Problem Solving: 15 Examples for Setting Performance Goals

Problem Solving: Use these examples for setting employee performance goals. Help your employees master this skill with 5 fresh ideas that drive change.

Problem Solving is the skill of defining a problem to determine its cause, identify it, prioritize and select alternative solutions to implement in solving the problems and reviving relationships.

Problem Solving: Set Goals for your Employees. Here are some examples:

  • To be accommodative of other people's ideas and views and to be willing to take them on board.
  • Research well enough to gather factual information before setting out to solve a problem.
  • Look at things in different perspectives and angles and to develop alternative options.
  • Be willing enough to collaborate with other when it comes to problem-solving issues.
  • Learn to articulate or communicate in a proper manner that can be well understood by people.
  • Get first to understand what the problem really is before starting to solve it.
  • Show great confidence and poise when making decisions and not afraid to make mistakes and learn from them.
  • Keep a cool head when dealing with more pressing and exhausting issues.
  • Try to ask the right questions that will act as a guide to coming up with proper solutions.
  • Be more flexible to change and adapt to new tact and ways of finding new solutions.

Problem Solving: Improve and master this core skill with these ideas

  • Identify the problem. determine the nature of the problem, break it down and come up with a useful set of actions to address the challenges that are related to it.
  • Concentrate on the solution, not the problem. Looking for solutions will not happen if you focus on the problem all the time. Concentrating on finding the answer is a move that brings about new opportunities and ideas that can be lucrative.
  • Write down as many solutions as possible. Listing down various solutions is important to help you keep an open mind and boost creative thinking that can trigger potential solutions. This list will also act as your reminder.
  • Think laterally. Thinking laterally means changing the approach and looking at things differently as well as making different choices.
  • Use positive language that creates possibilities. Using words that are active to speak to others, and yourself build a mind that thinks creatively encouraging new ideas and solutions to be set.

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Problem Solving Self-Appraisal Comments Examples

Related Self-Evaluation Phrases

Problem Solving Self-Appraisal Phrases Examples To Examine Yourself

smart goals for problem solving

12 SMART Goals Examples for Problem Solving

Everyone should aim to develop their problem-solving skills in life. It’s critical for career growth and personal development. That’s why establishing SMART goals is a valuable tool for achieving success and reaching desired outcomes.

This article will provide SMART goals examples for effective problem solving. Gaining inspiration to pursue these goals can help you become more organized and effective in problem-solving situations.

Table of Contents

What is a SMART Goal?

The SMART framework is an amazing way to establish practical goals . For those unaware, SMART stands for specific, measurable, attainable, relevant, and time-based.

Still confused? SMART goals are:

  • Specific: Accomplishing goals starts with defining them and how they will be achieved. The more detailed your goals for problem solving, the greater the likelihood you have of meeting them.
  • Measurable: Having a quantifiable goal is a crucial SMART component. Tracking your progress makes modifying or adjusting the path forward easier if needed. You’ll also have a tangible way to determine whether or not your objectives have been met.
  • Attainable: Try to decide on what is realistically possible before pursuing goals. If possible, break down your overarching goal into smaller objectives that fall within your current capabilities. Setting too high or unrealistic expectations cause you frustration and even giving up on your aspirations altogether.
  • Relevant: You must align your actions with your core values . Hence, take some time to reflect on how you want your goals to reflect your interests and values.
  • Time-based: Success doesn’t come without hard work and dedication, so you should have a specific timeline when working toward your dreams. You will stay organized and motivated throughout the journey when you set a deadline.

In today’s world, being able to identify and solve problems using analytical skills can’t be undervalued. Following the 5 SMART criteria above will allow you to achieve better results with fewer resources.

Here are 12 examples of SMART goals for better problem solving:

1. Define the Problem

“I’ll create a plan to define and describe the problem I’m trying to solve by the end of two weeks. This will allow me to identify the exact issue that needs to be addressed and develop an effective solution promptly.”

Specific: The goal outlines the task of defining and describing a problem.

Measurable: You can measure your progress by creating a plan after two weeks.

Attainable: The statement is within reach because it requires critical thinking and planning.

Relevant: Defining an issue is required for enhanced problem solving.

Time-based: There is a two-week timeline for accomplishing this goal.

2. Analyze Root Cause

“I will take the time to thoroughly analyze the root cause of a problem before I attempt to come up with a solution. Before jumping into a solution, I’ll consider the possible causes and try to figure out how they interact with each other.”

Specific: The SMART goal outlines what will be done to analyze the root cause of a problem.

Measurable: You could measure how often you take the time for analysis.

Attainable: This is realistic because taking the time to do a thorough analysis is possible.

Relevant: Gaining a better understanding of the root causes of a problem can lead to more effective solutions.

Time-based: You’ll follow this process every time you solve a problem, so this goal is ongoing.

3. Be Willing to Collaborate With Others

“For the duration of 10 months, my goal is to be willing to collaborate with others to find the best solution for any problem at hand. I want to be open to exchanging ideas and listening to the opinions of others so that we can solve our problems efficiently.”

Specific: The person must proactively strive to collaborate with others.

Measurable: You can keep track of how often you collaborate monthly.

Attainable: This is feasible because it requires only the willingness to collaborate and exchange ideas.

Relevant: Collaboration allows you to find better solutions and grow your network.

Time-based: You have 10 months to pursue this particular goal.

4. Evaluate Alternatives

“I will review and evaluate at least three alternative solutions to the problem by the end of this month. I’ll evaluate the costs and benefits of each solution, prioritize them based on their potential effectiveness and make my recommendation.”

Specific: You will need to review and evaluate three alternative solutions.

Measurable: Count how many alternative solutions you listed.

Attainable: With enough time and effort, anybody can review and evaluate multiple solutions.

Relevant: This goal is related to problem solving, which can advance your professional career .

Time-based: You have one month for goal achievement.

5. Implement Action Plan

“To ensure that my action plans are implemented effectively, I will create a timeline with concrete steps and review it every two weeks for the 6 months ahead. I want all aspects of my plan to take place as scheduled and the process is running smoothly.”

Specific: The aim is to create a timeline and review it every two weeks for 6 months.

Measurable: The person can compare their timeline to the actual results and ensure that every aspect of the plan takes place as scheduled.

Attainable: This goal is achievable if the individual has the time, resources, and support.

Relevant: Implementing an action plan applies to problem solving.

Time-based: Success will be reached after 6 whole months.

6. Ask the Right Questions

“I’ll learn to ask the right questions by reading two books on effective questioning strategies and attending a workshop on the same topic within the next quarter. This will allow me to get to the root of any problem more quickly.”

Specific: The goal states what you need to do (read two books and attend a workshop) to learn how to ask the right questions.

Measurable: You can check your progress by reading the books and attending the workshop.

Attainable: This is an achievable goal and can be met within the given time frame.

Relevant: Asking the right questions is key to solving any problem quickly.

Time-based: Goal completion should be accomplished within the next quarter.

asking questions

7. Be More Flexible

“I will seek opportunities to be more flexible when problem solving for the following 8 months. This could include offering creative solutions to issues, brainstorming ideas with colleagues, and encouraging feedback from others.”

Specific: This SMART goal is explicit because the person wants to become more flexible when problem solving.

Measurable: Check how often and effectively you follow the three action items.

Attainable : This goal is achievable if you dedicate time to being more open-minded.

Relevant: Flexibility is integral to problem solving, so this goal is highly relevant.

Time-based: Eight months is the allotted time to reach this goal.

8. Brainstorm Solutions

“I want to develop a list of 5 potential solutions by the end of this month for any problem that arises. I’ll brainstorm with my team and research to develop the options. We’ll use these options to evaluate the most feasible solution for a specific issue.”

Specific: You should come up with a list of 5 potential solutions with your team.

Measurable: Actively count how many potential solutions you come up with.

Attainable: This goal can be achieved with research and collaboration.

Relevant: Brainstorming solutions help you evaluate the best option for a certain issue.

Time-based: You should strive to meet this goal by the end of the month.

9. Keep a Cool Head

“When encountering a difficult problem, I will strive to remain calm and not rush into any decisions. For three months, I’ll take a few moments to pause, gather my thoughts and assess the situation with a clear head before taking action.”

Specific: The person identifies the goal of remaining calm when encountering complex problems.

Measurable: It is possible to measure success in terms of how long it takes to pause and assess the situation.

Attainable: Taking a few moments before taking action is realistic for most people.

Relevant: Keeping a cool head in difficult situations is beneficial for problem solving.

Time-based: This statement has an end date of three months.

10. Don’t Make Rash Assumptions

“I will no longer make assumptions or jump to conclusions without gathering facts. I’ll strive to be more open-minded when finding solutions to problems and take the time to consider all perspectives before making a decision.”

Specific: The goal is explicit in that individuals aim to be open-minded.

Measurable: You can evaluate how often assumptions are made without gathering facts or considering all perspectives.

Attainable: Anyone can take the time to consider different perspectives before making a decision.

Relevant: This is suitable for those who want to be more mindful and make better decisions.

Time-based: Since the goal is ongoing, you will pursue it on a daily basis.

11. Take Responsibility

“I will take responsibility for all my mistakes and be open to constructive criticism to improve as a professional by the end of the next quarter. I’ll also learn from my mistakes and take steps to ensure they’re not repeated.”

Specific: The statement is evident in that you will take responsibility for all mistakes.

Measurable: Progress towards this goal can be measured by how well you respond to constructive criticism.

Attainable: This is possible since the person is willing to learn and improve with constructive criticism.

Relevant: Taking responsibility for your mistakes is an important skill, making this an appropriate goal.

Time-based: You have one quarter to complete the SMART goal.

12. Let Your Creativity Flow

“I want to explore the range of my creative problem-solving abilities and come up with solutions for difficult situations. To do this, I’ll take a course in creative problem solving and apply the principles I learn to practical scenarios within two months.”

Specific: You will take a course in creative problem solving and apply the principles learned to practical scenarios.

Measurable: By enrolling in the course, you can monitor your learning progress over time.

Attainable: The goal should be realistic concerning time and resources.

Relevant: Recognize that creativity is vital in many industries.

Time-based: You should ideally reach this goal after two months.

Final Thoughts

Setting SMART goals is a fantastic approach to solving any problem. They provide a clear structure for breaking down complex tasks into manageable chunks and encourage goal-oriented thinking.

