould an eid porta ic? 1 woul it the blemishes, Why? Because the blemishes would be thong oe nr Isl wfc deta at wok get fete he viewer he att tea of Cromll, Cronous essence asthe ait perecney itor Insane, the nobly that characte hs statesman and ale ‘What dangles the ez asi rm the ordinary person, sai the tists agit ly opt tnd st forth an elevating ae Tn sh alo deine she representation of alpen as ext} esti) —as the nen tome, bre, pao paper or eas) allows At the ether extn fran Hsin we ane ese focinstane nthe representation the traf yen nas wo, Arete porn of Cre shaw hn a he aps the ee wars and la ulead potitl ge us the ke of Crome yo to spe aithrshing th warts, ging hin some ena stature sien Dit dawn it ging in perhaps a moe hoi fae han be al seting hin i pyramid componton to eps: his say they ‘tng nr so peste enol scans Beth real and Kenn fe ale ave, Asa spoheper fe realign mec ake Lead, on hi Nott as thatthe tind ofthe pate su be ea ange thal led wi ws tay bsg an tera lies tere hi” Ags his ew wee take remark yu contensrary per, Lary Hives" a ier este the at of holding np mirors” robably mst tise he Arsttlan combi af nate a Sse pny mite arti concern that nso deg: with ' patter or for that help to der the work nd to give Ht meaning, andthe apparently iss artst—even the manohecth att sh tight sor to deal oly har shapes unl eaors—iscomcemed ‘wth connecting work to dhe wr when for atin, ures tions. An artist ight deliberately dept Fon sre realistic sceray inorder "define nt anor perce tions, swig us dawn sakings up sot peak. oder ose tte stk responses, there ting us se ety esl: Ain this idea especialy assciated wth the Rusu Frit cl of the rary twentieth century, eam be ace back to the el-ninetornth ry Homa writers. Pr itance Same Tilor Coles praed the poets of Willan Wordsworth lca, in Ceres words it rewoed the fl of nary” tht clones oslo, Somewhere near the mids af the spectra, hetonen atts who offer highly mete rpreentaton and tte ode eteme hse whtto what we we, we ise + epesentaions tht ear ite reser ‘hese pes hy Kennet Clk, wo she ea a a nod St sid to hel "Noni ef wo sk” Here the ea tat ‘Tapes the fates ofthe bead forint ogg ear clser to the ‘Sold de of pefeton aad esse, tabi even etry a Suey sone sich tgs crows xr ins wen we perceive works Hat Selene One might lost ra istry of tin er te caging Deptions of ren ad ein dig he betae ofa cate #2 \ RULE FOR WRITERS: “There mot wrong wth sing the words lite al dead in ores but ken nnd tht et ater ofall aeting There are dace of reas and degrees oF eatin vhs yaa sting rh mile eT a rent eth es ey to a celition eta (108), Hen ate sa, "Ther sa i Sahih mst be dsr rm he ten ppearaees of the Tre reprseutedExatitefot tah” Ad ost works of a are tither purely rate foncerned ony with “exact,” real dleseritton) for purely aie toneerved only with “an inherent Ne ight hak t,o te the ape to crt arn Paso yo wt ora sot Bt st your jes and in ‘We can pry gre tat Prince Khunero asa Se (page 120) shows gn eal fied, bu ita sh est toes Stephon Fors sass eals tent ots eae pty sunt ar is ay cela head, ut he als that cee rendered theatcuray”Orlokat Michelle's Dold ve) sree in ts ‘lpn the sein in Dass nd, 6 eld in ts eoor Fecal ht white to sues ary) ints oe lar tha eo ee the de fsa ans Suey Michelangelo did at think av went ity battle ned, a why Is his David ade? Beans ‘Michlangd, caving the stn part to commemorate the ci const ort rep, wanted to comey he eas of asic nd tf elas heas, al hese sepues hers were de We at then, talk shout Miholanglos dein, an--s llng of the sume Snag ca tk ts reais, Conse the the pisos of hanes do on pages 18-34. Han an’ pining apper lel is cone accurate veering he sti seh here ere po ier anc har tage for hbo d he ay a ag fod. The ley, hong in motion tot he hr ace ah Inn ce i x te he to i dy srmuniae ptf jxtapening the ac fs ump als ove clare mane wth th ol itching oI the pa. igs ni Wt py wk a a he tng he Chins mig i at In eeing he pit he chr cap tur th eal” Ismet the ta has Den age ‘reed wear ar the esl en eid ya owners se |e ag om th on Se, Leona alls tention to ie animal omety nota the ces af ven chest and rap, sl despite scart deta he ptr