Writing
about
ART
T
ABLE OF CONTENTS
Critical Writing
1
Writing Examples
2
Writing Tips
6
The Writing Process
7
Revising the Paper
8
Written Assignment Checklist
9
List of Art Terms
11
A Brief Dictionary of Art Terminology
12
How to Cite Correctly
14
This document was compiled by Rachel Breen, Carol Joslin, AnDrea Larkin Cleaves and Molly Skjei
for the Department of Art at Normandale Community College. The project was supported with an
Innovation Grant from Normandale Community College.
CRITICAL WRITING
An important part of writing is critical thinking. Critical Thinking can help you to make a
fundamental point, or explain your opinion in a more thorough way. A good way to make a point, or
explain an opinion or critique is to break down your information into separate parts of a whole. Take
the following 3 points and use them to explain your information more fully.
1. Give a basic statement of what you are trying to say in 1 or 2 sentences.
2. Give a more full explanation of the brief statement you have just made (a few lines up to
multiple paragraphs).
3. Illustrate your point.
Here is an example of how these points would be used within a paper about a specific work of art:
Caravaggio's The Calling of Saint Matthew is an innovative work of art from the Baroque period. This
painting has elements which are seen as very typical of the Baroque period such as, drama, religious
scenery, and a high contrast of light and dark (also called tenebrism). The religious scenery is unique
because Caravaggio placed this moment from the life of Matthew in a local Roman bar, surrounded by
figures in contemporary dress. The drama is created by the contrast between these local gamblers and the
figures of Jesus and Saint Peter, who are dressed in historic clothing. The drama is further underscored by
the deep darkness in the majority of the painting, with the light shining directly on Matthew. The light
comes through the open window, cutting across the room and illuminating a large portion of the wall in the
background, and ultimately illuminating Matthew and the faces of his closest companions. The forward
motion and the spirituality of the light are helped by Jesus' right arm, lifted up and pointing at Matthew.
On the left side of the painting, behind Matthew and his companions, the room is almost completely dark.
The viewer has no concept of the size or shape of the room, or if there are other people present. This
tenebrism creates a spiritual and emotional drama within the painting.
Here is the same paragraph broken down into each separate section:
Basic Statement: Caravaggio's The Calling of Saint Matthew is an innovative work of art from the
Baroque period. This painting has elements that are seen as very typical of the Baroque period, such
as drama, religious scenery, and a high contrast of light and dark (also called tenebrism).
Full Explanation: The religious scenery is unique because Caravaggio placed this moment from the
life of Matthew in a local Roman bar, surrounded by figures in contemporary dress. The drama is
created by the contrast between these local gamblers and the figures of Jesus and Saint Peter, who are
dressed in historic clothing. The drama is further underscored by the deep darkness in the majority of
the painting, with the light shining directly on Matthew.
Illustration of point: The light comes through the open window, cutting across the room and
illuminating a large portion of the wall in the background, and ultimately illuminating Matthew, and
the faces of his closest companions. The forward motion and the spirituality of the light are helped by
Jesus' right arm, lifted up and pointing at Matthew. On the left side of the painting, behind Matthew
and his companions, the room is almost completely dark. The viewer has no concept of the size or
shape of the room, or if there are other people present. This tenebrism creates a spiritual and
emotional drama within the painting.
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WRITING EXAMPLES
Students may be asked to write about art and artists as a development of critical thinking skills. Here
are some examples of successful and unsuccessful paragraphs from the different kinds of assignments
you may get in your art classes. Please use these as a starting point in thinking about your own
writing. Do not copy these paragraphs. They are strong examples of how to clearly communicate
your ideas in a scholarly way.
Introductory paragraphs about a specific work of art
Strong example
The 17th century painting, The Immaculate Conception with Saints Francis of Assisi and Anthony of Padua,
is an altarpiece that expresses how the Virgin Mary was conceived without sin. Painted in 1650 by
Giovanni Bendetto Castiglione, the large-scale painting was meant to invite the viewer into a “mystical
occurrence” since it was to become the main focal point of a newly dedicated church. The Immaculate
Conception showcases the characteristics of an ideal Baroque style of painting; it was emotion, light and
movement, which leave the viewer in admiration of the Virgin Mary.
What’s good about it?
