term paper about visual arts

IB Visual Arts EE examples

Filter exemplars, to what extent can the interior design of hospitals provide a healing aspect for patients, in what ways has mark rothko's exploration of primary emotions challenged traditional arts, want to get full marks for your ee allow us to review it for you 🎯, an exploration of values visible in painter’s yi hyeong-nok’s works completed during the second half of 19th century, political messages in pablo picasso's "guernica", to what extent does the street art in downtown athens, greece politically and socially charge the city, fast track your coursework with mark schemes moderated by ib examiners. upgrade now 🚀, how did pablo picasso develop intimacy with the original audience and the impact on the contemporary audience through his artworks during his blue period, to what extent did the mughal architectural style influence the hindu temple architecture of india, to what extent was gaudi's iconographic program on the example of the basilica of the sagrada familia different from gothic solutions on the example of the seville cathedral, to what extent can artificial intelligence create original fine art, to what extent did hilma af klint’s artworks (1906-1922) bridge science and spiritualism, how do andy warhol and thierry guetta's artwork demonstrate the controversies between intertextuality and plagiarism in pop art culture, to what extend does gender impact omani artists, to what extent did edvard munch apply formal elements of art therapy such as color,shape, and repetition to create symbolism and purpose in the scream, how did zofia and oskar hansen’s architectural vision of przyczółek grochowski estate translate into practice and with what effect, to what extent has the indian culture influenced the architect gajanan b mhatre in the design of the empress court in mumbai during the british colonization, an exploration into the theme of motherhood in art during the early weimar republic, as seen through the works of otto dix and käthe kollwitz, how does frida kahlo portrya her devotionb to communism, the influence of nature on caso batlo by architect antoni guadi, "how did the dynamic style of zaha hadid's original abstract paintings introduce her unique architectural design of the jockey club in hong kong"..

Free Visual Arts Essay Examples & Topics

Visual arts are the works of art we see with our eyes. It is a broad definition that includes a large number of disciplines and elements. From Wassily Kandinsky to Jackson Pollock, from sculptures and paintings to filmmaking and interior design – the term covers it all.

If you are writing an essay about visual arts, the chances are that you will find yourself a bit lost for words. After all, the subject matter may seem contradictory to the task at hand. However, there is no need to panic.

In this article, our experts have outlined the best way to write your very own visual arts essay step-by-step. You will see that your academic paper can be a work of art in itself. We have also included 19 outstanding visual arts essay topics from which you can choose.

Even a brief essay about visual arts can be overwhelming. It’s usually the case when you don’t know where to begin and how to organize your thoughts. That’s why creating an outline is so crucial. In this section, we have listed what can help you in writing your visual arts essay.

Try following these steps:

• Choose your topic . Of course, it’s the most critical step for your paper. The idea you pick should be narrow enough for a detailed analysis. Yet, it should not prevent you from doing extensive research. Try browsing through visual arts essay collections. For example, check Bending Concepts by Walter Benn Michaels et al. There, you can get ideas on what to write about.
• Finding relevant art. Unsurprisingly, essays on visual arts require you to interact with the artwork. To offer proper art critique, you might want to conduct a visual analysis of your subject. Besides, it is a great idea to look into art history surrounding your topic. Figure out the context of the work and incorporate it into your paper.
• Brainstorming. Jotting down all your feelings and ideas can be an excellent exercise. Everything that you think on the topic may come in handy. So, write down your thoughts about the style and technique of the artist, what message the work is trying to send, etc. When you’re done, make sure to look at your assessment criteria. Compare them to what you have thought of so far.
• Grouping information. Here is where you might want to begin thinking of a thesis statement. Begin by grouping all the information you’ve gathered so far by themes. These will later become the foundation for the outline. Sort through all your findings and decide what ideas fit well with your topic. With this in mind, write down an excellent thesis by formulating your message in one sentence. Or our thesis generator can do that for you!
• Writing the outline. Now that everything is organized, create a structure of your paper using your ideas and thesis. Begin by making an introduction to visual arts. Explain what you will be talking about in your essay. Your research and formal analysis go into the main body. Finally, your final reflection about visual arts should be left for the conclusion. This is where you get to sum up your interpretation of the work and what you see in it.
• Browse through samples. Before you begin your essay writing, you might want to spend some time looking at examples. This can give you further ideas for your outline. Besides, good samples can inspire writing your very own visual arts essay. After all, art appreciation isn’t easy!

Whether you are writing a brief response piece or an entire extended essay, following these steps will improve the quality of your work. With enough practice, you will be composing visual arts essays with your eyes closed.

Still uncertain whether to write about Pablo Picasso or The Color Theory? Take a quick look at this list! Or allow our title generator to create an idea for you.

Here are 19 visual arts essay topics we have compiled just for you:

• From painting to filmmaking: a brief history.
• Leonardo da Vinci and the Golden Ratio.
• Baya Mahieddine – the girl that inspired Picasso.
• What do we mean by ‘contemporary art’?
• Victorian beauty standards and their depiction in art.
• How World War I gave birth to Dadaism.
• The symbolism in Frida Kahlo’s paintings.
• Cave paintings as very first artworks.
• What is the difference between art and design?
• Bollywood: how cinema evolved in India.
• How the Edo period in Japan defined its arts and culture.
• Salvador Dali’s influence on the surrealist movement.
• Perpetuation of stereotypes in modern art.
• Women in art: why are female artists often overlooked or forgotten.
• Is graffiti a legitimate form of art?
• The history and evolution of graphic novels.
• Greek and Roman sculptures: similarities and differences.
• Iconoclasm during the French revolution and its impact on art.
• The evolution of Islamic Arts.

Thank you for reading! We hope that you will find inspiration among these visual arts topic ideas. Check out our visual arts essay examples that you will find below.

359 Best Essay Examples on Visual Arts

Revolutionary art in america: society and artists, arguments for graffiti as art, modern, modernism, and modernization, artist’s role in society: cultures, traditions, ideas, and moral responsibilities, sculpture and painting, nudity vs. pornography when used in artwork, the “great pyramid of giza” and the “terracotta army”, the islamic and mughal arts.

• Words: 1346

Art and Society: Goals and Duties of Artists

• Words: 1752

3D Animation: Main Inspirations and Personal Experience

Visual and performing arts, comparison of indian and chinese art.

• Words: 1675

Phenomenon of Embroidery Stitches

Impact of digital technologies on contemporary art.

• Words: 1934

Aspects of Graffiti as Art Therapy

Graffiti “season’s greetings” by banksy, modernism in art and painting, collingwood’s distinction between art and craft, chapter 2 in “understanding comics” by scott mccloud, art styles: naturalism, idealization, stylization, western influences on the japanese animation industry.

• Words: 2467

Gender Roles Set in Stone: Prehistoric and Ancient Work of Arts

Chapters 7-9 in “understanding comics” by mccloud, definition of art, michelangelo’s artwork, magical realism as a literary genre.

• Words: 1098

The Power of Female Characters in Horror Stories: “Nosferatu” and “Coraline”

Visual analysis: untitled film still #21.

• Words: 1414

A Shark in the Mind of One Contemplating Wilderness

Asian art and sculpture and their meanings.

• Words: 1667

The Artwork “Pieta” by Michelangelo

Visual culture understanding in modern society.

• Words: 1161

Vincent van Gogh’s “Starry Night”

• Words: 1544

Chicago’s “The Dinner Party” and da Vinci’s “The Last Supper”

How digital technology influences art.

• Words: 2025

Egyptian style art piece – The Turin Erotic Papyrus

• Words: 1394

The Save Water, Save Life Picture Analysis

Interrelationships in art and humanities studies, art and design analysis, chapter 1 in “understanding comics” by scott mccloud, the influence of conceptual image on modern art and design.

• Words: 1504

Manga: “Naruto” by Masashi Kishimoto

Chinese art’s definition, influence and history.

• Words: 1926

Formal Analysis of Two Photos

Albert namatjira: teaching activities and methods.

• Words: 2037

Trend on the Parody of “The Mona Lisa” by DaVinci

Visual and performance arts in creative process.

• Words: 1031

Enigma’s “Return to Innocence” Music Video

Shakespeare’s “king lear” adaptation by ian pollock.

• Words: 1431

Kitsch – under the Title of Taste and Ethics

• Words: 3420

Rococo and Neoclassical Art

• Words: 1267

“The Eco Artists Turning Trash Into Treasure” by Webster

América tropical mural by david alfaro siqueiros.

• Words: 1133

“Ghost World”: Clowes’s Comics and Zwigoff’s Film

• Words: 1159

Modern Art: Condensation Cube by Hans Haacke

• Words: 1389

Goldsworthy’s and Christo Landscape Art Comparison

Concepts of the baroque era.

• Words: 1023

A Venn Diagram: Characteristics of What Is Art and What Is Not Art

Is graffiti vandalism or art, pectoral and necklace of sithathoryunet, analisis of work “american gothic”, emblazoned on history: the fleur de lis.

• Words: 2269

Visual Art and Photography

Tile: design and architectural structure.