Scots pre tpt foe ut the ent ea {Dis the Hak haynes of svt Chinese pnt contrat rade heeall «of Haubletonin chetom), who had ‘veh rater ae, be ew note sng cement Stl : 7 stature by spreading its image across the ings the wis ben Empl the conse dh na he TT your ntact as yout compate fo woo pvhas an tepeinner ands Gk ey saci rears tiie wo ny inl sed ee WRITING A COMPARISON tp Jnr COMPARING AS AWAY OF DISCOVERING Anubis frequently inches comparing Thingy ate « resenblanees to a derenes from eter hig tne emphasis the il-renes rather than tnstingraher chan comparing ut we nee ot preserve ths ‘seca al ah paces oping. Alton worl of ob insracir may ask on to write compare of le get 0 the esa ster tone prisc the isthe thet yom aaa fr ewplthn one wor er tha the other or mor secesfl, Connpurion i spl an eet asia tcl to sh some of dhe alten ofthe ors, We tcleteridevofwhat Xs when we compar to T—prvied sat leat some It X Computing alr soar of Howard Nemono, quoted at the tp ths page, rating Fok wt someting ele” But tt "sn ol hing. thas to beret For example ih 0 may onpre to sua stations cot pevetrian pate the wets and the wl ula oe ay conto derstand sire fly: bt a compasson of «sina station wth doit. tater bow elegant wren, ea han tech the reer or the witer ny Norn acorn of House Canon th the Be ‘oF Vance teach anh Judith Stone ent the va aly atsn a atc in the Neve York Ties Maine (26 Ferry 1895) She compares the nuaaber (Hose nf Comins versus 620 Houses of fans, the tipping pace (o allowed i He Howse of Conons fot pete inthe ls of Panes), tho proferred station My Nonerable re! versus che) an so oth TF you keep in ind the rnp tht comparison shold hep yu to Kear, yo il ot anes Pe ing arn make wales comparisons, sch as "What do {Wine the Pa and Alexander the Great haven eumnon?” Sane ‘nid nan Art historians alot always ne comparisons when they discuss sauhenticye A eh uncertain tution compared with wndoubt ‘ih gemsine works onthe assumption that ap inathente wook, when ‘Sone compared with genuine urs, wl srchow be marke fer nt perhaps in brash techie and thereby shown probly nt tobe (ne eee gett the thes) despite seria sires of, Eject matter and edi, [This aunt can be challenged [hearst may have poniued sok ith gue characteris FBnevertlss widely hel ‘Comparisons ae also comnts in ding a work and th tracing the history ofan artiste ovement oF the development of an ‘Sei caece The ssunpion bere is Ht certain qulitesn a work inate the peri the sane perhaps the att, an even the period ‘thin the aascace, ets ast or inane tht dere sa dal hot heptane, al atthe prea s the date Ufthe work By eompering this work with pte that the artist sk to we done iin 183d wit et ape thatthe ists known oy Tave done in ES one ma beable to eonjectre that the unt pe ture stove, ey. may betwen the dated works oF hat is hse ve thelr The assumptions wndeshing the uses of cept can rece tony the site characters ofan ats, at ‘eit deny those hat te pormanent and can establs the chro (Gp of thon hat ae temporary Tn prtcethweasptions are nl awe on yet anther smo: A gen acts ery works are relative wate the at then mates ai there ate some date works, fin with some precision fa Ne development or evaluation. What {Bu nes theue sumptions compar toy which ster toon seek to establish ant and chronology. Again, the co rn ot ade fare sae of wing a compart rae, sah Forthe sake of making pot mporsan ae that a 9 \ RULE FOR WRITERS: In making comparison, do ia comparison, do not simply mall ofits oo ere ot ed ray wa 0 ae Be omparion nth Hes ete ‘TWO WAYS OF ORGANIZING A COMPARISON Wc a ht ao og oping comparison bey ck tology in perapt mar cn Leg gst tg tod (ing Wn soa nyo ya one the secondartwor, in other block or lamp. When you compare poe ta br oper ok res insheratng paragraphs, or oven in ateratng sentences aust ang romp pace ne ele) thw hate pe 12 Bd ache genet an ex tran fan he wor A beat, ES wnat” es sper ots itl ager Ins Balhae Pat eet inh tion the masa er tt aly an fling eta the Bad, The ser on what she Hoy ts bia ream, a what she has to say about the bodhisattwa, ee ach ot wth ole upwarel em tee ih) a al coal hus bod Te carved fos ois garment in