• Focus is on the subject, The Immaculate Conception…
• The thesis statement is clearly stated: “The Immaculate Conception showcases the
characteristics of an ideal Baroque style of painting; it was emotion, light and movement,
which leave the viewer in admiration of the Virgin Mary.”
• Author presents information about the subject (painted in 1650 by Giovanni…)
• Author uses art vocabulary knowledgeably (Baroque style…)
• Author describes the who, what, when where and why clearly.
Poor example
One thing that drew me into Sikander’s artwork would have to be her vision of art. All of her artwork is so
imaginative and enjoyable to look at. I think Sikander’s art has so many different stories taking place that
it catches your eye and makes you want to look at it and explore it more in depth. The painting I saw that
was really fascinating was the Pleasure Pillars. This painting was so descriptive and has so many different
elements and things happening in it.
What’s weak about it?
• Assumes the audience – who is Sikander and what is her artwork like?
• The adjectives are not followed up with specifics.
• There is no clear thesis statement.
Introductory paragraph about an artist and his/her work
Strong example
A virtuoso in the experimentation of a broad spectrum of mediums and techniques, Ellen Gallagher utilizes
methods that include etching, collage, photogravure, offset lithography, spit-bite and hand building.
Gallagher’s work Deluxe, a portfolio that includes sixty collage prints, demonstrates her humorous style.
Gallagher uses stereotypical images of black culture to examine issues of racial identity. Her artwork
portrays the absurdity of commercialism and consumerism, through her use of appropriation and alteration.
What’s good about it?
• Focus is on the subject, Gallagher
• The thesis statement is clearly stated
• Author presents information about the subject (Gallagher utilizes techniques like…)
• Author uses art vocabulary knowledgeably
• Minimal adjectives
• Analytic sentences that take us from the general to the specific.
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Poor Example
This class has taught me many different ways to look at art. It has also taught me how to
visualize and interpret what I am seeing. It has also given me many tools to use when looking at
art. At the beginning of this semester, I may not have been able to understand or appreciate
Mathew Ritchie’s art. Looking at Mathew Ritchie’s art now, I really have a better appreciation
and understanding of it. In this paper, I plan to discuss three main topics. They will be the
history and meaning behind Mathew Ritchie’s work, the form and content of his work, and two
pictures that I individually chose to present in class. I hope that after reading this paper you will
be able to see what Mathew Ritchie wants you to see when you look at this art.
What’s weak about it?
• Too much personal information.
• The paragraph tells us what the writer will do but doesn’t give us information about the artist
or his work.
• There is no thesis statement.
A paragraph that describes the formal qualities of a work of art
Strong example
Cloud Gate has a very fluid shape with no straight edges. Combined with its curving shape and polished
mirror-like surface, Cloud Gate actually takes on the appearance of mercury, even though it is constructed
of stainless steel. Because of its shape, viewers can actually walk underneath it and view the concave
chamber, or omphalos, formed into its underbelly. The surface both reflects and distorts the surrounding
cityscape and passing viewers, challenging viewers with what is real. The omphalos multiplies reflections
over and over again like a House of Mirror in a carnival, seeming to fill up the empty space with the
illusion of being filled with countless copies of the pedestrians passing underneath it. Cloud Gate takes up
a lot of physical space, while all anyone truly sees of it is what is reflected off of its surface, which almost
makes it seem like an empty space.
What’s good about it?
• Description of the work uses specific and interesting language.
• The description is not a list format and helps the reader to visualize the sculpture.
• The paragraph also analyzes the description.
• The paragraph makes the same point in multiple ways
Poor Example
The painting shows so much detail, it is very realistic; this is another way Delff adds to the painting. He
gives you depth with the shadows, leads your eye from one thing to another, he creates a mood, a feeling of
coolness. Delff does all this by the way he painted the still life. The colors he uses are cool and dark, it
gives the painting an almost dreary feel to it. The shadows of the pans onto the wall create the illusion of
depth, lets your eye begin to see more space than what is actually there. Delff creates a 3D image in a 2D
world. The use of light in this painting is very important. The light helps the viewer pick out the specific
items on the table, (hint, the 4 elements). Each of the 4 elements has a hint of light that is shining on it,
giving the viewer a sense of purpose for the painting. Delff even creates a background that ties into the
foreground, he paints a hint of a fireplace into the left hand corner, and again this is a nudge towards the
element of fire.
