Audrey Olschewski

FA 1090

Analyzing Visual Art

Pictures have always been a part of our lives, adorning our homes, serving as a form of

expression and reminiscence. Pictures can be in the form of drawings, paintings, photographs,

and prints; all of which are two-dimensional, differing only in their method of execution. Each

medium has its own special properties and characteristics. Therefore, various mediums dictate

and specify what an artist can create. But what makes art such a powerful communicator and

appeals the human race so? To answer this question I preformed two formal analyses- or

interpretations based on presented data. In this assignment I will describe my analysis process for

two pictures through elements such as line and color, and from thence deduce what the artist was

trying to communicate. I found my two artworks on January 25, 2017, at Salt Lake Community

Colleges South City Campus. Upon entering the east side of the building I was able to find two,

very different pictures to analyze. The first picture was a large abstract oil painting, whose title

and creator was not indicated. The second picture I analyzed was a charcoal drawing by W.

Hawkins titled: Booker T. Washington lifting the veil of ignorance.

The untitled abstract painting was completed in oil paint. Upon first glance, the painting

appears as a bunch of meaningless squares. However, after focusing my mind into an analytical

tool, I discovered deeper impressions and characteristics of the painting. For one thing, the

overall design of the painting, which I had at first deemed to be geometric shapes, turned out to

be far more organic. You see, geometric shapes are defined by straight, sharp and bold lines.

However, the lines defining these shapes were actually more blurred, almost fringed, and

definitely not clear cut. In fact, the lines created were an illusion of boundaries more than
actual marks. Additionally, smaller organic shapes were scattered across the painting almost

appearing like stains splashed across the canvas. Soon, various lines of texture became apparent.

For example, the painting contained scratches that almost resembled Chinese characters, in the

lower right corner. Raised lines were also apparent form the artists use of thick paint,

overlapping and other scratches. Overall the picture seemed quite wrinkly. Regarding color, I

was at first struck by black (a bold choice on an otherwise pastel background), baby blue, tan,

white, and yellow. The use of these colors made the black stand out dramatically. Also, the

yellow stood out due to its brightness in comparison with the other, more greyed colors. The

longer I looked at this oil painting, the more color I saw. Pops of navy blue, burnt sienna, and

pale green were suddenly visible; thus proving that the artists use of color was thick and

overlapping. The space within the canvas was completely filled; there were no areas left

unpainted. Nevertheless, the painting appeared more dense and concentrated in some areas due

to the artists use of color and sizing of shapes. Despite all this, the painting seemed to have a

still, almost patient feeling.

The abstract oil painting led me to some deep metaphorical impressions. The texture, line

and color of the painting gave it a wrinkly collage look. After analyzing the elements of the

painting I began to feel a re-creation energy, as though I was looking at a long developed

scrapbook page. The blurred lines of the painted shapes gave a torn look and the overall

overlapping nature of these shapes gave a feeling of being gathered from various sources and

pieced together with a promise of further development. Even the use of color aided to the sense

of various pieces being glued together. Thus, my impression of this painting was a metaphor for

life; everyone is growing, developing with each new day and the experiences stored therein.

These experiences can be likened as pieces which become a part of us, further defining us as ever
complex creatures. If I were given authority to title this painting I would call it Fabrication of

Life.

The second picture I was able to analyze, on the 27 of January, was W. Hawkins Booker

T. Washington Lifting the Veil of Ignorance charcoal drawing. This drawing illustrated two

men, one of a more modern and erect standing (whom I will assume is Washington), the other as

a naked and lowly position. As mentioned previously, an artists choice of medium greatly

dictates an artists options for their picture. Similarly, W. Hawkins choice of charcoal left him

with only a gray scale to describe color. Thus, the entire drawing consisted of blacks, whites and

grays. As opposed to the oil painting described above, this drawing relied far more on shading

and gradation. The seated man for example, was overshadowed more than Washington, as though

blinded by the cloth overhanging him. So in contrast, Washington looked brighter or lighter than

the seated man. Line was a powerful element in this drawing. Vertical, horizontal, diagonal and

curved lines were used in the completion of this drawing. Washington, for example, was drawn

in straight, vertical lines which gave him a strong, powerful and authoritative feel- especially as

he was the only source of vertical lines in the drawing. The seated man is clothed in diagonal and

curved lines, offering an incredible sense of movement, and in comparison, making Washington

seem incredibly still. The artists use of space is a deliberate catalyst for creating the focus of the

drawing. Allow me to explain. The two men are the only thing in the picture, they are slightly

overlapped, and are centered on the paper. All the space surrounding them is naked white; thus,

the two men pop out of the picture as the obvious focus of the picture. The texture of this

drawing was also quite unique. From afar there doesnt seem to be much variant in surface

quality: however, when up close and personal the drawing seems to have transpired on a sort of

watercolor paper. What Im referring to as watercolor paper, is paper that is almost potholed;
there are consistent cavities and raises in it. Thus, upon coloring the paper, the charcoal

developed a hazy, rough texture.

From my analysis of the drawing, I could picture the literal title taking place in history:

Booker T. Washington Lifting the Veil of Ignorance. However, to avoid a focus on contextual

analysis, allow me to explain differently. One figure in the drawing is erect, and comprises the

only vertical lines in the drawing. He is dressed- more modernly so, and is lighter in shading than

his counterpart. Thus, I take it the erect man is being likened almost as a higher being, plane of

existence or enlightenment. He appears to be a figure of great importance with an emphasis on

futurism or perhaps just modernism, based off his clothing. The seated man is naked and

seemingly more primitive than his counterpart, due to the stone tablet on his lap and lack of

clothes. The seated man is covered by a blanket which is overshadowing him as though keeping

him in the dark. The erect man appears to be pulling it off of him, and as he does, the seated man

looks forward as the light slowly discovers more and more of him. This action of coming to the

light can be a metaphor for many things. The seated man may be coming to a higher education,

a new way of life, or be facing a rapidly changing society.

In conclusion, artworks are very powerful means of communication. The focus of this

paper- pictures- are a powerful means of summoning memories, feelings or thoughts within

viewers. Thus, artists may communicate through their artworks by incorporating a deliberate and

strategic use of artistic elements, such as line, color, space, and texture. Even without knowledge

of a contextual history, viewers may understand an artwork through a literal analysis of the

artwork presented. It was by formal analysis that I was able to gain a greater appreciation for the

abstract painting and W. Hawkins Booker T. Washington Lifting the Veil of Ignorance, as well

as a means for me to appreciate future artworks.

 Works Cited

Sporre, Dennis J. Reality Through the Arts. 3rd ed. NJ: Prentice Hall, 1997. Print.