wing wh he erect osu re severing 4 hy dct patna own as “royl eo," the head pensvely ited dawawatd onemph this Ii elt the structures his ‘The Buddha ptr The bait ptr op ater th "ha wih a the pong sre) ‘er an este compan, iis ahi ei, that sy detans te tn estate en en a the ae ofthe earvng suggest tat i plee i fourteenth -centsy ronal tec sae faked as by indting a yor ip of ogo wl be Paton pings wel ity ha sy om ane the para for menial use win ager em, but ts let TES the ogni principle of eng sy sly fo ro thee sPgePomg eft Ts ey may ot come it othe ee tay ot te ptt westerns tc om he sven ideal anne tho ong pag at hoe by ‘Sota ter yon repertory hnkng spit probly al bp ‘yon to get certain characteristics clear in your mind, but you must cnelsons heat sa ae at pt before wt ‘Cet Te fina vero shoul wr dst he peta tong Jpocene rer snce the pi of carson fo make a pont Ij anand 0 oa the pot lew and fete Tp epoca the ea nolonge han wor hee pr sap lft do the tee Alter reflection you may dec ht ‘igh there are seri sda beeen X ad there ae ‘et ferences hese essay, then. you probly wl wt ‘SSitoudncrc the man pointy oping back ol rt fom one rk Tote oher woringthrgh srs of saris and deren I stay eter toansnnce yuri then dacs Xan then ira np ria psy hing ety ting ere ag ur rps a the omen Shear amps esay etree companions, tiene on tha fon he Bag Pang fi, btn ara fate overall css ee Sone cheese. ay be se you split rag rat ask yourself pur nega reer an kp up ith the ck tae! forth nement. Make ste (perp bya sunray sentence ‘te end that the age pre not obscured by the raging + Da Teae amylose ede, Make se that you eal attention pts 13, and 30 Xo etn al the (nt jst Land 2) you tamp, do ot smpy comment fst on X and den oY Let your eaier knw where yo ate ging, probably by means uf intron sentence yy 1 Dunit ean nthe sci half to remind the arf the fs hal isnt, ven desl, to cnr the scl el ‘Ft comparison (eel ermerred with 3 to heft al (chit concerned with ), This ye wl probably i thins le "Unlie XY shan: or 'Akbongh Y Sper rose Xin suce-and such, whem loki at clo hs, Inshos, a coparson eran by limping wl esky to separate halen the cc hl desea hy reining th rear irr fst hl, 4) 4 RULE FOR WRITERS: ‘When om write acomparsoa yu are not merely making be Tiss Rather you are making pont arguing thes Ain, the point of compari tel tenn the uni fenwre of song yoldngk gseting ster nth ferent the ile nes eeu and aparece ton tea waste of fot, (serene allerent fom lela, Berra nthe re And lohan oat gow on sh Inde comparson Between ently nd svt we hy vl ert of fr by aking the compurson, the wre np that thre are stant srs ae ens can ny onder ny they nse them. The ey thd beak nt antl hale ae ess hat lane foi and ha ake trie comparison The fisher abot ese 1 Crete ec al tell che reader ant five deat goles in Rembrandt. Yo weil ice in the fellowing student ey thatthe sen half casa Took bck tothe iat hal ‘SAMPLE ESSAY: A STUDENT'S COMPARISON This essay, by an undergraduate, discusses one object and then ds vst cond I lunps rather the split He docs tt ak nt oe Separate pars hese tthe tr tak fonwarl to the secon object, an inthe second half fee esa it occasionally read wc theft Sbjct.‘When you eal ths say; dn lt texte eal on int think ing tht yo cat swell. The say hp i ind, the pra rot, her te ot bet th ving and neering As Rebecca Bek terand ter fr ine daly se seins ot ava poi al hen realnl that needed strengthening (eg, with concrete detals) o that—ome to think of tthe pnt was wrong and mg oe delet Shaan drive ome nin antncefor facts, ne fr he aac talthinking”fom bok, which sh ts ott ‘el marginal antations have been added to the following essay inorder to help yon appreciate the writers sil in presenting her ees, Racor Bede Jota Singin Copley sly Developeent From Ms osaph Mann Mr Eola Cost set, ot finn Arts apteesrl below chooks, Around nude otowng ihe wake Ander," od wena ot Seton Copley” He marohaled Ne cat ce rom theoe paling, Copley never realy Avalon he rota fogetor wth is ea tveugh clog of Copy werk nou nur year bore he lt x Egan 17 tar Copley had made huge aranose mie ete} rece oven befor it Ari byt ine hedoparure he was akeuty a grt