While SMART goals may not work for every situation, they can offer a valuable framework for solving complex issues. Thus, it’s beneficial to experiment with this tool to develop problem-solving strategies tailored to individual needs.

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Status.net

Innovation and Creativity Self Evaluation Comments (30 Examples)

By Status.net Editorial Team on May 18, 2023 — 3 minutes to read

Assessing Innovation and Creativity

Definitions and importance.

Innovation and creativity are essential components for personal growth and success. Innovation means the ability to generate unique and novel ideas, while creativity involves turning those ideas into reality. Both skills are crucial for problem-solving and adapting to new situations.

By evaluating our own innovation and creativity levels, we can identify areas of improvement and develop habits that foster a more inventive mindset. Being aware of our natural strengths and weaknesses enables us to enhance our performance in various aspects of life, including work, personal endeavours, and communication with others.

Methods of Measurement

To effectively assess our innovation and creativity, several approaches can be used:

  • Self-reflection : Taking the time to reflect on past experiences, challenges, and successes can provide insights into our innovative and creative abilities. Consider how often you generate new ideas and whether you follow through on those ideas to create something tangible. For example, “in my recent project at work, I came up with a new approach to resolve a long-standing issue, which improved the team’s efficiency” .
  • Seek feedback : Others can often provide valuable perspectives on our innovative and creative skills. Asking for constructive feedback from peers, supervisors, and mentors on your performance or a specific task you’ve completed can help identify areas for growth.
  • Set goals and track progress : Establishing specific, measurable, and realistic goals related to innovation and creativity can aid in self-assessment. Regularly review your progress and reassess your goals as necessary.
  • Use assessment tools : Various tools and tests are available to help evaluate innovation and creativity levels. These assessments often provide tailored guidance on improving specific aspects based on your results. Try taking a few online tests, like the Creative Quotient (CQ) or Torrance Tests of Creative Thinking (TTCT), to gain further insight into your skills.

Examples of Innovation and Creativity Self Evaluation Comments

  • I consistently come up with new and innovative ideas to solve problems.
  • I am always looking for ways to improve processes and procedures.
  • I am not afraid to take risks and try new approaches to achieve goals.
  • I am able to think outside the box and come up with creative solutions.
  • I am constantly seeking out new information and knowledge to improve my work.
  • I am able to adapt quickly to changing situations and come up with new strategies.
  • I am always looking for ways to innovate and improve our products or services.
  • I am not afraid to challenge the status quo and suggest new ideas.
  • I am able to identify opportunities for innovation and take action to pursue them.
  • I am able to collaborate with others to generate new ideas and approaches.
  • I am able to think creatively and strategically to achieve our goals.
  • I am able to inspire and motivate others to think creatively and take risks.
  • I am able to identify and leverage emerging trends and technologies to drive innovation.
  • I am able to create an environment that encourages innovation and creativity.
  • I am able to experiment with new ideas and learn from failures.
  • I am able to recognize and overcome barriers to innovation and creativity.
  • I am able to communicate my ideas effectively and persuasively to others.
  • I am able to balance creativity with practicality and feasibility.
  • I am able to prioritize and focus on the most promising ideas for implementation.
  • I am able to anticipate future trends and opportunities for innovation.
  • I am able to learn from feedback and use it to improve my work.
  • I am able to challenge assumptions and find new ways of thinking about problems.
  • I am able to generate multiple solutions to a problem and evaluate them objectively.
  • I am able to take a holistic approach to innovation, considering the impact on all stakeholders.
  • I am able to leverage diverse perspectives and experiences to drive innovation.
  • I am able to create a culture of innovation and continuous improvement.
  • I am able to measure and track the impact of my innovative ideas and initiatives.
  • I am able to stay up-to-date with industry trends and best practices to drive innovation.
  • I am able to innovate and improve even in times of uncertainty and change.
  • I am able to see problems from different angles and come up with unique solutions.
  • Self Evaluation Sample Answers: Strengths and Weaknesses
  • What is Self Compassion? (Exercises, Methods, Examples)
  • Authenticity: How to Be Your Authentic Self (Examples & Strategies)
  • How to Write an Employee Evaluation [Examples]
  • How to Cultivate Self-Awareness (10 Tips)
  • 142 Employee Performance Evaluation Examples (Initiative, Flexibility, Proactiveness, Goal-Setting)

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Innovation and creativity self-appraisal comments

Innovation performance review comments for outstanding creativity.

Suggested appraisal comments to improve creativity

Appraisal comments to boost creativity and innovation

When it comes to innovation and creativity, we know it's a skill that many possess. But sometimes, it's not widely recognized or appreciated.

To help foster a sense of belonging and recognition in your teams, consider using some of these feedback phrases. Whether it's positive feedback or constructive feedback , you can start to empower your team's success. 

  • I regularly practice imagination and propose new innovative processes to help streamline our work.
  • I'm committed to my professional development and I regularly work to learn through taking online courses or training programs. 
  • I take the initiative to connect and network with others and learn from their experience. 
  • I stay up to date on industry trends and find inspiration to help innovate different areas of my team's work. 
  • I have goals for my future and continuously think about my long-term vision for success. 
  • I'm receptive to feedback and can adapt to change quickly. 
  • I value learning new things and regularly try to learn something new to help contribute to the team's work. 

innovation-and-creativity-appraisal-comments

You do a great job at leading by example. You’re someone others want to follow. Well done!

You often place others' needs before your own. This is great for becoming an effective leader, as you focus on the development of others rather than your own. Great work!

You do a great job at providing the necessary structure, direction, and feedback to all your employees. Well done!

You’re really good at recognizing and rewarding staff achievements.

  • You have no problem allowing staff to assume responsibility for their actions, often encouraging them to take calculated risks.
  • You fully engage when listening to someone speak. You give your full attention by maintaining eye contact, nodding your head, and often smiling. I really enjoy conversing with you.
  • You create a culture of mutual trust and caring by always acting with integrity, accountability , and transparency. Well done.
  • You’re really good at being able to transform our strategic vision into attainable action plans. You've adopted the practice of strategic foresight well. 
  • You respect others and others in the highest regard. This makes it really for you to earn the respect of others. Well done!
  • You often hold yourself accountable for your staff's performances. This can be good, however, it may also prevent your staff members from learning from their mistakes.

inclusive-leadership-report-cta

  • You tend to isolate yourself quite often. Try to engage more with the team or be more approachable.
  • Remember it’s ok to take negative actions sometimes, not every decision is going to be liked by everyone. Making a decision is better than letting tasks linger without an end result.
  • As a manager, it is expected that you are decisive. Try to be the one who ultimately makes the decision.
  • You tend to use your position as a way of dominating and intimidating others. Try putting yourself in your employees' shoes to understand ways of being less domineering and arrogant.
  • You seem to struggle with communicating to your thoughts to your direct reports. If you struggle with this try set up one on one meetings to discuss how you could improve.
  • Being self-conscious about what people say or think may not be conducive to making decisions or making a stand. Remember not everyone is thinking about you as much as you think they are. Try to accept who you are.
  • You tend to give too much work to other team members and you end up not having enough work for yourself to do. Maybe delegate what you feel is the most important work to yourself before delegating other work.
  • You seem to have a manager style that instills fear in your employees. Try to be less hostile and accepting of others.
  • You often allow employees too much room for excuses. Try to adopt more of a hardline approach if you think they are not performing
  • Setting high expectations can be good, but if these expectations are not attainable don’t expect to always see results. Try lower the bar a bit and gradually get to the result you wish.
  • If an opportunity presents itself, try to network at much as possible. Building key alliances could be vital for the business well being.
  • Try identify and partner with the key business stakeholders of the company. This could lead to greater things for your department.
  • Communicating with other departments is important to the development of the company as a whole. Try cross pollinate your communication so you get a really good sense of what's going at the company as a whole.
  • Try encourage and nurture an environment of trust and respect amongst your teammates. If the budget allows it, try take them out on virtual team building activities.
  • Encourage ideas by inspiring your team members to be more innovative and engaging.
  • Make people want to seek your advice about matters concerning them. Become the leader people feel comfortable with.
  • Learning other people’s leadership preferences and adjusting your leadership style to them can be important for their personal development .
  • You need to appreciate that things can be accomplished in many different ways. if the goals are accomplished, it doesn't matter how they get there.
  • You have a fantastic work effort and people often wonder how you get to spend time on the things you love in your personal life. Try to balance your work hours with your personal life . 
  • When you see leadership opportunities in the industry or at charity events, try to put your skills to good use and volunteer for these events.

innovation-and-creativity-appraisal-comments-team-meeting-with-person-sharing-feedback

8 tips for giving feedback on innovation and creativity

Giving feedback isn't easy. Here are eight tips to keep in mind. 

1. Try to avoid the feedback sandwich  

2. Be clear and direct 

3. Allow the space for follow up questions 

4. Consider cultural differences when giving feedback 

5. Use coaching where possible 

6. Recognize when employees are doing something well 

7. If you have the opportunity, give real-time feedback  

8. Ask for feedback from your employees , too 

Does your organization cultivate a culture of feedback? If you're looking to improve the ways your company practices feedback in the workplace, BetterUp can help. 

With personalized support from virtual coaching , your workforce can feel empowered to give and receive feedback effectively . And with the creative juices flowing, you'll be better equipped to reach your full potential . 

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Madeline Miles

Madeline is a writer, communicator, and storyteller who is passionate about using words to help drive positive change. She holds a bachelor's in English Creative Writing and Communication Studies and lives in Denver, Colorado. In her spare time, she's usually somewhere outside (preferably in the mountains) — and enjoys poetry and fiction.

Teamwork skills self-appraisal comments: 40 example phrases

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50 Self-Appraisal Comments For Your Next Performance Review

self-appraisal-comments

Performance reviews can be jittering for anyone, particularly when it comes to self-appraisal or self-evaluation. It is often difficult to analyze what to say and what to omit while writing a self-evaluation.

This article will help you see how self-appraisal is essential to performance management and learn 50 phrases that you can use during your performance appraisal.

Self-appraisal is also known as self-assessment, and it is a popular tool used by managers to assess their employees’ performance. It is the opportunity for employees to shine and evaluate their own performance during the time of promotions or feedback. These performance appraisal processes act as a bridge between the expectations set and the performance.