• Words: 1155

“Why Not Sneeze, Rose Sélavy?” by Marcel Duchamp

• Words: 2097

Comparison of Color Themes

• Words: 1201

Material Culture: Pottery

• Words: 2808

The distinction between great and mediocre art

• Words: 1082

“Notes on Camp” by Susan Sontag

• Words: 1669

The symbolism of dragons in Chinese art

• Words: 1641

Art and Aesthetics: Art in Public Space

• Words: 2199

National Indian Museum

• Words: 1732

The University Campus Picture Analysis

Chicano art as a form of identity expression, andy warhol’s iconic artwork “32 campbell’s soup cans”, “adoration of the magi” analysis, parsons challenge visual art, visual arts: ancient art of the greeks, how writing is a form of art practice.

• Words: 2278

Art and Design Principles and Their Effects

Shaun gladwell’s art: materials and techniques.

• Words: 1642

Cabramatta’s Culture and Art

• Words: 1404

The Early Forms of African Art

• Words: 1633

Theories of Art

• Words: 1077

Art Analysis: Daumier’s Past, Present, and Future Lithograph

“night attack on the sanjo palace” by dr. hannah sigur.

• Words: 1157

Discussion of Postmodernism in Modern World

Art and history of textiles: one of the oldest forms of human self-expression.

• Words: 1355

Graffiti: Is a Form of Art or Vandalism?

Crafts and fine arts., visual analysis of nature in modern art.

• Words: 1701

Art and Nursing in Different Periods

• Words: 1128

Concept of the Ancient Artwork: Seated Goddess with a Child and the Winged Deity

Visual art: evolution and origins, arts in the community: the american museum of natural history, the painter van loo’s rococo revolution, the art piece “the sacred heart” by damien hirst, deaf art in the modern society, the power of color and black & white in art and design, simplified shaping in visual arts, lighting in painting, film, and photography, ambiguity of unicorn rests in a garden tapestry by jane beal.

• Words: 1702

Chauvet Cave Paintings: Unraveling the Cultural Tapestry of Paleolithic Society

The “spiral jetty” work by robert smithson.

• Words: 1212

The Early Renaissance Artworks

• Words: 1136

The Painting Styles of the Roman Domes

African art and cultural heritage, baroque painting: history, commissioning, and functions, picture observations and their meaning.

• Words: 1105

Mark Bradford on Reimagine Modernist Art

Visual analysis of objects of islamic art, the google art project analysis, illustrations to “inferno” by dante alighieri, art: definition and components, botticelli’s and doré’s illustrations to dante’s inferno, gazebo and “study for hotel by a railroad”: artwork connection, material movements of paper as an artistic material, eduardo kobra’s graffiti as a form of art, graphic memoirs and forney’s marbles, element and principles of design: critical analysis.

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Visual Arts Extended Essay: The Complete Guide for IB Students

by  Antony W

June 24, 2024

An extended essay in visual arts allows you to conduct study in a particular area of visual arts that is of interest to you. The conclusion of the study should be a clear and structured piece of writing that tackles a topic or research question pertinent to the visual arts in an effective manner.  

The strongest EE in arts is the one that demonstrate a thoughtful selection of socially and culturally relevant topics, which frequently have a personal significance for the candidate in respect to his or her cultural identity, a potential university program, or present creative interests, such as studio work.

It is discouraged to rely solely on textbooks and the Internet, and no long essay in visual arts should rely solely on such sources.

You should only read your textbooks to the extent that they generate unique ideas, give models of disciplined, organized, and informed methods, and foster direct and personal engagement with the essay topic.

Choice of Arts Extended Essay Topic

When it comes to choosing a visual arts extended essay, we strongly recommend that you avoid themes that rely solely on summarizing generic secondary sources and those that are likely to result in an essay that is mostly narrative or descriptive in nature.

You must address a pertinent subject or research question and reach a specific, ideally individual, conclusion.

Choosing a topic that encompasses several areas of art history or a lengthy time span is likewise unlikely to result in a great essay. Restriction of the essay’s scope will help you to establish a clear focus and create opportunities for exhibiting in-depth comprehension and critical evaluation of your extended essay.

How Should You Treat Visual Arts Extended Essay Topic?

The topic you choose must have a clear and direct connection to visual arts. If the relationship is only tenuous, you risk introducing irrelevant material, which will confuse the investigation and undermine the case.

You should construct a research issue that is of personal interest and use a range of materials to support your claims, including textual analysis, the study of actual artworks or designed artifacts, and interviews with practitioners and subject-matter experts.

Questions that do not provide a systematic examination that exhibits critical creative analysis and in-depth comprehension are unlikely to be appropriate. In certain cases, it may become apparent early in the research process that there are insufficient sources to conduct such an examination. In such situations, consider a shift in emphasis.

In visual arts extended essays, the incorporation and discussion of pertinent visual reference material is of special relevance. However, such material must directly support and be relevant to the analysis/argument. It should be cleanly presented, appropriately acknowledged, and appear as near as feasible to the first reference in the body of the essay.

To stimulate personal investment in the extended essay, your work should include local and/or original sources wherever feasible. However, you may not have access to original materials in some circumstances. In such instances, high-quality replicas, movies and films , or photographs/Internet pictures are acceptable sources.

An argument should be well supported, with remarks and conclusions supported by evidence that is relevant and well-founded, as opposed to being based only on preconceived notions.

Visual Arts Extended Essay Topics Examples

Now that you know about the kind of topic you should choose for you visual arts extended essay, let’s consider some good and bad examples.

The worst example can be something like:

• The variation within human perception
• Architecture is functional art.
• Postmodernism
• Islamic architectural design

You want avoid these types of examples because they’re broad and therefore can’t fit within the scope of extended essay requirements .

You want to consider only the best topic for the project, particularly making sure you pick a subject that’s specific enough to form a research question that you can answer within the respective scope of the assignment.

Some of the best examples include but not limited to the following:

• What role did national themes have in the creative activity of Russian avant-garde artists associated with the Knave of Diamonds society?
• How did men and women’s clothes communicate National Socialist ideals?
• How does Yinka Shonibare’s work represent the evolving importance of African art in a global society?
• What are the origins of Romanesque architecture in Arles?
• Are there pop art elements in the design of Pakistani trucks?
• Titles for Protracted Essays
• Appropriateness of Picasso’s usage of the Mbangu mask in ‘Les Demoiselles d’Avignon’ in terms of cultural borrowing
• How does Ketna Patel’s work reflect the increasing influence of media culture on Asian cultures?
• How does Yinka Shonibare’s work represent the evolving significance of African art in a global society?
• How far did Andy Warhol’s “Death and Disaster” series develop his interest in morbidity?
• How Jesse Trevino’s cultural experiences influenced his artwork
• How would one identify the crucial balance between design and function for four pedestrian bridges of the 21st century?
• In what way does Damien Hirst’s art tackle the themes of Life and Death? (2013)
• To what degree has Federation Square’s design proven successful?
• When does photojournalism become an art form?
• How does Fra Angelico’s picture of The Annunciation represent him in Renaissance Florence?

Tips for Writing a Visual Arts Extended Essay

You are supposed to assess critically the sources you consulted while writing the essay by asking yourself the following questions:

• Which sources are essential to my ideas, beliefs, and assertions?
• Which sources are irrelevant to the analysis?

For the research question, you can:

• Utilize primary and secondary sources to develop and evaluate diverse perspectives.
• Use these primary sources to explore and explain particular aspects of the visual arts, with emphasis on a particular aspect of the visual arts collecting and analyzing reproductions of artwork.

You must also exhibit an understanding of various topics associated with the studied work.

• Demonstrate a knowledge of the worth and limitations of the work you’re studying by analyzing its origin and function
• Show a continuous high level of creative comprehension by addressing the study subject comprehensively and effectively.

Relevant findings from this analysis must feature in your argument, not to mention that you should carefully support the arguments.  

About the author 

Antony W is a professional writer and coach at Help for Assessment. He spends countless hours every day researching and writing great content filled with expert advice on how to write engaging essays, research papers, and assignments.

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• Published: 31 October 2017

The visual essay and the place of artistic research in the humanities

• Remco Roes 1 &
• Kris Pint 1  

Palgrave Communications volume  3 , Article number:  8 ( 2017 ) Cite this article

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What could be the place of artistic research in current contemporary scholarship in the humanities? The following essay addresses this question while using as a case study a collaborative artistic project undertaken by two artists, Remco Roes (Belgium) and Alis Garlick (Australia). We argue that the recent integration of arts into academia requires a hybrid discourse, which has to be distinguished both from the artwork itself and from more conventional forms of academic research. This hybrid discourse explores the whole continuum of possible ways to address our existential relationship with the environment: ranging from aesthetic, multi-sensorial, associative, affective, spatial and visual modes of ‘knowledge’ to more discursive, analytical, contextualised ones. Here, we set out to defend the visual essay as a useful tool to explore the non-conceptual, yet meaningful bodily aspects of human culture, both in the still developing field of artistic research and in more established fields of research. It is a genre that enables us to articulate this knowledge, as a transformative process of meaning-making, supplementing other modes of inquiry in the humanities.

Introduction

In Being Alive: Essays on Movement, Knowledge and Description (2011), Tim Ingold defines anthropology as ‘a sustained and disciplined inquiry into the conditions and potentials of human life’ (Ingold, 2011 , p. 9). For Ingold, artistic practice plays a crucial part in this inquiry. He considers art not merely as a potential object of historical, sociological or ethnographic research, but also as a valuable form of anthropological inquiry itself, providing supplementary methods to understand what it is ‘to be human’.