What’s weak about it?
• This paragraph uses repetitive language
• The paragraph is not organized well and therefore is difficult to follow
Paragraph describing content
Strong example
Signs is a collage that fits Rauschenberg’s style while also provoking strong feelings, which is what he was
attempting to accomplish. “The artist’s job is to be a witness to his time in history”, says Rauschenberg
(Joseph pg. 24). The collage combines carefully chosen images from the oppression of African-Americans,
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the war in Vietnam, astronaut Buzz Aldrin, death of Blues rocker Janis Joplin, and the assassinations of
John and Bobby Kennedy and Martin Luther King Jr., all into one striking image. These events are all seen
as major turning points of the turbulent 1960’s. This is what Rauschenberg became known for; artworks
that were explosive to view because of the events they depicted while also provoking political thought.
What’s good about it?
• Author cites a source (Joseph, p.24)
• The quote backs up the author’s information
• Discusses content of the work and relates the content to the artist
Poor example
If I hadn’t seen Amy Silliman’s paintings before this semester, I wouldn’t have understood why she painted
like this. When I first looked at her paintings, I thought, “I could do that!” They look like a small child
painted them, but if you look at them long enough, and think about the content, you’ll realize that each
piece means something. All of her paintings seem to tell a story about life. They are very abstract, so its
hard to tell what objects are in them, but I think its is supposed to be open to interpretation. After seeing
her paintings, it kind of makes me want to get into painting again. I took a painting class in high school,
and I loved it. Her work really inspired me to get back into it. I’m not that great at drawing, but seeing that
abstract art is just as beautiful as any other type of art, I think I could do a good job.
What’s weak about it?
• Too much information about the writer’s feelings
• There is no information about the artist
• Uses terminology such as “abstract” but does not describe how this term relates specifically
to the work
Paragraph expressing opinion or interpretation
Strong example
When I first saw this piece, it took me awhile to understand her message and it was hard to see the
photographs and newspaper clippings that she had chosen to include. I thought about the title and the
media she used. What did she mean by “Gifts for Trading Land with White People”? I came to the
conclusion that what she is trying to convey is that when the Native Americans were forced to trade their
land with the white people, what they got in return was blood shed, sadness and loss of culture. When the
Native Americans tried to fight back, they became known as savages and the stereotypes we know today of
these “savages” are displayed above Quick-to-see-Smith’s work as athletic team names and mascots,
tobacco mascots, etc. I feel as if Quick-to-see-Smith is trying to say that in return for giving up their land
to the white people, her people received nothing but death and mockery.
What’s good about it?
• Paragraph uses specific examples to back up the writer’s ideas
• The writer uses an interesting device – asks a questions and then answers the question within
the paragraph
Poor example
I was immediately drawn to this painting. I think it is beautiful and the first thing I thought of was that
there would be many other paintings to compare it to, but Murillo really does have his own soft style. I
absolutely adore the soft face she has, and the strong contrast of dark and light. I like the idea, and the fact
that that she was believed to have been a prostitute for so many years, making her saint hood all that more
dramatic.
What’s weak about it?
• Adjectives are not backed up with specific examples about the work.
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Concluding paragraphs
Strong example
Most of us will never have to face the adversity that Chuck Close has had to overcome. He was able to
alter his medium just enough to make it possible for him to continue painting, while not loosing his largescale photo-based niche. When looking at Close’s works through the years, one would think that the
slightest changes he made were just an artist’s natural progression, not changes that were forced upon him
by a physical disability. The work that he created before and after his paralysis, and the way he overcame
his disabilities make Chuck Close a great contemporary artist.
What’s good about it?
• Takes the facts presented and evaluates them.
• Uses summary statements that are analytical and connect specifically to the work.
Poor example
Christ Driving the Money Changers from the Temple painting is beautiful. The colors El Greco uses are
fantastic. The details he uses throughout the painting keep you busy looking. The biblical story that the
painting is based upon is very interesting and El Greco’s portrayal of it is fantastic.
What’s weak about it?
• The paragraph lacks evaluation and analysis.
• The general adjectives used are not backed up by specific examples.