These assessments create a medium for open communication, improved interpersonal skills , and opportunities and developments in the workplace. It provides employees the chance to discuss personal issues and their progress. Also, it helps an employee to showcase their skills with team members and show their managers their potential—a type of self-criticism an employee needs to maintain healthy work progress.

Now that you have known about self-appraisal comments let’s delve a little deeper into it.

Want to deliver a holistic and impactful appraisal to your employees?

Benefits of self appraisal.

Self-appraisal is a significant part of your performance review , because it reflects your self-awareness and professional development. As an employee, it is important to be self-aware because you become conscious about your strengths and weaknesses and how others perceive you. Higher the sense of awareness, higher the chances of having better self-confidence, stronger relationships, and enhanced decision-making and problem-solving skills .

Self-awareness helps you improve on an individual level and grow professionally which impacts the company’s growth as well. Research by Kerry Fong Institute shows that employees working in poor-performing organizations had 20 percent more blind spots than employees who work at financially equipped organizations.

50 Self Appraisal Comments to Use in Your Next Performance Review

First and foremost, when you are writing a self-appraisal for yourself, you must keep the following factors in mind.

What you must continue doing- Remember to mention your contributions towards the team, your accomplishments, time management, and work efficiency.

Recognize your blind spots- Understand what affects your peers or managers negatively with your specific doings.

What you must start doing- Now is the time to start doing new projects to come out of your comfort zone.

Once you've done this analysis, you are ready to write your self-evaluation comments.

Now, without further ado, let’s take a dig at 50 sample self-appraisal comments you can use on your next performance review.

Communication

  • With strong communication skills , I communicate my expectations to my team without being imposing.
  • I can communicate effectively on various levels in our company.
  • I can take and give constructive feedback and deal well in sensitive situations.
  • I convey my ideas and opinions effectively to different teams and individuals.
  • I share information transparently with peers for team success.
  • I can communicate with clients with a convincing speech.
  • If my peers have done an excellent job, I never fail to appreciate them, either personally or publicly.

Job Performance

  • I am proud of my job, and I value my responsibilities.
  • I never hesitate to participate in challenging tasks and go above and beyond.
  • I take my job responsibilities seriously and believe in working in a team-oriented work environment.
  • With sheer dedication, I have exceeded my (mention your goal) performance goal by (mention the numbers).
  • I have decreased (e.g. costs and customer churn) by (insert specific number here) percent.
  • I always challenged myself to become a better performer every day.
  • I gladly help my peers by collaborating and assisting them in difficult situations.

Reliability

  • I never fail on my commitments and continuously keep them informed about the challenges I incur.
  • I have completed (Add numbers) percent of my decided deadlines.
  • I refrain from procrastination and possess good time management skills .
  • I tend to plan and prioritize my meetings with clients and the team.
  • I am always on time and always start my day with enthusiasm and positivity.
  • I never hesitate to seek guidance from my leaders whenever necessary.
  • I follow proper email etiquette while replying to customers and peers.

Customer Orientation

  • I can very well handle irate and hostile customers by (explain your tactics).
  • I actively listen to customers to decipher their point of view.’
  • I never fail to update our customers about the recent ongoings and products.
  • I have achieved a total of (specify numbers) on my customer service survey.
  • I work continuously to enhance the customer experience (mention the examples)
  • I always try to think from the customer’s point of view to understand their psyche and perspective towards us.

Would you like to send meaningful appreciation messages to your teammates?

Innovation and creativity.

  • I keep looking forward to improving our work processes continually.
  • If you noticed, my idea of (mention the idea) has been a success, showing my creativity.
  • I have an eye-for-detail and always think out-of-the-box while looking for solutions.
  • I still collaborate with the team while brainstorming and come up with new ideas.
  • I faced multiple challenges like (mention the challenges), but I successfully tackled it by (mention the solution).
  • I try to think from everyone’s perspective and find solutions that benefit everyone.
  • I can adapt to new predicaments quickly and open to possibilities.

Growth and Development

  • My personal goal is my priority, and I set my personal development.
  • I keep myself updated with recent trends and apply them in my work regularly.
  • My commitment to my work adds to my personal growth, and I believe in training to improve my skills.
  • I continuously seek opportunities to connect with employees from various fields.
  • I take progressive steps towards achieving my goals and visualize my long-term plans.
  • I am a quick learner and can quickly adapt to changes.
  • I am curious and always tend to learn new things.

Opportunities for Improvement

  • Even though I am transparent, I have noticed my team doesn’t think I am, and I will work on it further.
  • I have a knack for customer service, yet I need to follow up more often, and I am continually working on it.
  • I always have positive thinking, yet some people find it difficult to hold a conversation with me, and I want to break this misconception.
  • I have good communication skills, but I need to work on my public speaking skills as it gets difficult to interact with large groups sometimes.
  • Sometimes, I tend to get stuck with only one task; I need to enhance my multi-tasking skills.
  • I have many ideas to share, but sometimes I feel shy to share everything.
  • I know my team’s needs, yet sometimes I fail to work according to the work calendar.
  • Even though I am a happy-go-lucky person, people still mistake me for being arrogant and rude. Even though I value my peers, I can sometimes come across as unapproachable.
  • Sometimes, I forget to probe and ask for suggestions and keep working solo; there, I need to improve and become more proactive.

Writing self-appraisal comments can sometimes become tedious and lengthy, but it holds immense importance in one’s personal growth and company growth. For your next performance review, remember to put some of these phrases into practice and let us know if it was helpful.

This article is written by Gautam Gayan . He works as a Content Marketer at Vantage Circle . Apart from being a passionate content creator for HR services and employee engagement, Gautam is a theatre enthusiast, an avid reader and an aspiring poet. For any related queries, contact [email protected]

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10 Best Problem-Solving Therapy Worksheets & Activities

Problem solving therapy

Cognitive science tells us that we regularly face not only well-defined problems but, importantly, many that are ill defined (Eysenck & Keane, 2015).

Sometimes, we find ourselves unable to overcome our daily problems or the inevitable (though hopefully infrequent) life traumas we face.

Problem-Solving Therapy aims to reduce the incidence and impact of mental health disorders and improve wellbeing by helping clients face life’s difficulties (Dobson, 2011).

This article introduces Problem-Solving Therapy and offers techniques, activities, and worksheets that mental health professionals can use with clients.

Before you continue, we thought you might like to download our three Positive Psychology Exercises for free . These science-based exercises explore fundamental aspects of positive psychology, including strengths, values, and self-compassion, and will give you the tools to enhance the wellbeing of your clients, students, or employees.

This Article Contains:

What is problem-solving therapy, 14 steps for problem-solving therapy, 3 best interventions and techniques, 7 activities and worksheets for your session, fascinating books on the topic, resources from positivepsychology.com, a take-home message.

Problem-Solving Therapy assumes that mental disorders arise in response to ineffective or maladaptive coping. By adopting a more realistic and optimistic view of coping, individuals can understand the role of emotions and develop actions to reduce distress and maintain mental wellbeing (Nezu & Nezu, 2009).

“Problem-solving therapy (PST) is a psychosocial intervention, generally considered to be under a cognitive-behavioral umbrella” (Nezu, Nezu, & D’Zurilla, 2013, p. ix). It aims to encourage the client to cope better with day-to-day problems and traumatic events and reduce their impact on mental and physical wellbeing.

Clinical research, counseling, and health psychology have shown PST to be highly effective in clients of all ages, ranging from children to the elderly, across multiple clinical settings, including schizophrenia, stress, and anxiety disorders (Dobson, 2011).

Can it help with depression?

PST appears particularly helpful in treating clients with depression. A recent analysis of 30 studies found that PST was an effective treatment with a similar degree of success as other successful therapies targeting depression (Cuijpers, Wit, Kleiboer, Karyotaki, & Ebert, 2020).

Other studies confirm the value of PST and its effectiveness at treating depression in multiple age groups and its capacity to combine with other therapies, including drug treatments (Dobson, 2011).

The major concepts

Effective coping varies depending on the situation, and treatment typically focuses on improving the environment and reducing emotional distress (Dobson, 2011).

PST is based on two overlapping models:

Social problem-solving model

This model focuses on solving the problem “as it occurs in the natural social environment,” combined with a general coping strategy and a method of self-control (Dobson, 2011, p. 198).

The model includes three central concepts:

  • Social problem-solving
  • The problem
  • The solution

The model is a “self-directed cognitive-behavioral process by which an individual, couple, or group attempts to identify or discover effective solutions for specific problems encountered in everyday living” (Dobson, 2011, p. 199).

Relational problem-solving model

The theory of PST is underpinned by a relational problem-solving model, whereby stress is viewed in terms of the relationships between three factors:

  • Stressful life events
  • Emotional distress and wellbeing
  • Problem-solving coping

Therefore, when a significant adverse life event occurs, it may require “sweeping readjustments in a person’s life” (Dobson, 2011, p. 202).

problem solving tcs goal sheet

  • Enhance positive problem orientation
  • Decrease negative orientation
  • Foster ability to apply rational problem-solving skills
  • Reduce the tendency to avoid problem-solving
  • Minimize the tendency to be careless and impulsive

D’Zurilla’s and Nezu’s model includes (modified from Dobson, 2011):

  • Initial structuring Establish a positive therapeutic relationship that encourages optimism and explains the PST approach.
  • Assessment Formally and informally assess areas of stress in the client’s life and their problem-solving strengths and weaknesses.
  • Obstacles to effective problem-solving Explore typically human challenges to problem-solving, such as multitasking and the negative impact of stress. Introduce tools that can help, such as making lists, visualization, and breaking complex problems down.
  • Problem orientation – fostering self-efficacy Introduce the importance of a positive problem orientation, adopting tools, such as visualization, to promote self-efficacy.
  • Problem orientation – recognizing problems Help clients recognize issues as they occur and use problem checklists to ‘normalize’ the experience.
  • Problem orientation – seeing problems as challenges Encourage clients to break free of harmful and restricted ways of thinking while learning how to argue from another point of view.
  • Problem orientation – use and control emotions Help clients understand the role of emotions in problem-solving, including using feelings to inform the process and managing disruptive emotions (such as cognitive reframing and relaxation exercises).
  • Problem orientation – stop and think Teach clients how to reduce impulsive and avoidance tendencies (visualizing a stop sign or traffic light).
  • Problem definition and formulation Encourage an understanding of the nature of problems and set realistic goals and objectives.
  • Generation of alternatives Work with clients to help them recognize the wide range of potential solutions to each problem (for example, brainstorming).
  • Decision-making Encourage better decision-making through an improved understanding of the consequences of decisions and the value and likelihood of different outcomes.
  • Solution implementation and verification Foster the client’s ability to carry out a solution plan, monitor its outcome, evaluate its effectiveness, and use self-reinforcement to increase the chance of success.
  • Guided practice Encourage the application of problem-solving skills across multiple domains and future stressful problems.
  • Rapid problem-solving Teach clients how to apply problem-solving questions and guidelines quickly in any given situation.