In a similar vein, Mark Johnson’s The meaning of the body: aesthetics of human understanding (2007) offers a revaluation of art ‘as an essential mode of human engagement with and understanding of the world’ (Johnson, 2007 , p. 10). Johnson argues that art is a useful epistemological instrument because of its ability to intensify the ordinary experience of our environment. Images Footnote 1 are the expression of our on-going, complex relation with an inner and outer environment. In the process of making images of our environment, different bodily experiences, like affects, emotions, feelings and movements are mobilised in the creation of meaning. As Johnson argues, this happens in every process of meaning-making, which is always based on ‘deep-seated bodily sources of human meaning that go beyond the merely conceptual and propositional’ (Ibid., p. 11). The specificity of art simply resides in the fact that it actively engages with those non-conceptual, non-propositional forms of ‘making sense’ of our environment. Art is thus able to take into account (and to explore) many other different meaningful aspects of our human relationship with the environment and thus provide us with a supplementary form of knowledge. Hence Ingold’s remark in the introduction of Making: anthropology, archaeology, art and architecture (2013): ‘Could certain practices of art, for example, suggest new ways of doing anthropology? If there are similarities between the ways in which artists and anthropologists study the world, then could we not regard the artwork as a result of something like an anthropological study, rather than as an object of such study? […] could works of art not be regarded as forms of anthropology, albeit ‘written’ in non-verbal media?’ (Ingold, 2013 , p. 8, italics in original).

And yet we would hesitate to unreservedly answer yes to these rhetorical questions. For instance, it is true that one can consider the works of Francis Bacon as an anthropological study of violence and fear, or the works of John Cage as a study in indeterminacy and chance. But while they can indeed be seen as explorations of the ‘conditions and potentials of human life’, the artworks themselves do not make this knowledge explicit. What is lacking here is the logos of anthropology, logos in the sense of discourse, a line of reasoning. Therefore, while we agree with Ingold and Johnson, the problem remains how to explicate and communicate the knowledge that is contained within works of art, how to make it discursive ? How to articulate artistic practice as an alternative, yet valid form of scholarly research?

Here, we believe that a clear distinction between art and artistic research is necessary. The artistic imaginary is a reaction to the environment in which the artist finds himself: this reaction does not have to be conscious and deliberate. The artist has every right to shrug his shoulders when he is asked for the ‘meaning’ of his work, to provide a ‘discourse’. He can simply reply: ‘I don’t know’ or ‘I do not want to know’, as a refusal to engage with the step of articulating what his work might be exploring. Likewise, the beholder or the reader of a work of art does not need to learn from it to appreciate it. No doubt, he may have gained some understanding about ‘human existence’ after reading a novel or visiting an exhibition, but without the need to spell out this knowledge or to further explore it.

In contrast, artistic research as a specific, inquisitive mode of dealing with the environment requires an explicit articulation of what is at stake, the formulation of a specific problem that determines the focus of the research. ‘Problem’ is used here in the neutral, etymological sense of the word: something ‘thrown forward’, a ‘hindrance, obstacle’ (cf. probleima , Liddell-Scott’s Greek-English Lexicon). A body-in-an-environment finds something thrown before him or her, an issue that grabs the attention. A problem is something that urges us to explore a field of experiences, the ‘potentials of human life’ that are opened up by a work of art. It is often only retroactively, during a second, reflective phase of the artistic research, that a formulation of a problem becomes possible, by a selection of elements that strikes one as meaningful (again, in the sense Johnson defines meaningful, thus including bodily perceptions, movements, affects, feelings as meaningful elements of human understanding of reality). This process opens up, to borrow a term used by Aby Warburg, a ‘Denkraum’ (cf. Gombrich, 1986 , p. 224): it creates a critical distance from the environment, including the environment of the artwork itself: this ‘space for thought’ allows one to consciously explore a specific problem. Consciously here does not equal cerebral: the problem is explored not only in its intellectual, but also in its sensual and emotional, affective aspects. It is projected along different lines in this virtual Denkraum , lines that cross and influence each other: an existential line turns into a line of form and composition; a conceptual line merges into a narrative line, a technical line echoes an autobiographical line. There is no strict hierarchy in the different ‘emanations’ of a problem. These are just different lines contained within the work that interact with each other, and the problem can ‘move’ from one line to another, develop and transform itself along these lines, comparable perhaps to the way a melody develops itself when it is transposed to a different musical scale, a different musical instrument, or even to a different musical genre. But, however, abstract or technical one formulates a problem, following Johnson we argue that a problem is always a translation of a basic existential problem, emerging from a specific environment. We fully agree with Johnson when he argues that ‘philosophy becomes relevant to human life only by reconnecting with, and grounding itself in, bodily dimensions of human meaning and value. Philosophy needs a visceral connection to lived experience’ (Johnson, 2007 , p. 263). The same goes for artistic research. It too finds its relevance in the ‘visceral connection’ with a specific body, a specific situation.

Words are one way of disclosing this lived experience, but within the context of an artistic practice one can hardly ignore the potential for images to provide us with an equally valuable account. In fact, they may even prove most suited to establish the kind of space that comes close to this multi-threaded, embodied Denkraum . In order to illustrate this, we would like to present a case study, a short visual ‘essay’ (however, since the scope of four spreads offers only limited space, it is better to consider it as the image-equivalent of a short research note).

Case study: step by step reading of a visual essay

The images (1, 2, 3, 4, 5) form a short visual essay based on a collaborative artistic project 'Exercises of the man (v)' that Remco Roes and Alis Garlick realised for the Situation Symposium at Royal Melbourne Institute of Technology in Melbourne in 2014. One of the conceptual premises of the project was the communication of two physical ‘sites’ through digital media. Roes—located in Belgium—would communicate with Garlick—in Australia—about an installation that was to be realised at the physical location of the exhibition in Melbourne. Their attempts to communicate (about) the site were conducted via e-mail messages, Skype-chats and video conversations. The focus of these conversations increasingly distanced itself from the empty exhibition space of the Design Hub and instead came to include coincidental spaces (and objects) that happened to be close at hand during the 3-month working period leading up to the exhibition. The focus of the project thus shifted from attempting to communicate a particular space towards attempting to communicate the more general experience of being in(side) a space. The project led to the production of a series of small in-situ installations, a large series of video’s and images, a book with a selection of these images as well as texts from the conversations, and the final exhibition in which artefacts that were found during the collaborative process were exhibited. A step by step reading of the visual argument contained within images of this project illustrates how a visual essay can function as a tool for disclosing/articulating/communicating the kind of embodied thinking that occurs within an artistic practice or practice-based research.

Figure 1 shows (albeit in reduced form) a field of photographs and video stills that summarises the project without emphasising any particular aspect. Each of the Figs. 2 – 5 isolate different parts of this same field in an attempt to construct/disclose a form of visual argument (that was already contained within the work). In the final part of this essay we will provide an illustration of how such visual sequences can be possibly ‘read’.

First image of the visual essay. Remco Roes and Alis Garlick, as copyright holders, permit the publication of this image under a Creative Commons Attribution 4.0 International License

Second image of the visual essay. Remco Roes and Alis Garlick, as copyright holders, permit the publication of this image under a Creative Commons Attribution 4.0 International License

Third image of the visual essay. Remco Roes and Alis Garlick, as copyright holders, permit the publication of this image under a Creative Commons Attribution 4.0 International License

Fourth image of the visual essay. Remco Roes and Alis Garlick, as copyright holders, permit the publication of this image under a Creative Commons Attribution 4.0 International License

Fifth image of the visual essay. Remco Roes and Alis Garlick, as copyright holders, permit the publication of this image under a Creative Commons Attribution 4.0 International License

Figure 1 is a remnant of the first step that was taken in the creation of the series of images: significant, meaningful elements in the work of art are brought together. At first, we quite simply start by looking at what is represented in the pictures, and how they are presented to us. This act of looking almost inevitably turns these images into a sequence, an argument. Conditioned by the dominant linearity of writing, including images (for instance in a comic book) one ‘reads’ the images from left to right, one goes from the first spread to the last. Just like one could say that a musical theme or a plot ‘develops’, the series of images seem to ‘develop’ the problem, gradually revealing its complexity. The dominance of this viewing code is not to be ignored, but is of course supplemented by the more ‘holistic’ nature of visual perception (cf. the notion of ‘Gestalt’ in the psychology of perception). So unlike a ‘classic’ argumentation, the discursive sequence is traversed by resonance, by non-linearity, by correspondences between elements both in a single image and between the images in their specific positioning within the essay. These correspondences reveal the synaesthetic nature of every process of meaning-making: ‘The meaning of something is its relations, actual and potential, to other qualities, things, events, and experiences. In pragmatist lingo, the meaning of something is a matter of how it connects to what has gone before and what it entails for present or future experiences and actions’ (Johnson, 2007 , p. 265). The images operate in a similar way, by bringing together different actions, affects, feelings and perceptions into a complex constellation of meaningful elements that parallel each other and create a field of resonance. These connections occur between different elements that ‘disturb’ the logical linearity of the discourse, for instance by the repetition of a specific element (the blue/yellow opposition, or the repetition of a specific diagonal angle).

