A Formal Analysis of Sebastiano Ricci’s Christ and the Woman Taken in Adultery

I. Choose a painting
Visit the Krannert Art Museum and choose one of these three paintings in their collection on which to write your paper:
1. Sebastiano Ricci, Christ and the woman Taken in Adultery, c. 1724-28
2. Alessandro Allori, Holy Family with the Infant St. John the Baptist, c. 1583
3. François Boucher, The Grape Harvest (or, The Luncheon), 1748

II. Write a description
For the first section of the paper (2-3 pages), write a description of the painting with enough detail so that someone could sketch the painting, without having seen it. This part of the paper does not require research and should all be in your own words.

III. Research the artwork
For the second part of the paper (7-8 pages), report on the research you have found out about the artist, the artwork, and/or the content of the image. Carry out as much research on the images as you can, recording facts you find in a clear, organized matter. You must do research for this part of the paper.

Your research should include: looking at the text label and other materials from Krannert Art Museum; getting books from the Ricker Art and Architecture Library, located on the 2nd floor of the Architecture Building; visiting other museum websites; using the Grove Art Online (on the Ricker Art Library website).

Research topics you might touch on: subject of the painting; other paintings with similar subject matter (compare/contrast); artist biography; other paintings by same artist that relate to this one; historical, political, or religious context of the painting.

FORMAL ANALYSIS

There are three levels of formal analysis, which you can use to explain a work of art:
1. Description = pure description of the object without value judgments,
analysis, or interpretation.
•It answers the question, “What do you see?”
•The various elements that constitute a description include:
a. Form of art whether architecture, sculpture, painting or one of the minor arts
b. Medium of work whether clay, stone, steel, paint, etc., and technique (tools used)
c. Size and scale of work (relationship to person and/or frame and/or context)
d. Elements or general shapes (architectural structural system) within the composition, including building of post-lintel construction or painting with several figures lined up in a row; identification of objects
e. Description of axis whether vertical, diagonal, horizontal, etc.
f. Description of line, including contour as soft, planar, jagged, etc.
g. Description of how line describes shape and space (volume); distinguish between lines of objects and lines of composition, e.g., thick, thin, variable, irregular, intermittent, indistinct, etc.
h. Relationships between shapes, e.g., large and small, overlapping, etc.
i. Description of color and color scheme = palette
j. Texture of surface or other comments about execution of work
k. Context of object: original location and date

2. Analysis = determining what the features suggest and deciding why the artist used such features to convey specific ideas.
•It answers the question, “How did the artist do it?”
•The various elements that constitute analysis include:
a. Determination of subject matter through naming iconographic elements, e.g., historical event, allegory, mythology, etc.
b. Selection of most distinctive features or characteristics whether line, shape, color, texture, etc.
c. Analysis of the principles of design or composition, e.g., stable,
repetitious, rhythmic, unified, symmetrical, harmonious, geometric, varied, chaotic, horizontal or vertically oriented, etc.
d. Discussion of how elements or structural system contribute to appearance of image or function
e. Analysis of use of light and role of color, e.g., contrasty, shadowy,
illogical, warm, cool, symbolic, etc.
f. Treatment of space and landscape, both real and illusionary (including use of perspective), e.g., compact, deep, shallow, naturalistic, random
g. Portrayal of movement and how it is achieved
h. Effect of particular medium(s) used
i. Your perceptions of balance, proportion and scale (relationships of each part of the composition to the whole and to each other part) and your emotional
j. Reaction to object or monument
3. Interpretation = establishing the broader context for this type of art.
•It answers the question, “Why did the artist create it and what does it mean
•The various elements that constitute interpretation include:
a. Main idea, overall meaning of the work.
b. Interpretive Statement: Can I express what I think the artwork is about in one sentence?
c. Evidence: What evidence inside or outside the artwork supports my interpretation?

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