Success in PST depends on the effectiveness of its implementation; using the right approach is crucial (Dobson, 2011).

Problem-solving therapy – Baycrest

The following interventions and techniques are helpful when implementing more effective problem-solving approaches in client’s lives.

First, it is essential to consider if PST is the best approach for the client, based on the problems they present.

Is PPT appropriate?

It is vital to consider whether PST is appropriate for the client’s situation. Therapists new to the approach may require additional guidance (Nezu et al., 2013).

Therapists should consider the following questions before beginning PST with a client (modified from Nezu et al., 2013):

  • Has PST proven effective in the past for the problem? For example, research has shown success with depression, generalized anxiety, back pain, Alzheimer’s disease, cancer, and supporting caregivers (Nezu et al., 2013).
  • Is PST acceptable to the client?
  • Is the individual experiencing a significant mental or physical health problem?

All affirmative answers suggest that PST would be a helpful technique to apply in this instance.

Five problem-solving steps

The following five steps are valuable when working with clients to help them cope with and manage their environment (modified from Dobson, 2011).

Ask the client to consider the following points (forming the acronym ADAPT) when confronted by a problem:

  • Attitude Aim to adopt a positive, optimistic attitude to the problem and problem-solving process.
  • Define Obtain all required facts and details of potential obstacles to define the problem.
  • Alternatives Identify various alternative solutions and actions to overcome the obstacle and achieve the problem-solving goal.
  • Predict Predict each alternative’s positive and negative outcomes and choose the one most likely to achieve the goal and maximize the benefits.
  • Try out Once selected, try out the solution and monitor its effectiveness while engaging in self-reinforcement.

If the client is not satisfied with their solution, they can return to step ‘A’ and find a more appropriate solution.

Positive self-statements

When dealing with clients facing negative self-beliefs, it can be helpful for them to use positive self-statements.

Use the following (or add new) self-statements to replace harmful, negative thinking (modified from Dobson, 2011):

  • I can solve this problem; I’ve tackled similar ones before.
  • I can cope with this.
  • I just need to take a breath and relax.
  • Once I start, it will be easier.
  • It’s okay to look out for myself.
  • I can get help if needed.
  • Other people feel the same way I do.
  • I’ll take one piece of the problem at a time.
  • I can keep my fears in check.
  • I don’t need to please everyone.

Worksheets for problem solving therapy

5 Worksheets and workbooks

Problem-solving self-monitoring form.

Answering the questions in the Problem-Solving Self-Monitoring Form provides the therapist with necessary information regarding the client’s overall and specific problem-solving approaches and reactions (Dobson, 2011).

Ask the client to complete the following:

  • Describe the problem you are facing.
  • What is your goal?
  • What have you tried so far to solve the problem?
  • What was the outcome?

Reactions to Stress

It can be helpful for the client to recognize their own experiences of stress. Do they react angrily, withdraw, or give up (Dobson, 2011)?

The Reactions to Stress worksheet can be given to the client as homework to capture stressful events and their reactions. By recording how they felt, behaved, and thought, they can recognize repeating patterns.

What Are Your Unique Triggers?

Helping clients capture triggers for their stressful reactions can encourage emotional regulation.

When clients can identify triggers that may lead to a negative response, they can stop the experience or slow down their emotional reaction (Dobson, 2011).

The What Are Your Unique Triggers ? worksheet helps the client identify their triggers (e.g., conflict, relationships, physical environment, etc.).

Problem-Solving worksheet

Imagining an existing or potential problem and working through how to resolve it can be a powerful exercise for the client.

Use the Problem-Solving worksheet to state a problem and goal and consider the obstacles in the way. Then explore options for achieving the goal, along with their pros and cons, to assess the best action plan.

Getting the Facts

Clients can become better equipped to tackle problems and choose the right course of action by recognizing facts versus assumptions and gathering all the necessary information (Dobson, 2011).

Use the Getting the Facts worksheet to answer the following questions clearly and unambiguously:

  • Who is involved?
  • What did or did not happen, and how did it bother you?
  • Where did it happen?
  • When did it happen?
  • Why did it happen?
  • How did you respond?

2 Helpful Group Activities

While therapists can use the worksheets above in group situations, the following two interventions work particularly well with more than one person.

Generating Alternative Solutions and Better Decision-Making

A group setting can provide an ideal opportunity to share a problem and identify potential solutions arising from multiple perspectives.

Use the Generating Alternative Solutions and Better Decision-Making worksheet and ask the client to explain the situation or problem to the group and the obstacles in the way.

Once the approaches are captured and reviewed, the individual can share their decision-making process with the group if they want further feedback.

Visualization

Visualization can be performed with individuals or in a group setting to help clients solve problems in multiple ways, including (Dobson, 2011):

  • Clarifying the problem by looking at it from multiple perspectives
  • Rehearsing a solution in the mind to improve and get more practice
  • Visualizing a ‘safe place’ for relaxation, slowing down, and stress management

Guided imagery is particularly valuable for encouraging the group to take a ‘mental vacation’ and let go of stress.

Ask the group to begin with slow, deep breathing that fills the entire diaphragm. Then ask them to visualize a favorite scene (real or imagined) that makes them feel relaxed, perhaps beside a gently flowing river, a summer meadow, or at the beach.

The more the senses are engaged, the more real the experience. Ask the group to think about what they can hear, see, touch, smell, and even taste.

Encourage them to experience the situation as fully as possible, immersing themselves and enjoying their place of safety.

Such feelings of relaxation may be able to help clients fall asleep, relieve stress, and become more ready to solve problems.

We have included three of our favorite books on the subject of Problem-Solving Therapy below.

1. Problem-Solving Therapy: A Treatment Manual – Arthur Nezu, Christine Maguth Nezu, and Thomas D’Zurilla

Problem-Solving Therapy

This is an incredibly valuable book for anyone wishing to understand the principles and practice behind PST.

Written by the co-developers of PST, the manual provides powerful toolkits to overcome cognitive overload, emotional dysregulation, and the barriers to practical problem-solving.

Find the book on Amazon .

2. Emotion-Centered Problem-Solving Therapy: Treatment Guidelines – Arthur Nezu and Christine Maguth Nezu

Emotion-Centered Problem-Solving Therapy

Another, more recent, book from the creators of PST, this text includes important advances in neuroscience underpinning the role of emotion in behavioral treatment.

Along with clinical examples, the book also includes crucial toolkits that form part of a stepped model for the application of PST.

3. Handbook of Cognitive-Behavioral Therapies – Keith Dobson and David Dozois

Handbook of Cognitive-Behavioral Therapies

This is the fourth edition of a hugely popular guide to Cognitive-Behavioral Therapies and includes a valuable and insightful section on Problem-Solving Therapy.

This is an important book for students and more experienced therapists wishing to form a high-level and in-depth understanding of the tools and techniques available to Cognitive-Behavioral Therapists.

For even more tools to help strengthen your clients’ problem-solving skills, check out the following free worksheets from our blog.

  • Case Formulation Worksheet This worksheet presents a four-step framework to help therapists and their clients come to a shared understanding of the client’s presenting problem.
  • Understanding Your Default Problem-Solving Approach This worksheet poses a series of questions helping clients reflect on their typical cognitive, emotional, and behavioral responses to problems.
  • Social Problem Solving: Step by Step This worksheet presents a streamlined template to help clients define a problem, generate possible courses of action, and evaluate the effectiveness of an implemented solution.
  • 17 Positive Psychology Exercises If you’re looking for more science-based ways to help others enhance their wellbeing, check out this signature collection of 17 validated positive psychology tools for practitioners . Use them to help others flourish and thrive.

While we are born problem-solvers, facing an incredibly diverse set of challenges daily, we sometimes need support.

Problem-Solving Therapy aims to reduce stress and associated mental health disorders and improve wellbeing by improving our ability to cope. PST is valuable in diverse clinical settings, ranging from depression to schizophrenia, with research suggesting it as a highly effective treatment for teaching coping strategies and reducing emotional distress.

Many PST techniques are available to help improve clients’ positive outlook on obstacles while reducing avoidance of problem situations and the tendency to be careless and impulsive.

The PST model typically assesses the client’s strengths, weaknesses, and coping strategies when facing problems before encouraging a healthy experience of and relationship with problem-solving.

Why not use this article to explore the theory behind PST and try out some of our powerful tools and interventions with your clients to help them with their decision-making, coping, and problem-solving?

We hope you enjoyed reading this article. Don’t forget to download our three Positive Psychology Exercises for free .

  • Cuijpers, P., Wit, L., Kleiboer, A., Karyotaki, E., & Ebert, D. (2020). Problem-solving therapy for adult depression: An updated meta-analysis. European P sychiatry ,  48 (1), 27–37.
  • Dobson, K. S. (2011). Handbook of cognitive-behavioral therapies (3rd ed.). Guilford Press.
  • Dobson, K. S., & Dozois, D. J. A. (2021). Handbook of cognitive-behavioral therapies  (4th ed.). Guilford Press.
  • Eysenck, M. W., & Keane, M. T. (2015). Cognitive psychology: A student’s handbook . Psychology Press.
  • Nezu, A. M., & Nezu, C. M. (2009). Problem-solving therapy DVD . Retrieved September 13, 2021, from https://www.apa.org/pubs/videos/4310852
  • Nezu, A. M., & Nezu, C. M. (2018). Emotion-centered problem-solving therapy: Treatment guidelines. Springer.
  • Nezu, A. M., Nezu, C. M., & D’Zurilla, T. J. (2013). Problem-solving therapy: A treatment manual . Springer.