Confronted with these images, we are now able to delineate more precisely the problem they express. In a generic sense we could formulate it as follows: how to communicate with someone who does not share my existential space, but is nonetheless visually and acoustically present? What are the implications of the kind of technology that makes such communication possible, for the first time in human history? How does it influence our perception and experience of space, of materiality, of presence?

Artistic research into this problem explores the different ways of meaning-making that this new existential space offers, revealing the different conditions and possibilities of this new spatiality. But it has to be stressed that this exploration of the problem happens on different lines, ranging from the kinaesthetic perception to the emotional and affective response to these spaces and images. It would, thus, be wrong to reduce these experiences to a conceptual framework. In their actions, Roes and Garlick do not ‘make a statement’: they quite simply experiment with what their bodies can do in such a hybrid space, ‘wandering’ in this field of meaningful experiences, this Denkraum , that is ‘opened up’: which meaningful clusters of sensations, affects, feelings, spatial and kinaesthetic qualities emerge in such a specific existential space?

In what follows, we want to focus on some of these meaningful clusters. As such, these comments are not part of the visual essay itself. One could compare them to ‘reading remarks’, a short elaboration on what strikes one as relevant. These comments also do not try to ‘crack the code’ of the visual material, as if they were merely a visual and/or spatial rebus to be solved once and for all (‘ x stands for y’ ). They rather attempt to engage in a dialogue with the images, a dialogue that of course does not claim to be definitive or exhaustive.

The constellation itself generates a sense of ‘lacking’: we see that there are two characters intensely collaborating and interacting with each other, while never sharing the same space. They are performing, or watching the other perform: drawing a line (imaginary or physically), pulling, wrapping, unpacking, watching, framing, balancing. The small arrangements, constructions or compositions that are made as a result of these activities are all very fragile, shaky and their purpose remains unclear. Interaction with the other occurs only virtually, based on the manipulation of small objects and fragments, located in different places. One of the few materials that eventually gets physically exported to the other side, is a kind of large plastic cover. Again, one should not ‘read’ the picture of Roes with this plastic wrapped around his head as an expression, a ‘symbol’ of individual isolation, of being wrapped up in something. It is simply the experience of a head that disappears (as a head appears and disappears on a computer screen when it gets disconnected), and the experience of a head that is covered up: does it feel like choking, or does it provide a sense of shelter, protection?

A different ‘line’ operates simultaneously in the same image: that of a man standing on a double grid: the grid of the wet street tiles and an alternative, oblique grid of colourful yellow elements, a grid which is clearly temporal, as only the grid of the tiles will remain. These images are contrasted with the (obviously staged) moment when the plastic arrives at ‘the other side’: the claustrophobia is now replaced with the openness of the horizon, the presence of an open seascape: it gives a synaesthetic sense of a fresh breeze that seems lacking in the other images.

In this case, the contrast between the different spaces is very clear, but in other images we also see an effort to unite these different spaces. The problem can now be reformulated, as it moves to another line: how to demarcate a shared space that is both actual and virtual (with a ribbon, the positioning of a computer screen?), how to communicate with each other, not only with words or body language, but also with small artefacts, ‘meaningless’ junk? What is the ‘common ground’ on which to walk, to exchange things—connecting, lining up with the other? And here, the layout of the images (into a spread) adds an extra dimension to the original work of art. The relation between the different bodies does now not only take place in different spaces, but also in different fields of representation: there is the space of the spread, the photographed space and in the photographs, the other space opened up by the computer screen, and the interaction between these levels. We see this in the Fig. 3 where Garlick’s legs are projected on the floor, framed by two plastic beakers: her black legging echoing with the shadows of a chair or a tripod. This visual ‘rhyme’ within the image reveals how a virtual presence interferes with what is present.

The problem, which can be expressed in this fundamental opposition between presence/absence, also resonates with other recurring oppositions that rhythmically structure these images. The images are filled with blue/yellow elements: blue lines of tape, a blue plexi form, yellow traces of paint, yellow objects that are used in the video’s, but the two tones are also conjured up by the white balance difference between daylight and artificial light. The blue/yellow opposition, in turn, connects with other meaningful oppositions, like—obviously—male/female, or the same oppositional set of clothes: black trousers/white shirt, grey scale images versus full colour, or the shadow and the bright sunlight, which finds itself in another opposition with the cold electric light of a computer screen (this of course also refers to the different time zones, another crucial aspect of digital communication: we do not only not share the same place, we also do not share the same time).

Yet the images also invite us to explore certain formal and compositional elements that keep recurring. The second image, for example, emphasises the importance placed in the project upon the connecting of lines, literally of lining up. Within this image the direction and angle of these lines is ‘explained’ by the presence of the two bodies, the makers with their roles of tape in hand. But upon re-reading the other spreads through this lens of ‘connecting lines’ we see that this compositional element starts to attain its own visual logic. Where the lines in image 2 are literally used as devices to connect two (visual) realities, they free themselves from this restricted context in the other images and show us the influence of circumstance and context in allowing for the successful establishing of such a connection.

In Fig. 3 , for instance, we see a collection of lines that have been isolated from the direct context of live communication. The way two parts of a line are manually aligned (in the split-screens in image 2) mirrors the way the images find their position on the page. However, we also see how the visual grammar of these lines of tape is expanded upon: barrier tape that demarcates a working area meets the curve of a small copper fragment on the floor of an installation, a crack in the wall follows the slanted angle of an assembled object, existing marks on the floor—as well as lines in the architecture—come into play. The photographs widen the scale and angle at which the line operates: the line becomes a conceptual form that is no longer merely material tape but also an immaterial graphical element that explores its own argument.

Figure 4 provides us with a pivotal point in this respect: the cables of the mouse, computer and charger introduce a certain fluidity and uncontrolled motion. Similarly, the erratic markings on the paper show that an author is only ever partially in control. The cracked line in the floor is the first line that is created by a negative space, by an absence. This resonates with the black-stained edges of the laser-cut objects, laid out on the desktop. This fourth image thus seems to transform the manifestation of the line yet again; from a simple connecting device into an instrument that is able to cut out shapes, a path that delineates a cut, as opposed to establishing a connection. The circle held up in image 4 is a perfect circular cut. This resonates with the laser-cut objects we see just above it on the desk, but also with the virtual cuts made in the Photoshop image on the right. We can clearly see how a circular cut remains present on the characteristic grey-white chessboard that is virtual emptiness. It is evident that these elements have more than just an aesthetic function in a visual argumentation. They are an integral part of the meaning-making process. They ‘transpose’ on a different level, i.e., the formal and compositional level, the central problem of absence and presence: it is the graphic form of the ‘cut’, as well as the act of cutting itself, that turns one into the other.

Concluding remarks

As we have already argued, within the frame of this comment piece, the scope of the visual essay we present here is inevitably limited. It should be considered as a small exercise in a specific genre of thinking and communicating with images that requires further development. Nonetheless, we hope to have demonstrated the potentialities of the visual essay as a form of meaning-making that allows the articulation of a form of embodied knowledge that supplements other modes of inquiry in the humanities. In this particular case, it allows for the integration of other meaningful, embodied and existential aspects of digital communication, unlikely to be ‘detected’ as such by an (auto)ethnographic, psychological or sociological framework.

The visual essay is an invitation to other researchers in the arts to create their own kind of visual essays in order to address their own work of art or that of others: they can consider their artistic research as a valuable contribution to the exploration of human existence that lies at the core of the humanities. But perhaps it can also inspire scholars in more ‘classical’ domains to introduce artistic research methods to their toolbox, as a way of taking into account the non-conceptual, yet meaningful bodily aspects of human life and human artefacts, this ‘visceral connection to lived experience’, as Johnson puts it.

Obviously, a visual essay runs the risk of being ‘shot by both sides’: artists may scorn the loss of artistic autonomy and ‘exploitation’ of the work of art in the service of scholarship, while academic scholars may be wary of the lack of conceptual and methodological clarity inherent in these artistic forms of embodied, synaesthetic meaning. The visual essay is indeed a bastard genre, the unlawful love (or perhaps more honestly: love/hate) child of academia and the arts. But precisely this hybrid, impure nature of the visual essay allows it to explore unknown ‘conditions and potentials of human life’, precisely because it combines imagination and knowledge. And while this combination may sound like an oxymoron within a scientific, positivistic paradigm, it may in fact indicate the revival, in a new context, of a very ancient alliance. Or as Giorgio Agamben formulates it in Infancy and history: on the destruction of experience (2007 [1978]): ‘Nothing can convey the extent of the change that has taken place in the meaning of experience so much as the resulting reversal of the status of the imagination. For Antiquity, the imagination, which is now expunged from knowledge as ‘unreal’, was the supreme medium of knowledge. As the intermediary between the senses and the intellect, enabling, in phantasy, the union between the sensible form and the potential intellect, it occupies in ancient and medieval culture exactly the same role that our culture assigns to experience. Far from being something unreal, the mundus imaginabilis has its full reality between the mundus sensibilis and the mundus intellegibilis , and is, indeed, the condition of their communication—that is to say, of knowledge’ (Agamben, 2007 , p. 27, italics in original).

And it is precisely this exploration of the mundus imaginabilis that should inspire us to understand artistic research as a valuable form of scholarship in the humanities.