poate Bot Paling re hong pores of cated women, sv on re soompi ed pores of hei abande ating ‘The pra ct MrsJesphMann ont Ho informe ‘oad we of tavern eprint asoashsote! zed ond ted} S Copley ‘ene was nly ten year ob. # epi ob fet cin works, ped cutdoors in font eek oeroppig bi ester ino pater ere hae, en fle "he painting er om bom ted to zely 0 is ecoati protege Ta exe mor kage oft wad in oe Bec es 1688 Pos, props and nackeround re allied arocy tom he prin Caran changes hows "joe Daw Prown Jin Sageton Copy (Camis ‘Charles Colman Slr, Mec Prot of Cee orate: A Survey Based on he Rancho Widen Poin Bain” Art Quarry 20 (1057) 407-68, Sew apcdh it ve oxatsaeate to shp, prob ty au tan overancn om he merit source, Despite au owes, te pining al epre+ sent rsmariabie achievement or aboy oon te eispneythe dign th aenae weight nck theGsue,the inca peyote pss ence a copa inbei wbant ee, Copley as ley rae and even spaced the cla pao ofthe previous generation In Mis, eal Got, bout ooventocn yoo ter and about four yars fore Copley went SATS ban alt ory ene i sep Cee eiveat ale at thy wn ity Ara ine Scorer level uty compat nyt i coer Inn Thoma xm of. Cohort eine flere canvas, Shoe sete a around op table, one on ee rg of oF cranes. nd ps. Agen sk bard corer Boe “Tn Sy seeyoarc Ms Catt ec out Berner wie te her ren owlyaa! citer ewan gested rm ao (Dyin te planing? Copy use hi ertty tora a sector’ writying element in his compoation. All the forms are mp anthony te is, Otte so “Pow Te Le oct foie ere ay aan Sle rie, cat ut he hey, ohn me he unm therond op othe tae—at are angen ct ‘hector "Ta ping io mats by pitng to lem Fac dota hasbeen caf an accurately ered, om he wart om ee reheato te wood alae e ube tothe rots glen the pea necace, Aaa panier aie Copley spas Nc oomemponiias Te sheen ofthe st, he r.ah, ray srtano fhe bck ae th mech rans ‘ent teria he cual ae excite reds Butte gure emote han tbugin msn ‘Geicions ces. Sho has weigh an bal: wich "nak her hye presence andenabi. Her ce ‘orate intesgece_ aber open, ely peor ty esupgece bythe gts the comer pay her wae, candid go, ‘The rubbery tin of Copley eat period hase been placed by amore ere ti eatoniy (votcompletly emacs bt il a ematiabe asovenen gin fat he mas unable dissect or 1 te fom rd modes) There some ene he updening armature of bone an ut, eps in "efor anlar, Ang his run posible 0 ae the ves rng unde ein, gir ao ete wh grater spat, ‘Me earosro 50 sang a ie that alt smn Caravaggio’ esabraao Ths gl anit oa spot ant the fae of Mis, Gott dr Inge forward tom the deep shone ofthe’ Hae Lad ysl the 8 a [New race Jules Daf Seren Co riage, Hava Univeral Pe, uutery 20, ‘Checklist for Writing a Comparison sho tht thoy yeh visto that Xs beter han Y: ot llumiateX by bey Plhaes ike "Despite these dienes” and “igs Hat Tsthe pi ofthe compuriaon cea? (Esampls Xan apericlly ree ear thee they are sii RSC conspn bat il seat reseablance Crt hing al work pit being Sal sglcat sinatra cerns ane {Nt ogo lear the chennai exces up thes he seo al ofthe aay connect cll enn th tha sey des eo rate tie ‘nga device Het? Given the topic the thesis i HH avaloe jukgnent led supported by eidene WRITING AN ENTRY IN AN EXHIBITION CATALOG Alle Fo KEEPING THE AUDIENCE IN MIND Tor most exhibit tothe ellegue sl oa ne eral pe. A tw etalogie raion fom the French, hterally“esoned ital) which teal that seks to giv ll he relevant Tact ‘coer work by an ait or tedium by an artist Thus, ation to coment ‘catalase seks toms every bon which he ur appar etl aise sal aut str, dees, anda fitlog it nimel at «larger audience the meses gig pall, Ts hat a sm exhiin cats snk present he hs {choles in males fen ay, and indeed some saorssoll tors of uemicane—siceed cab Bat many ators of esi on eating flo engage he general pub, alten oe ile They write fr themes orfor thee oleags and hey dh ot el dea revi, ison anys lnc Sn ahandsomeeatacaled 7 of the First Ces Dh Td Millentn from 200 one ead (pg 281 th opin ila sher pin wth pir hel? You don han what pytfr means? ou nt es ht related to pyre” an pyomenic” and, here, news ame shape he guse woul stato Ts ume calge—Aled wi xc eat rations af went hjects—yom wll alg id hat 53 in