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visual art essays

Anne Buckwalter on Art, Life & Everything In Between

By Will Fenstermaker

June 14, 2017

The 10 Essays That Changed Art Criticism Forever

There has never been a time when art critics held more power than during the second half of the twentieth century. Following the Second World War, with the relocation of the world’s artistic epicenter from Paris to New York, a different kind of war was waged in the pages of magazines across the country. As part of the larger “culture wars” of the mid-century, art critics began to take on greater influence than they’d ever held before. For a time, two critics in particular—who began as friends, and remained in the same social circles for much of their lives—set the stakes of the debates surrounding the maturation of American art that would continue for decades. The ideas about art outlined by Clement Greenberg and Harold Rosenberg are still debated today, and the extent to which they were debated in the past has shaped entire movements of the arts. Below are ten works of criticism through which one can trace the mainstreaming of Clement Greenberg’s formalist theory, and how its dismantling led us into institutional critique and conceptual art today.

The American Action Painters

Harold Rosenberg

One: Number 31

Harold Rosenberg, a poet who came to art through his involvement with the Artist’s Union and the WPA, was introduced to Jean-Paul Sartre as the “first American existentialist.” Soon, Rosenberg became a contributor to Sartre’s publication in France, for which he first drafted his influential essay. However, when Sartre supported Soviet aggression against Korea, Rosenberg brought his essay to Elaine de Kooning , then the editor of ARTnews , who ran “The American Action Painters” in December, 1952.

RELATED: What Did Harold Rosenberg Do? An Introduction to the Champion of “Action Painting”

Rosenberg’s essay on the emerging school of American Painters omitted particular names—because they’d have been unfamiliar to its original French audience—but it was nonetheless extraordinarily influential for the burgeoning scene of post-WWII American artists. Jackson Pollock claimed to be the influence of “action painting,” despite Rosenberg’s rumored lack of respect for the artist because Pollock wasn’t particularly well-read. Influenced by Marxist theory and French existentialism, Rosenberg conceives of a painting as an “arena,” in which the artist acts upon, wrestles, or otherwise engages with the canvas, in what ultimately amounts to an expressive record of a struggle. “What was to go on the canvas,” Rosenberg wrote, “was not a picture but an event.”

Notable Quote

Weak mysticism, the “Christian Science” side of the new movement, tends … toward easy painting—never so many unearned masterpieces! Works of this sort lack the dialectical tension of a genuine act, associated with risk and will. When a tube of paint is squeezed by the Absolute, the result can only be a Success. The painter need keep himself on hand solely to collect the benefits of an endless series of strokes of luck. His gesture completes itself without arousing either an opposing movement within itself nor the desire in the artist to make the act more fully his own. Satisfied with wonders that remain safely inside the canvas, the artist accepts the permanence of the commonplace and decorates it with his own daily annihilation. The result is an apocalyptic wallpaper.

‘American-Type’ Painting

Clement Greenberg

Frank Stella

Throughout the preceding decade, Clement Greenberg, also a former poet, had established a reputation as a leftist critic through his writings with The Partisan Review —a publication run by the John Reed Club, a New York City-centered organization affiliated with the American Communist Party—and his time as an art critic with The Nation . In 1955, The Partisan Review published Greenberg’s “‘American-Type’ Painting,” in which the critic defined the now-ubiquitous term “abstract expressionism.”

RELATED: What Did Clement Greenberg Do? A Primer on the Powerful AbEx Theorist’s Key Ideas

In contrast to Rosenberg’s conception of painting as a performative act, Greenberg’s theory, influenced by Clive Bell and T. S. Eliot, was essentially a formal one—in fact, it eventually evolved into what would be called “formalism.” Greenberg argued that the evolution of painting was one of historical determinacy—that ever since the Renaissance, pictures moved toward flatness, and the painted line moved away from representation. Henri Matisse and Pablo Picasso were two of the landmarks of this view. Pollock, who exhibited his drip paintings in 1951, freeing the line from figuration, was for Greenberg the pinnacle of American Modernism, the most important artist since Picasso. (Pollock’s paintings exhibited in 1954, with which he returned to semi-representational form, were regarded by Greenberg as a regression. This lead him to adopt Barnett Newman as his new poster-boy, despite the artist’s possessing vastly different ideas on the nature of painting. For one, Greenberg mostly ignored the Biblical titles of Newman’s paintings.)

Greenberg’s formalist theories were immensely influential over the subsequent decades. Artforum in particular grew into a locus for formalist discourse, which had the early effect of providing an aesthetic toolkit divorced from politic. Certain curators of the Museum of Modern Art, particularly William Rubin, Kirk Varnedoe, and to an extent Alfred Barr are credited for steering the museum in an essentially formalist direction. Some painters, such as Frank Stella , Helen Frankenthaler , and Kenneth Noland, had even been accused of illustrating Greenberg’s theories (and those of Michael Fried, a prominent Greenbergian disciple) in attempt to embody the theory, which was restrictive in its failure to account for narrative content, figuration, identity, politics, and more. In addition, Greenberg’s theories proved well-suited for a burgeoning art market, which found connoisseurship an easy sell. (As the writer Mary McCarthy said, “You can’t hang an event on your wall.”) In fact, the dominance of the term “abstract expressionism” over “action painting,” which seemed more applicable to Pollock and Willem de Kooning than any other members of the New York School, is emblematic of the influence of formalist discourse.

The justification for the term, “abstract expressionist,” lies in the fact that most of the painters covered by it took their lead from German, Russian, or Jewish expressionism in breaking away from late Cubist abstract art. But they all started from French painting, for their fundamental sense of style from it, and still maintain some sort of continuity with it. Not least of all, they got from it their most vivid notion of an ambitious, major art, and of the general direction in which it had to go in their time.

Barbara Rose

Galvanized Iron

Like many critics in the 1950s and 60s, Barbara Rose had clearly staked her allegiance to one camp or the other. She was, firmly, a formalist, and along with Fried and Rosalind Krauss is largely credited with expanding the theory beyond abstract expressionist painting. By 1965, however, Rose recognized a limitation of the theory as outlined by Greenberg—that it was reductionist and only capable of account for a certain style of painting, and not much at all in other mediums.

RELATED: The Intellectual Origins Of Minimalism

In “ABC Art,” published in Art in America where Rose was a contributing editor, Rose opens up formalism to encompass sculpture, which Greenberg was largely unable to account for. The simple idea that art moves toward flatness and abstraction leads, for Rose, into Minimalism, and “ABC Art” is often considered the first landmark essay on Minimalist art. By linking the Minimalist sculptures of artists like Donald Judd to the Russian supremacist paintings of Kasimir Malevich and readymades of Duchamp, she extends the determinist history that formalism relies on into sculpture and movements beyond abstract expressionism.

I do not agree with critic Michael Fried’s view that Duchamp, at any rate, was a failed Cubist. Rather, the inevitability of a logical evolution toward a reductive art was obvious to them already. For Malevich, the poetic Slav, this realization forced a turning inward toward an inspirational mysticism, whereas for Duchamp, the rational Frenchman, it meant a fatigue so enervating that finally the wish to paint at all was killed. Both the yearnings of Malevich’s Slavic soul and the deductions of Duchamp’s rationalist mind led both men ultimately to reject and exclude from their work many of the most cherished premises of Western art in favor of an art stripped to its bare, irreducible minimum.

How I Spent My Summer Vacation

Philip Leider

Double Negative

Despite the rhetorical tendency to suggest the social upheaval of the '60s ended with the actual decade, 1970 remained a year of unrest. And Artforum was still the locus of formalist criticism, which was proving increasingly unable to account for art that contributed to larger cultural movements, like Civil Rights, women’s liberation, anti-war protests, and more. (Tellingly, The Partisan Review , which birthed formalism, had by then distanced itself from its communist associations and, as an editorial body, was supportive of American Interventionism in Vietnam. Greenberg was a vocal hawk.) Subtitled “Art and Politics in Nevada, Berkeley, San Francisco, and Utah,” the editor’s note to the September 1970 issue of Artforum , written by Philip Leider, ostensibly recounts a road trip undertaken with Richard Serra and Abbie Hoffman to see Michael Heizer’s Double Negative in the Nevada desert.

RELATED: A City of Art in the Desert: Behind Michael Heizer’s Monumental Visions for Nevada

However, the essay is also an account of an onsetting disillusion with formalism, which Leider found left him woefully unequipped to process the protests that had erupted surrounding an exhibition of prints by Paul Wunderlich at the Phoenix Gallery in Berkeley. Wunderlich’s depictions of nude women were shown concurrently to an exhibition of drawings sold to raise money for Vietnamese orphans. The juxtaposition of a canonical, patriarchal form of representation and liberal posturing, to which the protestors objected, showcased the limitations of a methodology that placed the aesthetic elements of a picture plane far above the actual world in which it existed. Less than a year later, Leider stepped down as editor-in-chief and Artforum began to lose its emphasis on late Modernism.

I thought the women were probably with me—if they were, I was with them. I thought the women were picketing the show because it was reactionary art. To the women, [Piet] Mondrian must be a great revolutionary artist. Abstract art broke all of those chains thirty years ago! What is a Movement gallery showing dumb stuff like this for? But if it were just a matter of reactionary art , why would the women picket it? Why not? Women care as much about art as men do—maybe more. The question is, why weren’t the men right there with them?

Why Have There Been No Great Women Artists?

Linda Nochlin

Linda Nochlin

While Artforum , in its early history, had established a reputation as a generator for formalist theory, ARTnews had followed a decidedly more Rosenberg-ian course, emphasizing art as a practice for investigating the world. The January 1971 issue of the magazine was dedicated to “Women’s Liberation, Woman Artists, and Art History” and included an iconoclastic essay by Linda Nochlin titled “Why Have There Been No Great Women Artists?”

RELATED: An Introduction to Feminist Art

Nochlin notes that it’s tempting to answer the question “why have there been no great women artists?” by listing examples of those overlooked by critical and institutional organizations (a labor that Nochlin admits has great merit). However, she notes, “by attempting to answer it, they tacitly reinforce its negative implications,” namely that women are intrinsically less capable of achieving artistic merit than men. Instead, Nochlin’s essay functions as a critique of art institutions, beginning with European salons, which were structured in such a way as to deter women from rising to the highest echelons. Nochlin’s essay is considered the beginning of modern feminist art history and a textbook example of institutional critique.