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WRITING TIPS
Words and phrases to use sparingly
Avoid using adjectives by themselves, without explanation, such as beautiful, interesting, amazing,
fantastic, incredible, etc. These words are meaningless without facts to back them up. You can use
adjectives if you support them with facts. Here's a good equation:
Adjectives + because, followed by the elements and principles (see Glossary) = good writing
Be aware; when you use a lot of adjectives, you speak in a very general way, which is not a positive
quality in writing about art. To get a better idea of how you can get specific with your writing, check
out the good writing examples. You will see that those examples all feature little to no adjectives to
describe their meaning.
Words and phrases to avoid entirely
Completely avoid using these: cool, awesome, tight, freaky, weird, anyway, really, totally, super,
pretty much, kind of, sort of, long ago, back in the day. Here are some good rules to follow:
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•
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If you would write a word/phrase in an email to a friend or in a text message, DON'T use it in
a paper.
If you find yourself writing your paper as though you are in the middle of or continuing a
conversation with a friend, STOP! Reevaluate.
If you find yourself using phrases that make you sound as though you are unsure of what you
are talking about (sort of, kind of, maybe), STOP! Delete them. Make confident statements,
backed up by fact.
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THE WRITING PROCESS
1. Brainstorming: just write down ideas in any order that they come to you.
2. Write a thesis statement: when looking at your ideas determine a direction for your paper.
This direction is stated in the thesis statement.
3. Create an outline: expand upon the thesis and organize the ideas from brainstorming.
Determine the length of each section of your outline
4. Write the first draft. A good outline will take you quite naturally into your first draft.
5. Edit the first draft. This could be a peer editing.
6. Revise.
7. This would be a good time to meet with your professor for consultation and editing or go to
the writing center.
8. Write the final draft.
9. Review and revise the final draft: look for any small errors or typos you might have missed.
10. Print it and hand it in!
Writing About Art by J. Susan Isaacs
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REVISING THE PAPER
Questions to Ask When Revising an Essay
1. Have I studied the artwork so that I understand what qualities in it caused my initial
response?
2. Have I deepened or otherwise changed that initial response?
3. Is the title of my essay at least moderately informative?
4. Is the opening paragraph interesting, and by its end, have I focused on the topic?
5. Is the work of art identified as precisely as possible (artist, material, location, date, etc.)?
6. Do I state my point (thesis) in the first paragraph? And does my paper explain my thesis
clearly?
7. Is the organization reasonable? Does each point lead into the next and does it flow clearly?
8. Is each paragraph unified by a topic sentence or topic idea?
9. Are generalizations and assertions about personal responses supported by references to
specific examples in the work?
10. Are the sentences concise, clear, and emphatic? Are needless words and inflated language
eliminated?
11. Is the concluding paragraph conclusive without being repetitive?
12. Are the dates and quotations accurate? Is credit given to sources? Are photocopies of works
of art included and properly captioned?
13. Are the long quotations really necessary? Can some be shortened (either by ellipses or by
summarizing them) without loss?
14. Has the essay been proofread? Are the spelling and punctuation correct? Is the title of the
essay in proper form? Are the titles of works of art – other than architecture – underlined? If
there are any footnotes, are they in proper form?
Sylvan Barnet. A Short Guide to Writing About Art, inside cover
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WRITTEN ASSIGNMENT CHECKLIST
Format
 The artist and artwork that I am writing about are identified in the beginning of my paper.
 I have included a cover sheet and a bibliography.
 I have typed my paper.
Content
 I am not making guesses about my artist and artwork; I used research to make informed
statements.
 I give clear examples from the artwork and research to support my ideas
 I did not just answer yes and no the guideline questions. My writing is in paragraph form and
the ideas that I am writing about are the ones that are relevant to the artist and artwork I
chose.
 I went beyond general observations and surface descriptions to clearly describe the important
aspects of the artwork.
 I have researched the type of media this artist used to create this work.
Writing
 I have put all quotes in quotation marks and referenced all work from other sources.
 I am using academic and not casual language in my paper – even in sections that call for my
personal reaction to the work.
 I have proofread my work to catch awkward sentences, redundant sentences, incomplete
ideas, or spelling errors.
Common Mistakes to Avoid and Hints for Success
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Refer to the artist as an artist and not an author.
Refer to the artist by full name or by last name; rarely would you use only the first name.
Put the title of the artwork in italics.