We consider images as a broad category consisting of artefacts of the imagination, the creation of expressive ‘forms’. Images are thus not limited to visual images. For instance, the imagery used in a poem or novel, metaphors in philosophical treatises (‘image-thoughts’), actual sculptures or the imaginary space created by a performance or installation can also be considered as images, just like soundscapes, scenography, architecture.

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Seeing Beyond the Obvious: Tips for Writing a Strong Visual Analysis Essay

Art, Philology, and Communication students very often come face to face with the need to write formal analysis essays. One of the varieties is an essay that explores the visual elements of the subject of art. While the structure of a visual analysis paper is not much different from other essays, the content requirements are quite intricate.

There are many different directions for writing a visual analysis essay. Each assignment requires an individual approach, but there are key pillars that you can rely on when writing your work. In this article, we will take a detailed look at all the details of a good visual analysis essay. Moreover, we are about to share tips from professional writers, which will make the process of writing a formal analysis much easier for you.

Visual Analysis Essay Features

A visual analysis essay is based on a detailed study of the selected artistic object. The main task of visual analysis is to highlight the major distinguishing features of a visual image, as well as to carry out a meticulous description of each component and visual characteristics. The purpose of the visual analysis essay is to examine the influence of common visual elements on culture, social life, and direction in the development of art. Sometimes you can find it difficult to understand the requirements for a paper. That’s why professionals of our service can write your lit review in a matter of hours. Also, the analysis of artistic works brings clarity to the overall portrait of the visual display of an entire nation. It’s because artists often portray the realities of their country’s life by depicting history through art.

Persuasive writing in the form of a visual analysis requires the student to have a comprehensive knowledge of the field of study. For this reason, you need to know basic concepts regarding the theoretical aspects of art to conduct a contextual analysis.

The task of such work is not only to briefly describe images or depict elements of the chosen piece of visual art but also to study the historical context in detail. That is, the conditions, prerequisites, visual arguments, and hidden meaning of the masterpiece should be of no less interest to the author than the piece itself.

Elements of a Visual Analysis Essay

Before writing visual analysis essays, art students have to get to know the key components of such works. There is a certain set of art elements that you need to pay attention to analyzing an art piece. They will help build a comprehensive picture of the context and meaning of the work of art.

Composition

Composition is the scheme by which an artist creates his work. When analyzing images, two-dimensional art, you have to pay attention to the visual representation of the central figures, such as the human body in the image. What is at the center of a particular image? What is the significance of this location? What is the first thing that catches your eye? What draws your attention the most in a painting or photograph?

While exploring three-dimensional art for your visual analysis essay, you will have to study sculpture design. The student should allocate the main figures present in the composition and examine in detail their placement within the boundaries of the work.

Elements of design

In the process of writing visual analysis papers, you need to study the basic design elements in detail. Among them, there are color, line, texture, shape, and form. It is this fragment of work that makes up the largest array of information and scientific novelty of your essay. The process of writing a visual analysis essay takes a lot of time and effort. That is why many students prefer to resort to the help of an analytical essay writing service to write a visual analysis essay professionally. You should evaluate design principles as objectively as possible. To conduct such an in-depth analysis, you have to study a large amount of theoretical literature and technical data.

Focal point

The focal point is the central figure of the composition. Study all the visible aspects in detail and calculate the author’s idea to include this data in the visual analysis essay. Which visual element is intended to be the centerpiece of a rhetorical situation?

The cost of the work tells the level of recognition of the artist at the time of the sale of the painting. This is one of the characteristics that allow you to analyze the history of the art piece more for your visual argument essay. Was the artist also famous during his lifetime, or did he become popular only after his death?

The size of the painting itself, as well as the objects and characters in it, is an important element of visual analysis. Study the volume and size of the painting, as well as analyze what meaning the artist concluded on the visual display of the scale.

Symbolic elements

The symbolic objects of the picture are designed to convey the hidden meaning that was laid down by the artist. The analysis of these visual elements will help you understand the prerequisites for writing a work and will also reveal to you the hidden meanings of the artist.

Visual Analysis Essay Outline

It is well known that outlining an essay is an integral part of the writing process. This is necessary to properly organize your thoughts and clearly state them in your work. Visual analysis sticks to a classical five-paragraph essay structure. Due to this essay format, the first paragraph is an introduction, then comes three paragraphs of the body and one paragraph of conclusions.

Start the first paragraph with a thesis statement. This writing technique exists to summarize the main idea of the text and give a brief description of the topic. Also, the visual analysis thesis statement should attract the attention of the reader, intrigue, and interest.

The body part of the painting analysis essay includes three separate paragraphs, each of which presents a detailed description of an idea. When creating your essay outline, plan how you will subdivide your thoughts. Be sure to separate technical detailed analysis from your ideas about the visual object.

The final paragraph of a visual analysis essay sums up what you have written so far. In this section, you should state as concisely as possible the thoughts that you came up with during the visual analysis. There is a working technique for writing essays. You need to write in the last paragraph what you would like the reader to remember the most.

Tips for Analyzing a Sculpture

When analyzing a sculpture, we pay attention not only to the overall composition but also to the historical context of its creation. Sculpture analysis consists of a detailed study of visual images. Let’s look at the following aspects of writing a quality essay:

Start by learning the history of the sculpture. This is considered to be one of the best rhetorical analysis writing tips for college essays. What guided the sculptor when creating this visual rhetoric? In what period of life and work was this work created?

Evaluate the volumes and pay attention to space and lines. What is the general form of the sculpture? Does the sculpture inherit natural motifs, or does it depict something man-made? Is the work dominated by clear lines, or is it prone to randomness? What is the distance between the repetitive elements of the sculpture? Is there a feeling of airiness or, on the contrary, infringement?

Distinguish the role of the light. Did the author try to convey a certain effect with the help of light? Does the light bring the visual argument to the piece? Does chiaroscuro add drama to the work? Does the light help to intertwine opposing elements?

Understand the function. Perhaps the artist intended the sculpture to be a part of a private collection. Does the artwork represent some historical meaning?

Study composition. Who or what is the primary figure of the sculpture? How different elements are combined within the piece?

Tips for Photo Analysis Essay

Photo visual analysis also consists in studying the components of the portrait itself and analyzing the visual arguments and the background of its creation. It is very important to take a complex approach to the issue and make the work as comprehensive as possible.

The exposure. What is the range of light in the photo? Is the portrait overexposed or darkened?Did the author put special meaning into this visual display?

The skyline. Was the photo taken parallel to the ground or at a certain angle? Why did the author decide to shift the horizon line?

The key figures. Is there a key element in the photographic composition? Is the central figure one or several? Who or what is the center of the composition?

The texture. Is the photo clear and sharp, or smooth and hazy? Is there graininess in the photo? Was the graininess added during processing, or is it inherent in the basic settings of the camera?

The colors. What color is the photo taken in? Is the photo color black and white? Did the author want to achieve a certain effect with the play of color?

How to Write a Visual Analysis Paper

As we have already mentioned, writing a visual analysis requires analyzing visual arguments, considerable preparation, and theoretical knowledge in the field of art. And although the process of writing a critical analysis essay is quite time-consuming and energy-intensive, this is undoubtedly an interesting task to complete. Let’s summarize and find out how to write an essay on visual analysis.

First of all, always start by creating an outline of your visual analysis essay. Not only will this help you structure your ideas, but it will also point out flaws in the composition of your essay. Also, don’t forget to pay attention to the thesis statement, which is designed to grab the reader’s attention and state the main idea of the analysis essay.

Start by studying art history before moving on to analyze different visual elements. Carrying out a historical analysis to understand the origins of creative work will lead to a better understanding of the purpose and idea of the work.

When you write a visual analysis, you should make sure to include your personal opinion . Your fresh thou on famous paintings can open up a new audience’s perception of well-known masterpieces.

Never forget, the same approach in the analysis may be suitable for the study of classical painting and be completely inappropriate for modern one. Artists of different trends use actual lines and textures in different ways. Somewhere the smears are clear and graphic, and somewhere soft and weightless. Select study methods depending on the characteristics of a particular work or author .

Visual Analysis Essay Topics Ideas

Visual analysis essays, for sure, are one of the most difficult and interesting forms of rhetorical analysis in college writing. The art world provides us with a huge variety of topics and directions that require study. Here we list some of the most recent and relevant topics for writing your visual analysis essay.

• Analyzing the use of color in Vincent van Gogh’s “Starry Night”
• The symbolism of the mirror in Diego Velázquez’s “Las Meninas”
• The political and social commentary in Banksy’s street art
• Analyzing the use of light and shadow in Caravaggio’s paintings
• The cultural significance of Frida Kahlo’s self-portraits
• The emotional impact of Edvard Munch’s “The Scream”
• The use of perspective in Leonardo da Vinci’s “The Last Supper”
• Analyzing the portrayal of women in Gustav Klimt’s “The Kiss”
• The use of negative space in the minimalist art of Agnes Martin
• The visual representation of power in propaganda posters from World War II

Example of Visual Analysis Essay

And yet, no matter how much we explain to you the theoretical aspects of writing an essay on visual analysis, it is always better to see something on your own. Let’s study together an example of such an essay and consider how different concepts were combined into this work.