There are no women equivalents for Michelangelo or Rembrandt, Delacroix or Cézanne, Picasso or Matisse, or even in very recent times, for de Kooning or Warhol, any more than there are black American equivalents for the same. If there actually were large numbers of “hidden” great women artists, or if there really should be different standards for women’s art as opposed to men’s—and one can’t have it both ways—then what are feminists fighting for? If women have in fact achieved the same status as men in the arts, then the status quo is fine as it is. But in actuality, as we all know, things as they are and as they have been, in the arts as in a hundred other areas, are stultifying, oppressive, and discouraging to all those, women among them, who did not have the good fortune to be born white, preferably middle class and above all, male. The fault lies not in our stars, our hormones, our menstrual cycles, or our empty internal spaces, but in our institutions and our education.

Doctor, Lawyer, Indian Chief

Thomas McEvilley

Tribal Modern

One of the many extrapolations of Nochlin’s essay is that contemporary museum institutions continue to reflect the gendered and racist biases of preceding centuries by reinforcing the supremacy of specific master artists. In a 1984 Artforum review, Thomas McEvilley, a classicist new to the world of contemporary art, made the case that the Museum of Modern Art in New York served as an exclusionary temple to certain high-minded Modernists—namely, Picasso, Matisse, and Pollock—who, in fact, took many of their innovations from native cultures.

RELATED: MoMA Curator Laura Hoptman on How to Tell a Good Painting From a “Bogus” Painting

In 1984, MoMA organized a blockbuster exhibition. Curated by William Rubin and Kirk Varnedoe, both of whom were avowed formalists, “‘Primitivism’ in 20th Century Art: Affinity of the Tribal and the Modern” collected works by European painters like Paul Gaugin and Picasso with cultural artifacts from Zaire, arctic communities, and elsewhere. McEvilley takes aim at the “the absolutist view of formalist Modernism” in which MoMA is rooted. He argues that the removal tribal artifacts from their contexts (for example, many were ritual items intended for ceremonies, not display) and placement of them, unattributed, near works by European artists, censors the cultural contributions of non-Western civilizations in deference to an idealized European genius.

The fact that the primitive “looks like” the Modern is interpreted as validating the Modern by showing that its values are universal, while at the same time projecting it—and with it MoMA—into the future as a permanent canon. A counter view is possible: that primitivism on the contrary invalidates Modernism by showing it to be derivative and subject to external causation. At one level this show undertakes precisely to coopt that question by answering it before it has really been asked, and by burying it under a mass of information.

Please Wait By the Coatroom

The Jungle

Not content to let MoMA and the last vestiges of formalism off the hook yet, John Yau wrote in 1988 an essay on Wifredo Lam, a Cuban painter who lived and worked in Paris among Picasso, Matisse, Georges Braque, and others. Noting Lam’s many influences—his Afro-Cuban mother, Chinese father, and Yoruba godmother—Yau laments the placement of Lam’s The Jungle near the coatroom in the Museum of Modern Art, as opposed to within the Modernist galleries several floors above. The painting was accompanied by a brief entry written by former curator William Rubin, who, Yau argues, adopted Greenberg’s theories because they endowed him with “a connoisseur’s lens with which one can scan all art.”

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Here, as with with McEvilley’s essay, Yau illustrates how formalism, as adapted by museum institutions, became a (perhaps unintentional) method for reinforcing the exclusionary framework that Nochlin argued excluded women and black artists for centuries.

Rubin sees in Lam only what is in his own eyes: colorless or white artists. For Lam to have achieved the status of unique individual, he would have had to successfully adapt to the conditions of imprisonment (the aesthetic standards of a fixed tradition) Rubin and others both construct and watch over. To enter this prison, which takes the alluring form of museums, art history textbooks, galleries, and magazines, an individual must suppress his cultural differences and become a colorless ghost. The bind every hybrid American artist finds themselves in is this: should they try and deal with the constantly changing polymorphous conditions effecting identity, tradition, and reality? Or should they assimilate into the mainstream art world by focusing on approved-of aesthetic issues? Lam’s response to this bind sets an important precedent. Instead of assimilating, Lam infiltrates the syntactical rules of “the exploiters” with his own specific language. He becomes, as he says, “a Trojan horse.”

Black Culture and Postmodernism

Cornel West

Cornel West

The opening up of cultural discourse did not mean that it immediately made room for voices of all dimensions. Cornel West notes as much in his 1989 essay “Black Culture and Postmodernism,” in which he argues that postmodernism, much like Modernism before it, remains primarily ahistorical, which makes it difficult for “oppressed peoples to exercise their opposition to hierarchies of power.” West’s position is that the proliferation of theory and criticism that accompanied the rise of postmodernism provided mechanisms by which black culture could “be conversant with and, to a degree, participants in the debate.” Without their voices, postmodernism would remain yet another exclusionary movements.

RELATED: Kerry James Marshall on Painting Blackness as a Noun Vs. Verb

As the consumption cycle of advanced multinational corporate capitalism was sped up in order to sustain the production of luxury goods, cultural production became more and more mass-commodity production. The stress here is not simply on the new and fashionable but also on the exotic and primitive. Black cultural products have historically served as a major source for European and Euro-American exotic interests—interests that issue from a healthy critique of the mechanistic, puritanical, utilitarian, and productivity aspects of modern life.

Minimalism and the Rhetoric of Power

Anna C. Chave

Tilted Arc

In recent years, formalist analysis has been deployed as a single tool within a more varied approach to art. Its methodology—that of analyzing a picture as an isolated phenomena—remains prevalent, and has its uses. Yet, many of the works and movements that rose to prominence under formalist critics and curators, in no small part because of their institutional acceptance, have since become part of the rearguard rather than the vanguard.

In a 1990 essay for Arts Magazine , Anna Chave analyzes how Minimalist sculpture possesses a “domineering, sometimes brutal rhetoric” that was aligned with “both the American military in Vietnam, and the police at home in the streets and on university campuses across the country.” In particular, Chave is concerned with the way Minimalist sculptures define themselves through a process of negation. Of particular relevance to Chave’s argument are the massive steel sculptures by Minimalist artist Richard Serra.

Tilted Arc was installed in Federal Plaza in lower Manhattan in 1981. Chave describes the work as a “mammoth, perilously tilted steel arc [that] formed a divisive barrier too tall to see over, and a protracted trip to walk around.” She writes, “it is more often the case with Serra that his work doesn’t simply exemplify aggression or domination, but acts it out.” Tilted Arc was so controversial upon its erecting that the General Services Administration, which commissioned the work, held hearings in response to petitions demanding the work be removed. Worth quoting at length, Chave writes:

A predictable defense of Serra’s work was mounted by critics, curators, dealers, collectors, and some fellow artists…. The principle arguments mustered on Serra’s behalf were old ones concerning the nature and function of the avant-garde…. What Rubin and Serra’s other supporters declined to ask is whether the sculptor really is, in the most meaningful sense of the term, an avant-garde artist. Being avant-garde implies being ahead of, outside, or against the dominant culture; proffering a vision that implicitly stands (at least when it is conceived) as a critique of entrenched forms and structures…. But Serra’s work is securely embedded within the system: when the brouhaha over Arc was at its height, he was enjoying a retrospective at the Museum of Modern Art…. [The defense’s] arguments locate Serra not with the vanguard but with the standing army or “status quo.” … More thoughtful, sensible, and eloquent testimony at the hearing came instead from some of the uncouth:
My name is Danny Katz and I work in this building as a clerk. My friend Vito told me this morning that I am a philistine. Despite that I am getting up to speak…. I don’t think this issue should be elevated into a dispute between the forces of ignorance and art, or art versus government. I really blame government less because it has long ago outgrown its human dimension. But from the artists I expected a lot more. I didn’t expect to hear them rely on the tired and dangerous reasoning that the government has made a deal, so let the rabble live with the steel because it’s a deal. That kind of mentality leads to wars. We had a deal with Vietnam. I didn’t expect to hear the arrogant position that art justifies interference with the simple joys of human activity in a plaza. It’s not a great plaza by international standards, but it is a small refuge and place of revival for people who ride to work in steel containers, work in sealed rooms, and breathe recirculated air all day. Is the purpose of art in public places to seal off a route of escape, to stress the absence of joy and hope? I can’t believe this was the artistic intention, yet to my sadness this for me has become the dominant effect of the work, and it’s all the fault of its position and location. I can accept anything in art, but I can’t accept physical assault and complete destruction of pathetic human activity. No work of art created with a contempt for ordinary humanity and without respect for the common element of human experience can be great. It will always lack dimension.
The terms Katz associated with Serra’s project include arrogance and contempt, assault, and destruction; he saw the Minimalist idiom, in other words, as continuous with the master discourse of our imperious and violent technocracy.

The End of Art

Arthur Danto

Brillo

Like Greenberg, Arthur Danto was an art critic for The Nation . However, Danto was overtly critical of Greenberg’s ideology and the influence he wielded over Modern and contemporary art. Nor was he a follower of Harold Rosenberg, though they shared influences, among them the phenomenologist Maurice Merleau-Ponty. Danto’s chief contribution to contemporary art was his advancing of Pop Artists, particularly Andy Warhol and Roy Lichtenstein .

In “The End of Art” Danto argues that society at large determines and accepts art, which no longer progresses linearly, categorized by movements. Instead, viewers each possess a theory or two, which they use to interpret works, and art institutions are largely tasked with developing, testing, and modifying various interpretive methods. In this way, art differs little from philosophy. After decades of infighting regarding the proper way to interpret works of art, Danto essentially sanctioned each approach and the institutions that gave rise to them. He came to call this “pluralism.”

RELATED: What Was the Pictures Generation?

Similarly, in “Painting, Politics, and Post-Historical Art,” Danto makes the case for an armistice between formalism and the various theories that arose in opposition, noting that postmodern critics like Douglas Crimp in the 1980s, who positioned themselves against formalism, nonetheless adopted the same constrictive air, minus the revolutionary beginnings.