Refer to the artwork by the proper media. Not everything is a painting. This is sometimes
tricky when writing about sculpture. You may be looking at a photograph of a sculpture, but
unless you are discussing the photograph itself and the photographer; make sure to refer to
the sculpture as a sculpture.
In a short paper, do not use phrases such as, “like I said before.” Your reader should be able
to remember these ideas. It may be better to give more supporting examples to reinforce and
clarify your ideas.
Take a moment to write down the key points you wish to make. Then organize these ideas to
create your thesis statements and supporting sentences for your paragraphs.
Be specific in your writing – avoid general statements. Support your ideas with facts and
examples. For example: saying, “Picasso uses color and shape in his painting, Les
Demoiselles d’Avignon,” doesn’t say much. Which colors? What shapes? What are the effects
of these choices on the image? Saying, “Picasso uses the garish contrasting colors of blue and
orange together with harsh and jagged triangular shapes to create a sense of uneasiness in his
painting, Les Demoiselles d’Avignon,” is more descriptive.
Assume your reader is intelligent but does not know everything about the work you are
describing. If you took out the name of the artist and title of the artwork from your paper and
asked someone to read your paper, could they pick out the artwork - based on your
description - from a group of similar works?
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 Avoid redundant sentences. For example: saying, “Picasso’s painting, Les Demoiselles
d’Avignon, is an example of Cubism. This painting is broken up into planes and angles
because it is from the Cubist movement. Picasso uses many geometric shapes and multiple
viewpoints in this Cubist style painting.” It may be more effective to consolidate those
sentences; “Picasso’s use of geometric shapes and multiple viewpoints in his painting, Les
Demoiselles d’Avignon, are typical of the Cubist movement.”
 Discuss only the significant points. For example, if the image has color and value as its
dominant elements, it may be unnecessary to talk about its use of line or texture.
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ART TERMS
These can be used to describe artwork in detail and with specificity
General Terms
Design
Visual Element
Principles of
Design
Content
Form
Aesthetic
Collage
Mixed Media
Archival
Diptych
Font
Medium/Media
Pigment
Support
Cliché
Thumbnail
Economy
Idealism
Realism
Abstraction
Non-objective
Conceptual
Representational
Line
Line
Implied Line
Psychic Line
Contour line
Gesture
Line quality
Cross-hatching
Volume
Lost-and-Found
Contour
Value
Value Contrast
Value
Value Emphasis
Shading
Shape/Volume
Form
Shape
Biomorphic
Curvilinear
Rectilinear
Closure
Figure/Ground
Texture:
Visual Texture
Pattern
Trompe l´oeil
Invented Texture
Arbitrary texture
Frottage
Space
Plane
Picture Plane
Vanishing Point
Eye Level
Linear Perspective
One-Point
Perspective
Two-Point
Perspective
Atmospheric/Aeria
l Perspective
Foreshortening
Equivocal Space
Juxtaposition
Transparency
Overlap
Negative space
Color
Color
Spectrum
Additive System
Subtractive System
Color Constancy
Constancy Effect
Chromatic
Visual Color
Mixing or
Optical Color
Color Interaction
Cool Colors
Warm Colors
Tonality
Hue
Local Color
Optical color
Value
Intensity
Achromatic
Monochromatic
Chromatic Gray or
Neutral
Analogous colors
Complementary
colors
Secondary colors
Intermediate or
tertiary colors
Primary colors
Simultaneous
contrast
Tint
Tone
Shade
Bezold Effect
Motion
Multiple Image
Anticipated
Movement
Unity
Continuation
Continuity
Proximity
Grid
Harmony
Repetition
Graphic
Gestalt
Rhythm
Rhythm
Alternating
Rhythm
Progressive
Rhythm
Motif
Kinetic
Balance/
Composition
Composition
Balance
Absolute
Symmetry
Symmetrical
Balance or
Formal Balance
or Classical
Symmetry
Asymmetrical
Balance or
Informal Balance
Bilateral
Symmetry
Radial Balance
Axis
Equilibrium
Afocal image
Allover Pattern or
Crystallographic
Balance
Visual Weight
Crop
Closed Form
Open Form
Proportion
Golden Mean
Golden Rectangle
Hieratic Scaling
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A BRIEF DICTIONARY OF ART TERMINOLOGY
Form: In its most basic sense, form is what you see. It is the physical quality of a work of art. In its
broadest sense form is the total structure, a synthesis of all the visible aspects of that structure and of
the manner in which these aspects are united to create the distinctive character of the work. Terms
used to describe art are “Visual Elements of Art,” and “Principles of Design.”