Here’s an example of a Visual Analysis Essay on Jean-Michel Basquiat’s painting “Dinosaur”:

Jean-Michel Basquiat’s painting “Dinosaur” is a powerful work of art that combines various elements to create a stunning visual experience. The painting, which was created in 1983, features a large dinosaur-like creature in the center of the canvas. The creature is depicted in Basquiat’s signature style, with bold, black lines and vibrant colors. At first glance, the dinosaur appears to be the focal point of the painting. However, upon closer inspection, it becomes clear that there are many other elements at play. The background of the painting is a chaotic mixture of different colors and shapes, which gives the impression of movement and energy. The various shapes and lines seem to be swirling around the dinosaur, as if it is the center of a vortex. One of the most striking features of the painting is the way that Basquiat has incorporated text into the composition. The word “dinosaur” is written in large, bold letters at the top of the painting. In addition, there are many other words and phrases scattered throughout the canvas, including “skeletons”, “wings”, and “teeth”. These words add an extra layer of meaning to the painting, suggesting that the dinosaur represents something more than just a prehistoric creature. One possible interpretation of the painting is that it is a commentary on the nature of power and dominance. The dinosaur, with its large size and fierce appearance, represents those who hold power over others. The chaotic background of the painting, with its swirling lines and shapes, could represent the chaos and confusion that often accompany the exercise of power. The words and phrases scattered throughout the canvas could be seen as further commentary on the subject, highlighting the various aspects of power and dominance. Overall, Basquiat’s painting “Dinosaur” is a complex and multi-layered work of art that invites viewers to contemplate its meaning and significance. Through its use of bold lines, vibrant colors, and provocative text, the painting challenges us to think deeply about the nature of power, dominance, and the human condition.

Bottom Line

Students often have to keep in mind a large number of requirements for a visual analysis essay. Sometimes it is very difficult to concentrate, and there is not enough time and energy to write a paper. Remember that experienced specialists are always ready to help you. We hope this article has become useful for you, and we wish you success in writing a visual analysis essay!

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Visual Essays: A practice-led journey

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How to Write a HSC Visual Arts Essay Using a Scaffold

When it comes to HSC Visual Arts there’s lots of ways to practice and prepare for your exams, but writing an essay for it can be difficult — if only there was a scaffold you could use to make things easier…

Even if you know you want to memorise an essay, or just go in with key points, knowing how to actually write your response is the most important factor.

Fortunately we’ve come up with this awesome article that lets you know exactly how to use a Visual Arts essay scaffold to write a strong essay!  

So follow along, figure it out and then give it a go and you’ll be on your way to a Band 6 in no time!

What Is Scaffolding? Introduction Body Paragraph 1a Body Paragraph 2a Body Paragraph 1b Body Paragraph 2b Conclusion

What Is Scaffolding in the HSC Visual Arts Essay?

Scaffolding basically involves laying out the individual elements of an essay one by one so that you can see exactly what you need to include .

Throughout high school you probably filled out a scaffold or two for different class tasks and assignments.

Essentially they work by making you aware of exactly what you need to be including in any given response and how to make sure you create the best essay possible.

For the purpose of our scaffold, we’ll be going through and breaking down each paragraph of a Visual Arts extended response/essay. We’ll identify the individual points or ideas you need to include, as well as the best ways to work them into your response.

That way you’ll be bale to go into any art essay knowing exactly what you need to write.

We’ve included example sentences for our introduction and conclusion , as well as one body paragraph to show you exactly what kind of things you should and could be writing.

Download your very own Visual Arts Essay Scaffold

Introduction of the HSC Visual Art Essay

Step 1: thesis sentence responding to the question.

This should be concise and to the point, as you want your thesis to be super clear to whoever is reading your essay. Make sure that whatever you’re saying is answering/responding to the question being asked and try to avoid overly long or complex theses.

Example Question: Art is about reflecting reality. Thesis sentence: “While art may reflect reality, it also acts as an expression of imagination.”

Step 2: Context about artists and artworks

First of all you’ll have to introduce each of your artists and at least two of their artworks, as you’ll be analysing these in your essay. You may then want to add some brief context – even if it’s just one or two descriptors, such as mentioning that one artist is Australian, or that both are women. Whatever context you do mention should be relevant to or play a role in your thesis or main ideas.

Example “Del Kathryn Barton is one such artist, who uses symbolism and decorative patterns to convey concepts of femininity and imagination in her works That’s when I was another tree 2 and She appeared as a lover might.   On the other hand artists such as Barbara Kruger, who uses boldly coloured text in her works Untitled (Pro-life for the unborn/Pro-death for the born) and Untitled (Your body is a battleground) , show how reflecting reality can be pivotal to an artwork.”

Step 3: Signpost the main ideas of the essay

Signposting is the art of telling the reader what you’re going to talk about without actually starting to talk about it. This means you’ll want to briefly name or mention the key ideas or arguments you’ll focus on in your essay, but don’t go into any detail yet! That’s for your body paragraphs.

Example “These two artists despite their differences in style and subject matter both show a respect for that which is real and imagined in their artworks and practice. Hence they reveal through their works that art may reflect reality, but it expresses imagination as well.”

Body Paragraph 1a

Step 1: introduce the first idea you signposted.

It’s time to start detailing your main ideas or arguments from your introduction. You want to use your strongest idea first, so pick the one you know the best or can argue the best and explain it here in a little more detail. Make sure your sentence also makes it clear how this idea links to your thesis and/or the question.

Example “ That’s when I was another tree 2 is one of Barton’s works that uses visual language to express the abstract concept of femininity, using line and symbolism to express an imaginative interpretation of the idea.”

Step 2: Introduce Artist 1 and the artwork you’re analysing

Bring in your first artist by giving some more context on them as is relevant to the idea you’re writing about. This may include their nationality, when they lived, their social background, etc. You’ve already named the artwork you plan to analyse for this paragraph so briefly describe it for the audience. You don’t need to get too in-depth in your descriptions, but make sure the reader knows enough for the rest of your paragraph to make sense.

Example “Barton’s own role in society as a woman clearly influenced both her experiences of reality and her choice to create imaginative, expressive works about it. The image shows a nude girl holding a cat and looking upward, with ribbon wrapped around her arms and hair.”

Step 3: Analyse the artwork using the principles and elements of design, the frames and the conceptual framework

This is the trickier part – actually analysing. You need to make sure you know and understand the artwork and how it relates to or proves the ideas you’re trying to argue.

Analysing how the work interacts with the elements and principles of design, the frames and the conceptual framework is usually the best way to do this. Brush up on analysing the principles of design, the frames, and conceptual framework of art !

Example “The use of thin, jagged line work in the outlines and details of the image create a sense of sharpness and fragility, reminiscent of the edges of broken glass. Meanwhile the inclusion of the ribbons tied to and around the naked figure acts as a symbol for being trapped; trapped by society, trapped by reality and trapped by the expectations of young women in modern times. The cat also acts as a symbol, often tied to the idea of female manipulation, however the dark pink of it paws contrasted with its white claws highlight the way it cuts into the girl’s hand, yet another symbol of physical entrapment.” 

Step 4: Explain how Artist A reflects the idea

Usually most of these connections will be made in your analysis, but you need to really drive home the point you’re making about why this idea is relevant to your artist and vice versa. Do this with a simple sentence stating exactly how the two are linked.

Example “In this work Barton uses imaginative imagery to create an image that expresses an idea without being rooted in reality, thus she is able to accurately and interpretively reveal the abstract idea of femininity.” 

Step 5: Sum up the idea and link back to your thesis

You need to end your paragraph solidly, so make sure your concluding sentence brings your idea, analysis and thesis all together. Make sure to use high modality words like “proves”, “exemplifies”, etc.

Example “Therefore Barton and her work  That’s when I was another tree 2 act as evidence that while art may reflect reality, it is also an expression of imagination.”

Body Paragraph 2a

Step 1: reiterate the first idea you signposted.

Restate the idea from your last paragraph but this time focus on how it links to your second artist. You may want to throw in some simple comparative language as well to begin the contrasting between your two artists, such as “on the other hand”, “in contrast to”, etc.

Step 2: Introduce Artist 2 and the artwork you’re analysing

Do this in the same way as you did in paragraph 1a, making sure to point out any relevant context that may be relevant for your analysis. Also make sure to comment on any important similarities or differences between this artist/artwork and the first artist/artwork.

Just as you did in paragraph 1a you now need to analyse the artwork. Remember you’re analysing comparatively, so comment on whether this artwork is similar or different to the first artwork you looked at, or if it has both different and similar elements.

Step 4: Compare and contrast Artist 1 with how Artist 2 reflects the idea

Really drive home your comparison here by stating how your idea is relevant to this new artist, then comparing and contrasting with how it was relevant to your first artist. This just makes sure you’re covering all bases and making sure your comparative analysis is on point.

Do the same as what you did for paragraph 1a, just make sure to add in a little mention of your comparison. Sentence starters such as “Similar to Artist 1, Artist 2 has proven…” are a great way to do this.

Body Paragraph 1b

Step 1: introduce the second idea you signposted.

Even though your first idea was the stronger one, you want to make sure your second idea is argued and analysed just as well. Introduce the idea in more detail just like you did before, making sure to mention how it connects to your thesis of your HSC Visual Arts Essay.