Modernist critical practice was out of phase with what was happening in the art world itself in the late 60s and through the 1970s. It remained the basis for most critical practice, especially on the part of the curatoriat, and the art-history professoriat as well, to the degree that it descended to criticism. It became the language of the museum panel, the catalog essay, the article in the art periodical. It was a daunting paradigm, and it was the counterpart in discourse to the “broadening of taste” which reduced art of all cultures and times to its formalist skeleton, and thus, as I phrased it, transformed every museum into a Museum of Modern Art, whatever that museum’s contents. It was the stable of the docent’s gallery talk and the art appreciation course—and it was replaced, not totally but massively, by the postmodernist discourse that was imported from Paris in the late 70s, in the texts of Michel Foucault, Jacques Derrida, Jean Baudrillard, Jean-François Lyotard, and Jacques Lacan, and of the French feminists Hélène Cixous and Luce Irigaray. That is the discourse [Douglas] Crimp internalizes, and it came to be lingua artspeak everywhere. Like modernist discourse, it applied to everything, so that there was room for deconstructive and “archeological” discussion of art of every period.

Editor’s Note: This list was drawn in part from a 2014 seminar taught by Debra Bricker Balken in the MFA program in Art Writing at the School of Visual Arts titled Critical Strategies: Late Modernism/Postmodernism. Additional sources can be found here , here , here (paywall), and here . Also relevant are reviews of the 2008 exhibition at the Jewish Museum, “Action/Abstraction: Pollock, de Kooning, and American Art, 1940–1976,” notably those by Roberta Smith , Peter Schjeldahl , and Martha Schwendener .

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The 10 Essays That Changed Art Criticism Forever

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Visual Analysis: How to Analyze a Painting and Write an Essay

visual art essays

A visual analysis essay is an entry-level essay sometimes taught in high school and early university courses. Both communications and art history students use visual analysis to understand art and other visual messages. In our article, we will define the term and give an in-depth guide on how to look at a piece of art and write a visual analysis essay. Stay tuned until the end for a handy visual analysis essay example from our graduate paper writing service .

What Is Visual Analysis?

Visual analysis is the process of looking at a piece of visual art (painting, photography, film, etc.) and dissecting it for the artist’s intended meaning and means of execution. In some cases, works are also analyzed for historical significance and their impact on culture, art, politics, and the social consciousness of the time. This article will teach you how to perform a formal analysis of art.

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A visual analysis essay is a type of essay written mostly by students majoring in Art History and Communications. The process of visual analysis can be applied to painting, visual art, journalism, photo-journalism, photography, film, and writing. Works in these mediums are often meant to be consumed for entertainment or informative purposes. Visual analysis goes beyond that, focusing on form, themes, execution, and the compositional elements that make up the work.

Classical paintings are a common topic for a visual analysis essay because of their depth and historical significance. Take the famous Raphael painting Transfiguration. At first glance, it is an attractive image showing a famous scene from the Bible. But a more in-depth look reveals practical painting techniques, relationships between figures, heavy symbolism, and a remarkable choice of colors by the talented Raphael. This deeper look at a painting, a photograph, visual or written art is the process of visual analysis.

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Formal Analysis of Art: Who Does It?

Most people who face visual analysis essays are Communication, English, and Art History students. Communications students explore mediums such as theater, print media, news, films, photos — basically anything. Comm is basically a giant, all-encompassing major where visual analysis is synonymous with Tuesday.

Art History students study the world of art to understand how it developed. They do visual analysis with every painting they look it at and discuss it in class.

English Literature students perform visual analysis too. Every writer paints an image in the head of their reader. This image, like a painting, can be clear, or purposefully unclear. It can be factual, to the point, or emotional and abstract like Ulysses, challenging you to search your emotions rather than facts and realities.

How to Conduct Visual Analysis: What to Look For

Whether you study journalism or art, writing a visual analysis essay will be a frequent challenge on your academic journey. The primary principles can be learned and applied to any medium, regardless of whether it’s photography or painting.

For the sake of clarity, we’ve chosen to talk about painting, the most common medium for the formal analysis of art.

Visual Analysis

In analyzing a painting, there are a few essential points that the writer must know.

  • Who is the painter, and what era of art did they belong to? Classical painters depict scenes from the Bible, literature, or historical events (like the burning of Rome or the death of Socrates). Modernists, on the other hand, tend to subvert classical themes and offer a different approach to art. Modernism was born as a reaction to classical painting, therefore analyzing modernist art by the standards of classical art would not work.
  • What was the painter’s purpose? Classical painters like Michelangelo were usually hired by the Vatican or by noble families. Michelangelo didn’t paint the Sistine Chapel just for fun; he was paid to do it.
  • Who is the audience? Artists like Andy Warhol tried to appeal to the masses. Others like Marcel Duchamp made art for art people, aiming to evolve the art form.
  • What is the historical context? Research your artist/painting thoroughly before you write. The points of analysis that can be applied to a Renaissance painter cannot be applied to a Surrealist painter. Surrealism is an artistic movement, and understanding its essence is the key to analyzing any surrealist painting.

Familiarizing yourself with these essential points will give you all the information and context, you need to write a good visual analysis essay.

But visual analysis can go deeper than that — especially when dealing with historic pieces of visual art. Students explore different angles of interpretation, the interplay of colors and themes, how the piece was made and various reactions, and critiques of it. Let’s dig deeper.

A Detailed Process of Analyzing Visual Art

Performing a formal analysis of art is a fundamental skill taught at entry-level art history classes. Students who study art or communications further develop this skill through the years. Not all types of analysis apply to every work of art; every art piece is unique. When performing visual analysis, it’s essential to keep in mind why this particular work of art is important in its own way.

Visual Analysis

Step 1: General Info

To begin, identify the following necessary information on the work of art and the artist.

  • Subject — who or what does this work represent?
  • Artist — who is the author of this piece? Refer to them by their last name.
  • Date and Provenance — when and where this work of art was made. Is it typical to its historical period or geographical location?
  • Past and Current Locations — where was this work was displayed initially, and where is it now?
  • Medium and Creation Techniques — what medium was this piece made for and why is it important to that medium? Note which materials were used in its execution and its size.

Step 2: Describe the Painting

Next, describe what the painting depicts or represents. This section will be like an abstract, summarizing all the visible aspects of the piece, painting the image in the reader’s mind. Here are the dominant features to look for in a painting:

  • Characters or Figures: who they are and what they represent.
  • If this is a classical painting, identify the story or theme depicted.
  • If this is an abstract painting, pay attention to shapes and colors.
  • Lighting and overall mood of the painting.
  • Identify the setting.

Step 3: Detailed Analysis

The largest chunk of your paper will focus on a detailed visual analysis of the work. This is where you go past the basics and look at the art elements and the principles of design of the work.

Art elements deal mostly with the artist’s intricate painting techniques and basics of composition.

  • Lines — painters use a variety of lines ranging from straight and horizontal to thick, curved, even implied lines.
  • Shapes — shapes can be distinct or hidden in plain sight; note all the geometrical patterns of the painting.
  • Use of Light — identify the source of light, or whether the lighting is flat; see whether the painter chooses contrasting or even colors and explain the significance of their choice in relation to the painting.
  • Colors — identify how the painter uses color; which colors are primary, which are secondary; what is the tone of the painting (warm or cool?)
  • Patterns — are there repeating patterns in the painting? These could be figures as well as hidden textural patterns.
  • Use of Space — what kind of perspective is used in the painting; how does the artist show depth (if they do).
  • Passage of Time and Motion

Design principles look at the painting from a broader perspective; how the art elements are used to create a rounded experience from an artistic and a thematic perspective.

  • Variety and Unity - explore how rich and varied the artists’ techniques are and whether they create a sense of unity or chaos.
  • Symmetry or Asymmetry - identify points of balance in the painting, whether it’s patterns, shapes, or use of colors.
  • Emphasis - identify the points of focus, both from a thematic and artistic perspective. Does the painter emphasize a particular color or element of architecture?
  • Proportions - explain how objects and figures work together to provide a sense of scale, mass, and volume to the overall painting.
  • Use of Rhythm - identify how the artist implies a particular rhythm through their techniques and figures.

Seeing as each work of art is unique, be thoughtful in which art elements and design principles you wish to discuss in your essay. Visual analysis does not limit itself to painting and can also be applied to mediums like photography.

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The Structure: How to Write a Visual Analysis Paper

It’s safe to use the five-paragraph essay structure for your visual analysis essay. If you are looking at a painting, take the most important aspects of it that stand out to you and discuss them in relation to your thesis. Structure it with the simple essay structure:

Introduction: An introduction to a visual analysis essay serves to give basic information on the work of art and briefly summarize the points of discussion.

  • Give a brief description of the painting: name of artist, year, artistic movement (if necessary), and the artist’s purpose in creating this work.
  • Briefly describe what is in the painting.
  • Add interesting facts about the artist, painting, or historical period to give your reader some context.
  • As in all introductions, don’t forget to include an attention-grabber to get your audience interested in reading your work.

Thesis: In your thesis, state the points of analysis on this work of art which you will discuss in your essay.

Body: Explore the work of art and all of its aspects in detail. Refer to the section above titled “A Detailed Process of Analyzing Visual Art,” which will comprise most of your essay’s body.

Conclusion: After you’ve thoroughly analyzed the painting and the artist’s techniques, give your thoughts and opinions on the work. Your observations should be based on the points of analysis in your essay. Discuss how the art elements and design principles of the artist give the painting meaning and support your observations with facts from your essay.

Citation: Standard citation rules apply to these essays. Use in-text citations when quoting a book, website, journal, or a movie, and include a sources cited page listing your sources. And there’s no need to worry about how to cite a piece of art throughout the text. Explain thoroughly what work of art you’re analyzing in your introduction, and refer to it by name in the body of your essay like this — Transfiguration by Raphael.

If you want a more in-depth look at the classic essay structure, feel free to visit our 5-PARAGRAPH-ESSAY blog

Learn From a Visual Analysis Example

Many YouTube videos are analyzing famous paintings like the Death of Socrates, which can be a great art analysis example to go by. But the best way to understand the format and presentation is by looking at a painting analysis essay example done by a scholarly writer. One of our writers has penned an outstanding piece on Leonardo Da Vinci’s La Belle Ferronnière, which you may find below. Use it as a reference point for your visual analysis essay, and you can’t go wrong!

Leonardo da Vinci was an Italian artist born in April 1452 and died in May 1519who lived in the Renaissance era. His fame and popularity were based on his painting sand contribution to the Italian artwork. Leonardo was also an active inventor, a vibrant musician, writer, and scientist as well as a talented sculptor amongst other fields. His various career fields proved that he wanted to know everything about nature. In the book “Leonardo Da Vinci: The Mind of the Renaissance” by Alessandro Vezzosi, it is argued that Leonardo was one of the most successful and versatile artists and anatomists of the Italian renaissance based on his unique artwork and paintings (Vezzosi, p1454). Some of his groundbreaking research in medicine, metal-casting, natural science, architecture, and weaponry amongst other fields have been explored in the book. He was doing all these in the renaissance period in Italy from the 1470s till his death.