Visual Elements of Art: The basic components used by the artist when producing works of art.
Those elements are line, value, shape, texture, space, color, and time.
Line: A mark with length and direction(s). An element of art that refers to the continuous mark made
on some surface by a moving point. Types of line include: vertical, horizontal, diagonal, straight or
ruled, curved, bent, angular, thin, thick or wide, interrupted (dotted, dashed, broken, etc.), blurred or
fuzzy, controlled, freehand, parallel, hatching, meandering, and spiraling. Often it defines a space,
and may create an outline or contour, define a silhouette, create patterns, or movement, and the
illusion of mass or volume. It may be two-dimensional (as with pencil on paper), three-dimensional
(as with wire), or implied (the edge of a shape or form).
Value: An element of art that refers to luminance or luminosity — the lightness or darkness of a
color. This is important in any polychromatic image, but it can be more apparent when an image is
monochromatic, as in many drawings, woodcuts, lithographs, and photographs.
Shape: An element of art, it is an enclosed space defined and determined by other art elements such
as line, color, value, and texture. In painting and drawing, shapes may take on the appearance of solid
three-dimensional object even though they are limited to two dimensions — length and width. This
two-dimensional character of shape distinguishes it from form, which has depth as well as length and
width.
Texture: An element of art, texture is the surface quality or "feel" of an object, its smoothness,
roughness, softness, etc. The three basic types of texture are actual, simulated, and invented texture.
Space: An element of art that refers to the distance or area between, around, above, below, or within
things. It can be described as two-dimensional or three-dimensional; as flat, shallow, or deep; as open
or closed; as positive or negative; and as actual, ambiguous, or illusory.
Color: Produced by light of various wavelengths, and when light strikes an object and reflects back to
the eyes. An element of art with three properties:
1. Hue or tint, the color name, e.g., red, yellow, blue, etc.
2. Intensity, the purity and strength of a color, e.g., bright red or dull red
3. Value, the lightness or darkness of a color
When the spectrum is organized as a color wheel, the colors are divided into groups called primary,
secondary, and intermediate (or tertiary) colors. Colors may be described as analogous or
complementary, as warm or cool colors, and objective or subjective.
Time: In visual art, time is an element in automata, mobiles, and kinetic sculpture; animation is a
time-based art, as is cinema, video, and much of new media. An artist can imply the passage of time
in a static piece of work by incorporating rhythm or periodicity, and when evoking history or the
future (think about memories, metamorphoses, allegories, and palimpsests).
Principles of design: Certain qualities inherent in the choice and arrangement of elements of art in
the production of a work of art. Artists "design" their works to varying degrees by controlling and
ordering the elements of art. Considering the principles is especially useful in analyzing ways in
which a work is pleasing in formal ways. How any work exhibits applications of these principles can
further or modify other characteristics of a work as well. Some principles overlap or oppose others,
and some are viewed as more important, more ideal, more relevant or irrelevant (or even undesirable)
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than others. So it is understandable that various authorities' lists of principles differ one from another.
Principles include: balance, emphasis, harmony, proportion, rhythm, unity, and variety.
Balance: A principle of design, balance refers to the way the elements of art are arranged to create a
feeling of stability in a work, a pleasing or harmonious arrangement or proportion of parts or areas in
a design or composition. Balance can be symmetrical, or formal; or it can be asymmetrical, or
informal. It can also be radial.
Emphasis: One of the principles of design, emphasis gives importance or dominance (weight) to
some feature or features of an artwork; something singled out, stressed, or drawn attention to by
means of contrast, anomaly, or counterpoint for aesthetic impact.
Harmony: A principle of design, harmony refers to a way of combining elements of art to accent
their similarities and bind the picture parts into a whole. It is often achieved through the use of
repetition and simplicity. Excessive harmony leads to monotony, boredom.
Proportion: A principle of design, proportion refers to the comparative, proper, or harmonious
relationship of one part to another or to the whole with respect to size, quantity, or degree; a ratio.
