We experience artworks and reproductions differently. That is especially true when the scale of a work is diminutive or monumental. In all cases, no reproduction can substitute for engaging the original with your senses. Imagine, for example, picking up the Princeton Vase. Consider its texture and weight as you turn the pot over in your hands to follow the artist's painted narrative. You must bring the pot very close indeed to make out the remaining detail in the drawn vessel into which the young woman pours her chocolate beverage. Now compare that imagined experience against an illustration in an exhibition catalog, Justin Kerr rollout, or even a 3D Sketchfab model. How would each of these experiences lead to different ways of "knowing" or experiencing the vase? D'Alleva references this effect in her discussion of Audrey Flack's painting titled Marilyn (1977): "While all these [formal] elements can be appreciated in a small-scale color reproduction... the impact of the painting's very large size, 8 feet (2.4 meters) square, is lost" (34).
Please prepare a 1-page, written formal analysis of a Mesoamerican artwork of your choice (10% of the overall grade).
"Keep in mind that formal analysis does not mean producing a long, minute description of the artwork. Instead, you're trying to see how far you can interpret [analyze] the image without consulting outside sources beyond the basic facts of identification" (D'Alleva 76). The goal is to analyze the formal elements of an artwork in support of your thesis. Students may compare the formal aspects of two related pieces if desired (81-83). Do not provide iconographic or contextual analysis in which, for example, you attempt to identify mythological figures such as the Hero Twins from the Popol Vuh or the political goals of the elite(s) who commissioned your chosen work of art.
For help with this assignment, re-read D'Alleva (27-51, 76-83) and then read Writing a Formal Analysis in Art History (Hamilton College Writing Center). D'Alleva (51) provides an example of a short formal analysis of a Matisse painting. Miller in our textbook often describes, sometimes in multiple uninterrupted sentences, the formal qualities of the works she discusses. Here are two examples (without a thesis):
In regard to the Olmec Kunz Axe, Miller writes: "More than half the celt is devoted to the creatures' face, giving it a small-scale version of a colossal head. The open, toothless mouth and closely set, slanting eyes [give the impression] of a howling human infant. The viewer's attention first focuses on the open mouth, and then the more subtle qualities of the rest of the creature's body becomes evident. His hands are worked in lower relief, and in them he grasps a miniature version of himself, a simple celt. Feet and toes are indicated only by simple lines, and incisions also mark the face, ears, and upper body, perhaps to suggest tattooing, ear ornaments, and a tunic. The jade has been worked to a silken smoothness, with a surface like that of fine, young, taut, human skin" (27).
In reference to the Great Goddess sculpture from Teotihuacan, Miller writes: "[H]er thick, stable base was intended to keep her in position forever. In her architectural form, in which the line of her hands bifurcates the andesite prism, she is like a building itself: one can draw lines from her chin to her feet, giving a pyramidal form topped by the massive head and cleft headdress" (84).
Use ARTstor or one of the sites listed on the Selected Websites page of this guide to find your artwork(s). ARTstor is great because you can often find very high resolution images, important for a formal analysis. Students so inclined might wish to draw or sketch their chosen artwork. Why? Drawing the object will force you to notice color, composition, line, mass, scale, shape, space (negative and positive), and texture, all formal aspects of the work.
I encourage and will reward you with extra credit for visiting Art of the Ancient Americas (Princeton Art Museum) or Mexico & Central America Gallery (Penn Museum). Choose a Mesoamerican artwork on view for this assignment. See the "Context" box in the left-hand column for more information.
However you go about preparing, remember that the analysis must be your own. Do not borrow from or cite secondary sources that analyze your chosen artwork(s). Do not use artificial intelligence (AI).
Prepare a 10-minute presentation based on your written analysis to share with the class (10% of the overall grade). A brief PPT (or equivalent) is appropriate, but simply pulling up a high-resolution image from ARTstor or one of the museum websites listed on this libguide also works. It is up to you. Be creative!
The primary outcome for this assignment is to practice writing a formal analysis and giving a presentation.