Step 2: Reintroduce Artist 1 and the artwork you’re analysing

Add any extra context we may need for this artist and then get into naming and describing the new artwork you’re analysing. You have less to write here this time around so don’t worry if you feel you’ve written a little less.

Do this just as you did for paragraph 1a, focusing on the elements and principles of design, the frames and the conceptual framework. Try to avoid analysing all the artworks in the same way, so if you focused on colour symbolism last time, try analysing the use of line or the materials used this time round.

Step 4: Explain how Artist 1 reflects the idea

Again, this is just as you did it in paragraph 1a. One thing you can add would be a comment on how the different or similar ways in which the artist reflects each of the ideas you’ve presented. For example maybe their exploration of your first idea was very obvious, whereas the second was more subtle.

This is the same as you did the first time – make it punchy and powerful and you’re good to go.

Body Paragraph 2b

Step 1: reiterate the second idea you signposted.

Take the idea from paragraph 2a and restate it focusing on your second artist/artwork, including some comparative language for extra punch.

Step 2: Reintroduce Artist 2 and the artwork you’re analysing

Do this just like you did in paragraph 1b – you’ll totally have the hang of this by now.

At this point you’ll be an analysis whiz, so keep it up like you did in paragraph 1b by analysing and comparing at the same time for the best effect.

Step 4: Compare and contrast Artist 2 with how Artist 1 reflects the idea

Smash that comparative analysis out of the park with some final summary on how the two artists/artworks relate in regards to the idea you’re looking at.

This is your last body paragraph so sum it up superbly and you’re almost at the finish line. Make sure to really drive home your idea and how it links to your thesis as well, just to make sure your essay is super cohesive and clear.

Conclusion for the HSC Visual Arts Essay

Step 1: summarise and restate your thesis responding to the question.

Your conclusion is just reminding readers of what they’ve read, so create a punchy sentence that reminds them what your thesis was and how it was responding to the question posed.

Example “While art may reflect reality, the fact of the matter is that it also acts as an expression of imagination, as proven in the works of Barton and Kruger.”

Step 2: Sum up the ideas you originally signposted

Grab those ideas you signposted in the beginning and sum them up succinctly in 1-2 sentences, making sure it’s super clear how and why you argued/proved them. Make mention of your artists and artworks here as well just to sum everything up at the end of your HSC Visual Arts Essay!

Example “While Barton and Kruger are two contrasting artists with vastly different art styles and practices, looking at both demonstrates that reality and imagination may both be explored by any artist. Though each may appear more skewed towards either reality or imagination, their works prove that both ideas play an important role in their artmaking.”

Step 3: Conclude the essay with a strong, snappy sentence

Go out with a bang by creating an awesome finishing line that totally sums up what you’ve said in your essay. This may be a reiteration of your thesis with an “I proved it” twist, or you can use a suitable quote from one of your artists if you’re feeling fancy!

Example “Thus there can be no argument that both reality and imagination are pivotal aspects of both the art world and the worlds and lives of artists themselves.”

And there you have it! By following the steps we’ve laid out in our scaffold it’s totally simple to create your own awesome HSC Visual Arts Essay.

Make sure to focus on the key elements we identified and you’ll be heading straight for those top marks!

Looking for some inspiration for your Visual Arts Major Work ? We’ve created an article to get the ideas flowing!

On the hunt for other HSC Visual Arts resources?

Check out some of our other articles/guides below!

The Master List of HSC Visual Arts Practice Papers

• How to Write Effective HSC Visual Arts Study Notes
• How to Nail HSC Visual Arts Section 1 by Using a Scaffold

Looking for some extra help with using this scaffold for your Visual Arts essay?

We pride ourselves on our inspirational hsc visual arts coaches and mentors.

We offer tutoring and mentoring for Years K-12 in a variety of subjects, with personalised lessons conducted one-on-one in your home or at one of our state of the art campuses in Hornsby or the Hills!

To find out more and get started with an inspirational tutor and mentor get in touch today!

Give us a ring on 1300 267 888, email us at  [email protected]  or check us out on  TikTok !

Maddison Leach completed her HSC in 2014, achieving an ATAR of 98.00 and Band 6 in all her subjects. Having tutored privately for two years before joining Art of Smart, she enjoys helping students through the academic and other aspects of school life, even though it sometimes makes her feel old. Maddison has had a passion for writing since her early teens, having had several short stories published before joining the world of blogging. She’s currently deferring her studies until she starts her Bachelor of Communication at UTS in the spring.

• Topics: 🎨 Visual Arts , ✍️ Learn

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• Essay Database >
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• Essay on Art

Visual Arts Essay Examples

Type of paper: Essay

Topic: Art , History , Communication , Athens , Family , Painting , World , Greece

Published: 01/02/2020

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Visual arts

In arts, one of the oldest forms is visual arts. These forms of art convey their meaning though what they depict. These forms of art can be described as the arts that communicate though any form which makes use of eyes and sometimes touch. In this paper, we will explore two forms of visual arts names the sculptures and painting (Metropolitan history, n,d).

Sculptures are one of the most common forms of visual arts. It appears to be rooted in every society and is still in use till today. A sculpture is a two or three dimensional projection which in most cases stands on its own. It requires little of no attachment to other materials but only at the base or at point of attachment for support (Hark, 1994).

Throughout the history of art, sculptures have been use to communicate certain thoughts and aspects of the artists. This evolved over time and the outlook of the sculptures where used to depict emotion, political and religious environments (History of painting,n.d). There are very many examples of sculptures in the world of arts but the most significant sculptures are from ancient Greece and Mesopotamia not forgetting Athens. They include the naked boy from Athens depicting on lifestyles and a mother and son sculpture found in Italy presumed to be created on imagination of the Holy Mary and her son (History of painting,n.d).

In creation of sculptures, the original piece of materials (wood, stone) might have some parts removed (curving) or added in creating the sculpture. This usually results in a sculpture depending on the intended information to be depicted. One of the modern uses of sculptures is the coinage system in currency.

Looking into painting, it also traces back to almost the age of mankind. It depicts a lot of information in terms of governance, emotions and other aspects of the artist or art period. Painting involves application of substances on a surface to create a visually attractive image which depicts the above mentioned aspects (merian webstar, n.d).

Turning to types of paintings, the classification can be done by the techniques employed, materials and painting media. This results in many classes of paintings which have different characteristics. Painting has also evolved with time to have Arabic paintings, modern western paintings and other genres of painting. A good example of such painting is the wet and dry frescos from ancient Egypt and the neoclassical painting on a beach where the atmosphere appears to be perfect for love (merian webstar n.d).

Metropolitan history of art, art history timeline (n.d) retrieved from http//www.metmuseum.org.

Hark, J.C. 1994, The Art and Architecture of the Indian Subcontinent, Yale University Press Pelican History of Art History of painting(n.d) retrieved from www.history world.com Merian webstar online.retrieved from http//www.marian Webster.com

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Extended Essay Support Site

Visual art - klee.

Study the assessment criteria for the Extended Essay before reading the example essay and RPPF that have been provided below. How would you apply the assessment criteria ? How many marks would you award the essay for Criteria A-D and the RPPF for Criterion E? Discuss your comments and marks with a colleague or classmate, before revealing the examiner's comments and marks below.

When writing about Visual Arts

There are a few points worth considering when writing an EE in Visual Arts. Take these into consideration when reading the following essay: 

• Be careful not to summarise secondary sources (i.e. history books on art).
• Focus on applying theories and ideas on art to particular artists.
• Avoid writing a biography on an artist.
• There should be evidence of critical analysis of primary sources (i.e. artwork).
• Try to come to a personal conclusion that is based on an orginial argument. 

An RPPF with examiner comments is also on this site here . In fact the RPPF that is annotated is the one from this essay. In brief, it is a rather mediocre RPPF , which could have scored much better with a few key changes. Learn from this student's mistakes, so that you do not have to make them on your RPPF . 

• DOI: 10.5860/choice.33-5517
• Corpus ID: 191034499

Meaning in the visual arts : views from the outside : a centennial commemoration of Erwin Panofsky (1892-1968)

• E. Panofsky , I. Lavin
• Published 1995
• Art, History

29 Citations

Approaches to visual culture and religion, the photograph's last word: visual culture studies now, approaches to visual culture and religion : disciplinary trajectories , interdisciplinary connections , and some conditions for further progress, the trouble with painting, the image (less) text, ancient mythological images and their interpretation: an introduction to iconology, semiotics and image studies in classical art history, interpretation in the art museum :authority and access.

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Visual and Performing Arts in Education

Introduction.

Arts have always played a significant role in human creativity and expression, hence their value in education cannot be overstated. The arts have been utilized in education to provide students the chance to express themselves, explore their creativity, and develop important skills. Unfortunately, the local school board is thinking about reducing funding for the school’s artistic programs. I’ll go through my reasoning for focusing on arts in education in this report to demonstrate why the arts should get funding. I cover the following details in full detail: Examples of both the visual and performing arts genres are provided, together with key concepts and vocabulary from the course, and an explanation of the experience of the arts is provided. Describe the value of the arts to mankind. Include stories from accomplished people (such as business executives, entrepreneurs, and celebrities) describing why they support the performing and visual arts. I conclude by outlining how the arts support a diverse society.