Rhythm: A visual tempo or beat; the principle of design that refers to a regular repetition of elements
of art to produce the look and feel of movement. It is often achieved through the careful placement of
repeated components that invite the viewer's eye to jump rapidly or glide smoothly from one to the
next. In any artwork, it is possible to distinguish between rhythm of color, line, and form. In the
continuity of the three comes the whole rhythm of that work.
Unity: The quality of wholeness or oneness that is achieved through the effective use of the elements
and principles of design. A totality that combines all of its parts into one complete, cohesive whole.
Variety: A principle of design that refers to a way of combining elements of art in involved ways to
achieve intricate and complex relationships. An artwork that makes use of many different hues,
values, lines, textures, and shapes would reflect the artist's desire for variety.
Color Scheme: A set of colors that are used in an artwork, and the way they are combined in an
artwork; sometimes called a palette. Examples include achromatic, monochromatic, complementary,
analogous, split complementary, and triadic (three) color schemes.
Content: What a work of art is about; the meaning or message found in the work. Content should not
be confused with form (a work's physical characteristics) or context (a work's environment, time,
place, audience, etc.), although each of these effect each other, and a work's total significance.
Contrast: A principle of design, this term refers to a way of juxtaposing elements of art to stress the
differences between them. Thus, a painting might have bright color, which contrast with dark colors,
or angular shapes that contrast with curvaceous shapes.
Medium: The material or technique used by an artist to produce a work of art.
Negative Space: Empty space in an artwork, a void.
Positive Space: Space in an artwork that is positive — filled with something, such as lines, designs,
color, or shapes; the opposite of negative space.
Style: An artist's characteristic manner of expression. Also, works of art by different artists may have
certain features in common. Such works are said to have a group style.
Art Lex, the online Art Dictionary, www.artlex.com
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HOW TO CITE CORRECTLY
Because MLA is the easiest style, it is recommended that you use it for your papers.
When you are citing the source within your paper, if you use the name of the author in the paragraph,
you don’t need to also use it in the citation. For example:
According to Marilyn Stokstad, “the visual arts are among the most sophisticated forms of human
communication” (24).
But if you are just using the quotation and not the name of the author, you must include both name
and page number in the citation. For example:
“Realistic art, even if it represents an imagined or supernatural subject, has a surface reality.” (Stokstad 19).
(Notice where the citations are in relation to punctuation marks like commas and quotation marks)
How to cite
•
•
•
•
A work by two or three authors: (Johnson, Smith and Edwards 121)
A work by more than three authors: (Anderson et al. 27)
A multivolume work: (Johnson 2: 180) - 2 being the volume numberMore than one work by the same author – use the titles, or a short form of the title, if the title
is long (like the first word). For example:
According to John Kenneth Galbraith, 17% of the America work force was unemployed as late as 1939
(Uncertainty 221). Many historians have argued that the Second World War ended the Depression;
however, after the war, “it would be a deliberate purpose of government…to ensure full employment”
(Galbraith, Economics 251)
(Note the ellipses; when you eliminate a section of a quote, which is not pertinent to your argument,
use 3 ellipses)
•
•
If you have a source with no author, use the first word of the title in your citation:
(Smithsonian 55)
If a quotation is more than four lines long, separate it out from the rest of the paragraph. For
example:
The art in the reign of King Akenhaten was different from any other Egyptian art. Akenhaten
instituted the worship of a new god, Aten, the sun disk. He also placed a high importance on truth.
Marilyn Stokstad points out that:
Such concern for truth found expression in new artistic conventions. In portraits of the king, artists
emphasized his unusual physical characteristics- long thin arms and legs, a protruding stomach,
swelling thighs, a thin neck supporting an elongated skull. Unlike his predecessors, and in keeping
with his penchant for candor, Akenhaten urged his artists to portray the royal family in informal
situations. (119)
Your next line would continue here.
Web Pages
The following section on the Internet is mostly taken from “Citing in MLA style” on the Normandale
Library Website; go there for more information.
Full Text article from an online magazine:
Harder, Ben. “Wildfire Below: Smoldering Peat disgorges huge volumes of carbon.” Science News
Online 9. Nov. 2002. 13 Nov. 2002.
http://www.sciencenews.org/20001109/fob1.asp
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Article in an online encyclopedia:
“Fresco Painting.” Encyclopaedia Britannica Online. 2004. Encyclopaedia Britannica. 20 Mar.
2004.
http://www.search.eb.com/eb/article?eu=36035
An official website (artist’s foundation, artist’s personal website, university website):
“Pablo Picasso Biography.” Picasso.Fr: Official Site for Picasso’s life and works. 2000. 5 Jan 2008
http://www.picasso.fr/anglais/
Parenthetical Reference: (Pablo Picasso Biography)
Teraoka, Masami. Masami Teraoka’s Art Theater. 5 Jan 2008
http://www.masamiteraoka.com/index2.html
Full Text Articles in Electronic Databases:
Articles obtained from Electronic Databases:
Entries for articles in online articles in an electronic database to which NCC subscribes, such as
Expanded Academic, LexisNexis, One File, JSTOR, Project Muse, or Academic Search Premier are
the same as print articles, but they include additional important information. After the page
number(s), indicate the database where you found the article, the name of the service (if known), the
name of the library and the date of access. If only the starting page number of the article is provided,
list the starting page number followed by a hyphen, a space and a period. Leave out the URL of the
services home page and end the citation with the date of access. In parenthetical references pages
numbers are omitted (unless the document has fixed page numbers).
Full Text Newspaper Article in LexisNexis Academic Database:
Liswood, Laura A. “Gender Politics and the Oval Office: Why Don’t Women Run for President?”
Baltimore
Sun 31 March 1999: 23A. LexisNexis Academic/General News/Major Newspapers,
Normandale Community College Library, Bloomington. 5 Aug. 2000.
Parenthetical reference: (Liswood)
Full Text Magazine Article in Expanded Academic ASAP:
Fox, Justin. “What in the World Happened to Economics?” Fortune 15 Mar. 1999:90-. Expanded
Academic
ASAP, Gale Group, Normandale Community College Library, Bloomington. 31 Aug. 2002.
Full Text Journal Article in JSTOR:
Architectural History 25, 1982: 120-130 + 166-68. JSTOR, Normandale Community College
Library, Bloomington.
19 Sept. 2006.
Parenthetical Reference: (Davies 123)
Full Text Article from Ebsco’s Academic Search Premier Database:
Barksdale, W. Maynard. “Thoreau’s House at Walden”. Art Bulletin 81 (1999): 303-25. Academic
Search
Premier. EBSCOHost. Normandale Community College Library, Bloomington. 19 Nov.
2002.
How to cite your sources in your “Works Cited” page (Bibliography):
One author:
Reynolds, David. Beneath the American Renaissance: The Subversive Imagination
in the Age of Emerson and Melville. New York: Knopf, 1988.
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More than one work by the same author:
Cisneros, Sandra. The House on Mango Street. Houston: Arte Publica, 1983.
_____________. Woman Hollering Creek. New York, Random, 1991.
Two Authors:
Bartlett, Donald L., and James B. Steele. Forevermore: Nuclear Waste in America.
New York: Norton, 1985.
Three Authors:
Aiken, Michael, Lewis A. Ferman, and Harold L. Sheppard. Economic Failure,
Alienation and Extremism. Ann Arbor: University of Michigan Press, 1968.
More than Three Authors:
Quirk, Randolph, et al. A Comprehensive Grammar of the English Language.
London: Longman, 1985.
Editor as Author and Reprint:
Britt, David, ed. Modern Art: Impressionism to Post-Modernism. 1974.
London: Thames and Hudson, 2003.
**The first edition was published in 1974, but it was reprinted by the same publisher in 2003.
Therefore, it would be cited as I have cited it above.
Work from an anthology (This is any work which is edited by one person, but has sections
written by other people):
Denvir, Bernard. “Impressionism.” Modern Art: Impressionism to Post-Modernism.
Ed. David Britt. 1974. London: Thames and Hudson, 2003. 11-57.
Encyclopedia and almanacs:
Hopkinson, Ralph G. “Electric Lighting.” Encyclopedia Brittanica. 1985 edition.
Weekly Magazine or Newspaper:
Stresser, Stan. “Report from Cambodia.” The New Yorker 18 May 1992: 43-75.
Daily Newspaper:
Ibata, David. “Information Highway to the Future.” Chicago Tribune 17 Nov. 1992,
final ed., sec. 1:8.
Journal:
Himmelfarb, Gertrude. “Manners the Victorians Knew.” American Scholar 57
(1988): 223.
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