Why Education Should Support the Arts

Because the arts are important to schooling, I’ve chosen to talk about them. The first benefit of using the arts in education is to encourage learners’ creativity while also giving them a venue for self-expression. Students who participate in performing and visual arts are encouraged to think critically, communicate their thoughts and feelings, and engage in unique imaginative exploration. According to Thomas (2023), school arts programs provide students a chance to be creative and a venue to express themselves via art. Arts activities encourage creativity, problem-solving abilities, and originality in learners. Additionally, through participating in the arts, kids grow socially and emotionally, increasing their IQ and empath capacity. As they learn to value diversity, accept opposing viewpoints, and cultivate compassion and empathy, students are in a position to comprehend and explore a variety of perspectives, emotions, and cultures via creative experiences. The enhancement of social and emotional development via the use of the arts in school helps to create positive interactions and relationships.

There are categories for performing and visual arts in the arts. The visual arts category includes sculpture, photography, and drawing and painting as examples. Students discover how to communicate and explore their ideas, feelings, and thoughts visually via visual arts. For instance, in a painting or drawing class, students utilize their knowledge of color theory and brush techniques to produce a powerful drawing or painting that captures the essence of the individual. Dance, music, theater, and poetry are a few examples of performing arts. Music which incorporates a chorus will assist the learners to employ voices in their groups (Thomas, 2023). When music is playing, a dancer enables students to express themselves via movement. Through acting skills, theatre teaches students how to express their emotions, take on various personas, and explore narratives. The performing arts provide students a place to practice self-expression, self-assurance, creativity, and teamwork coordination.

Participating in a drawing club, poetry team, dancing team, theater club, school band, or choir exposes one to the arts throughout their schooling. Additionally, schools often have exhibits where students may display their creative works. The incorporation of the arts into other courses exposes students to the arts as well.

The Value of the Arts to Humanity

Because they inspire creativity, promote social and emotional growth, and enhance cognitive capacities in those who participate, the arts are vital to mankind. The arts foster creative expression, problem-solving, and critical thinking abilities, all of which are very beneficial in many facets of life. Additionally, the ability to express and explore one’s feelings is given to individuals who participate in art, which is why it is vital to humans. The ability to connect with others successfully is facilitated by emotional intelligence, self-awareness, and empathy, which the arts cultivate. Last but not least, the arts improve cognitive functions since they have a good influence on cognitive growth, which results in improved memory, analytical ability, and attention.

Supporters of the performing and visual arts

By using their financial resources, knowledge, and clout to support arts programs at educational institutions, patrons of the arts contribute to the long-term sustainability of the arts in our education. Business moguls like Michael Bloomberg, for instance, have been making considerable contributions through funding cultural institutions like theaters, museums, and arts programs in schools. Elon Musk, a successful entrepreneur who has given to museums and sponsored a number of exhibits, is a supporter of the performing and visual arts who has also had a substantial effect on the arts. Celebrities support the performing and visual arts by using their celebrity and riches as patrons of the arts. For instance, Beyoncé launched a project that provides students exploring the arts with scholarships in addition to funding creative and educational initiatives.

Arts Support for Diversity

The arts support the many cultures in society in many different ways. First, many cultures from throughout the globe are celebrated and brought to light via the arts. Arts are seen as a global language that unites a society by overcoming the gaps generated by various cultural differences (Colebrook, 2019). Different cultural artists utilize art to illustrate their viewpoints, experiences, and differences. As individuals all across the globe develop their viewpoints, learn, and combat preconceptions among people from varied origins, representations via art lead to diversity. Additionally, the arts promote cross-cultural understanding by allowing individuals to express themselves creatively while learning about other people’s cultures, worldviews, and customs. People may learn to appreciate many creative genres via art, which fosters intercultural empathy and understanding. As a result, the arts provide a forum for individuals to learn about and engage with other communities’ and the world’s distinct cultures, thereby bridging the cultural divide and fostering an integrated multicultural society.

The importance of the arts in education cannot be overstated since they foster creativity, cultural variety, the development of the mind, and emotional growth. Schools that provide arts programs see a wide variety of advantages, from community development to academic and personal growth. Therefore, it is crucial that the local board think about maintaining financing for arts programs and activities at educational institutions rather than reducing down.

Colebrook, C. (2019). A Cut in Relationality: Art at the End of the World.  Angelaki ,  24 (3), 175-195.

Thomas, B. (2023). Introduction to Spring Valley high school fine arts department: ARTS/100: Introduction to the Visual and Performing Arts.

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Essays on the verbal and visual arts; proceedings of the 1966 annual spring meeting

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• The induced natural context: an ethnographic folklore field technique, by K. S. Goldstein.--Hopi rabbit-hunt chants: a ritualized language, by R. A. Black.--Narrative analysis: oral versions of personal experience, by W. Labov and J. Waletzky.--Revitalized words from The parrot's egg, and The bull that crashes in the kraal: Africal cult sermons, by J. W Fernandez.--Javanese clown and transvestite songs: some relations between primitive classification and communicative events, by J. L. Peacock.--Computers in the bush: tools for the automatic analysis of myths, by P. Maranda.--The cattle of the forest and the harvest of water: the cosmology of Finnish magic, by E. Köngäs Maranda.--Utopian rhetoric: Special features of the sung communication, by A. Lomax.
• the study of ethno-aesthetics: the visual arts, by P. J. C. Dark.--The complementarity of astatistics and feeling in the study of art, by A. W. Wolfe.--Seminole men's clothing, by W. C. Sturtevant.--The cultural context of creativity among Tiwi, by J. C. Goodale and J. D. Koss.--The present status of sculptural art among the tibes of the Ivory Coast, by H. Himmelheber.--Oral tradition and art history in the Sepik District, New Guinea, by D. Newton.

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Essays on the verbal and visual arts / june helm, editor., contributor(s): helm, june | american ethnological society.

• Holdings ( 1 )
• Title notes ( 3 )

Includes bibliographical references.

Contents: Special features of the sung communication, by A. Lomax. - -The study of ethno-aesthetics: the visual arts, by P. J. C. Dark. - -The complementarity of statistics and feeling in the study of art, by A. W. Wolfe. - -Seminole men's clothing, by W. C. Sturtevant. - -The cultural context of creativity among Tiwi, by J. C. Goodale and J. D. Koss. - -The present status of sculptural art among the tribes of the Ivory Coast, by H. Himmelheber. - -Oral tradition and art history in the Sepik District, New Guinea, by D. Newton. Contents: The induced natural context: an ethnographic folklore field technique, by K. S. Goldstein. - -Hopi rabbit-hunt chants: a ritualized language, by R. A. Black. - -Narrative analysis: oral versions of personal experience, by W. Labov and J. Waletzky. - -Revitalized words from The parrot's egg, and The bull that crashes in the kraal: African cult sermons, by J. W. Fernandez. - -Javanese clown and transvestite songs: some relations between primitive classification and communicative events, by J. L. Peacock. - -Computers in the bush: tools for the automatic analysis of myths, by P. Maranda. - -The cattle of the forest and the harvest of water: the cosmology of Finnish magic, by E. Köngäs Maranda. - -Utopian rhetoric: conversion and conversation in a Japanese cult, by D. W. Plath.

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Head of Visual Arts

• Shrewsbury International School India
• Quick apply

Job overview

Are you an experienced and inspirational teacher of Art? Are you the kind of educator who gets the best out of students and staff? We are looking to recruit a founding Head of Visual Arts to create an outstanding Art Department.

Opening in August 2025, Shrewsbury International School India will be a boarding school for children from age 11 to 18. The school will deliver the British Curriculum within the whole person education for which Shrewsbury is famed. We expect Art to be a favoured academic subject and art related activities to be very popular within our co and extra-curricular program. Art and the Art department will also play a crucial role in crafting our identity as an institution that combines the best of British and Indian education.

Located in Madhya Pradesh, at the very heart of India, the school’s 150-acre campus will have exceptional state of the art facilities for the teaching and learning. This role offers a rare opportunity to be part of bringing an extraordinary campus to life.

The school is sponsored by Jagran Social Welfare Society (JSWS), a well-established and successful education provider based in Madhya Pradesh. JSWS already has 13 successful institutions within its portfolio, many of which it has built from the ground up.

In addition to an attractive salary, the school’s Heads of Department will be provided with well-appointed accommodation, medical insurance, and an annual travel allowance. Full tuition fee remission at the school for up to two of their children is also offered. If the appointee’s children are not of an age to join Shrewsbury, full tuition fee remission will be offered at one of the local sister schools within JSWS.

To apply complete the TES application form by no later than 0900 (UK) on Wednesday 23rd October 2024.

Initial interviews will be online in w/c 18th November 2024.

To arrange an informal conversation about this role with the Founding Headmaster, please write to: [email protected]

Shrewsbury International School India is committed to safeguarding and promoting the welfare of children and young people, and it expects all staff and volunteers to share this commitment. All applicants must be willing to undergo child protection screening, including checks with past employers and the Disclosure and Barring Service (DBS), International Child Protection Certificate (ICPC) or equivalent.

Attached documents

• Applicant Info Pack 793.69KB

About Shrewsbury International School India

• Madhya Pradesh

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