Visual analysis essays will appear early in your communications and art history degrees. Learning how to formally analyze art is an essential skill, whether you intend to pursue a career in art or communications.

Before diving into analysis, get a solid historical background on the painter and their life. Analyzing a painting isn’t mere entertainment; one must pay attention to intricate details which the painter might have hidden from plain sight.

We live in an environment saturated by digital media. By gaining the skill of visual analysis, you will not only heighten your appreciation of the arts but be able to thoroughly analyze the media messages you face in your daily life.

Also, don't forget to read summary of Lord of the Flies , and the article about Beowulf characters .

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Satire Essay

Creative Arts Toolkit

The visual essay, what is it.

A visual essay is a sequence of photographs or other images which are either:

  • original, taken and/or created by yourself, or
  • found, and significantly processed (e.g. using Photoshop, Illustrator)

Taken together, the images provide a critical commentary of some kind on a defined topic, working as a kind of argument, explanation, discussion. The topic will have been either given to you (e.g. as an essay question) or developed by you in consultation with your tutor.

Usually the ‘reading’ of the images in a visual essay is directed by such elements as:

  • the sequence of images and how they relate to each other, the juxtaposition of one to the next and how it stands in a series
  • the layout of the page in which the image(s) is placed, and the layout of following and preceding pages
  • captions, including brief analyses, quotations, key words, provocative questions or statements;
  • text integrated within the image or as part of the image (e.g. playing with typographic elements, the visual aspects of text);
  • • a short text at the beginning (prologue, scene setting) and/or end (epilogue, codicil, reflection).

Sounds easy…?

The visual essay is not a soft option. To produce a good visual essay is as demanding as writing a good academic text, and in some ways may be considerably harder to do. Never opt to do a visual essay because you think it will be easier than a ‘normal’ or ‘proper’ essay: this will inevitably lead to poor work. Apart from anything else, the traditional essay – love it or loathe it – is ‘the devil you know’. A visual essay is always something of a risk – but also an exciting possibility, rich with potential. Think carefully about how you will approach it and what you want it to say, do, achieve.

What form should it take?

The visual essay will usually take the form of a bound sequence but might be a series of unbound cards (perhaps ‘shuffled’, with a fixed start- and end-point) if that works better with the ideas being expressed. It may possibly take the form of a PowerPoint slideshow that runs automatically, combining image and text in a meaningful, essay-style sequence.

Remember, visual design and communication are key to the success (or otherwise) of a visual essay: they work as the equivalents of correct layout, accurate spelling, clear sentence construction, and so on, in a traditional academic essay.

How many images should I include? And how many words?

A visual essay needs to be equivalent in study effort, time, and so on, to a piece of traditional academic writing at the same level. This means that there is no ‘cutting corners’ on research/enquiry, organisation, thinking, drafting, ‘writing up’ and managing references and citation.

  • Typically, to be equivalent to a 1500 word written essay, a visual essay should comprise 10-12 images, with around 500-700 words of text.
  • To be equivalent to a 2000 word written essay, it should include 12-15 images, with around 600-800 words of text.
  • To be equivalent to a 4000 word written essay, think in terms of 15-20 images, with 1200-1500 words of text.

Does a visual essay need to be referenced? Does it need a bibliography?

The visual essay must include – or be accompanied by – an annotated bibliography which uses the Harvard or Author-Date system; ‘annotation’ means ‘added notes of comment, evaluation or explanation’.

A visual essay – depending on overall design and how you are using the textual elements – might not formally cite sources, so the annotated bibliography is an absolutely vital part of the academic apparatus. (If you feel that in-text citations are not appropriate to your visual essay, you must get this agreed by your tutor in advance.)

The annotated bibliography has, for each directly relevant source, an entry in the Harvard/Author-Date format, followed by two short commentaries:

  • How and why this text was useful to you in carrying out the assignment, what it contributed to your understanding and knowledge,
  • How you used it, where in the work it belongs or is used (indicate this in some way)

Some examples and further guidance

Colomba, E. (2016) ‘Reclaiming History: A Visual Essay’. Nka: Journal of Contemporary African Art . 38. 196-201.  https://muse.jhu.edu/article/639582  (accessed 5 December 2019)

Gómez Cruz, E. (2019) ‘Black Screens: A Visual Essay on Mobile Screens in the City’.  Visual Communication . 19:1. 1-14.  https://journals.sagepub.com/doi/pdf/10.1177/1470357219872237  (accessed 5 December 2019) – A lovely example, and recent, but rather wordy for a visual essay!

Roxburgh, M. (2010) ‘Design and the aesthetics of research’. Visual Communication . 9:4. 425-39.  https://journals.sagepub.com/doi/pdf/10.1177/1470357210385616  (accessed 5 December 2019)

Traverso, A. & Azúa, E. (2013) ‘Paine Memorial: a visual essay’. Social Identities . 19:3-04. 403-9.  https://www-tandfonline-com.ezproxy.herts.ac.uk/doi/full/10.1080/13504630.2013.817634?scroll=top&needAccess=true  (accessed 5 December 2019)

Van Leeuwen, T. (2007) ‘Sound and Vision’. Visual Communication . 6:2. 136-45.  https://journals.sagepub.com/doi/pdf/10.1177/1470357207077443  (accessed 5 December 2019)

Yagou, A. (2011) ‘Walls of Lisbon: A Visual Essay’. Visual Communication. 10:3. 187-92.  https://journals.sagepub.com/doi/pdf/10.1177/1470357210382363  (accessed 5 December 2019)

Suggested further reading

Not about Visual Essays as such, but about visual (and physical) thinking:

Brody, N. & Wozencroft, J. (1993) The graphic language of Neville Brody. London: Thames & Hudson.

David Carson Design (the influential graphic designer’s official website) http://www.davidcarsondesign.com   (accessed 5 December 2019)

Carson, D. & Blackwell, L. (1995) The end of print: the graphic design of David Carson. London: Laurence King.

McLuhan, M. & Carson, D. (2003) The Book of Probes. Santa Rosa, CA: Gingko Press.

Tufte, E. (1990) Envisioning Information. Cheshire, CT: Graphics Press.

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Purdue Online Writing Lab Purdue OWL® College of Liberal Arts

Writing Essays in Art History

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These OWL resources provide guidance on typical genres with the art history discipline that may appear in professional settings or academic assignments, including museum catalog entries, museum title cards, art history analysis, notetaking, and art history exams.

Art History Analysis – Formal Analysis and Stylistic Analysis

Typically in an art history class the main essay students will need to write for a final paper or for an exam is a formal or stylistic analysis.

A formal analysis is just what it sounds like – you need to analyze the form of the artwork. This includes the individual design elements – composition, color, line, texture, scale, contrast, etc. Questions to consider in a formal analysis is how do all these elements come together to create this work of art? Think of formal analysis in relation to literature – authors give descriptions of characters or places through the written word. How does an artist convey this same information?

Organize your information and focus on each feature before moving onto the text – it is not ideal to discuss color and jump from line to then in the conclusion discuss color again. First summarize the overall appearance of the work of art – is this a painting? Does the artist use only dark colors? Why heavy brushstrokes? etc and then discuss details of the object – this specific animal is gray, the sky is missing a moon, etc. Again, it is best to be organized and focused in your writing – if you discuss the animals and then the individuals and go back to the animals you run the risk of making your writing unorganized and hard to read. It is also ideal to discuss the focal of the piece – what is in the center? What stands out the most in the piece or takes up most of the composition?

A stylistic approach can be described as an indicator of unique characteristics that analyzes and uses the formal elements (2-D: Line, color, value, shape and 3-D all of those and mass).The point of style is to see all the commonalities in a person’s works, such as the use of paint and brush strokes in Van Gogh’s work. Style can distinguish an artist’s work from others and within their own timeline, geographical regions, etc.

Methods & Theories To Consider:

Expressionism

Instructuralism

Postmodernism

Social Art History

Biographical Approach

Poststructuralism

Museum Studies

Visual Cultural Studies

Stylistic Analysis Example:

The following is a brief stylistic analysis of two Greek statues, an example of how style has changed because of the “essence of the age.” Over the years, sculptures of women started off as being plain and fully clothed with no distinct features, to the beautiful Venus/Aphrodite figures most people recognize today. In the mid-seventh century to the early fifth, life-sized standing marble statues of young women, often elaborately dress in gaily painted garments were created known as korai. The earliest korai is a Naxian women to Artemis. The statue wears a tight-fitted, belted peplos, giving the body a very plain look. The earliest korai wore the simpler Dorian peplos, which was a heavy woolen garment. From about 530, most wear a thinner, more elaborate, and brightly painted Ionic linen and himation. A largely contrasting Greek statue to the korai is the Venus de Milo. The Venus from head to toe is six feet seven inches tall. Her hips suggest that she has had several children. Though her body shows to be heavy, she still seems to almost be weightless. Viewing the Venus de Milo, she changes from side to side. From her right side she seems almost like a pillar and her leg bears most of the weight. She seems be firmly planted into the earth, and since she is looking at the left, her big features such as her waist define her. The Venus de Milo had a band around her right bicep. She had earrings that were brutally stolen, ripping her ears away. Venus was noted for loving necklaces, so it is very possibly she would have had one. It is also possible she had a tiara and bracelets. Venus was normally defined as “golden,” so her hair would have been painted. Two statues in the same region, have throughout history, changed in their style.

Compare and Contrast Essay

Most introductory art history classes will ask students to write a compare and contrast essay about two pieces – examples include comparing and contrasting a medieval to a renaissance painting. It is always best to start with smaller comparisons between the two works of art such as the medium of the piece. Then the comparison can include attention to detail so use of color, subject matter, or iconography. Do the same for contrasting the two pieces – start small. After the foundation is set move on to the analysis and what these comparisons or contrasting material mean – ‘what is the bigger picture here?’ Consider why one artist would wish to show the same subject matter in a different way, how, when, etc are all questions to ask in the compare and contrast essay. If during an exam it would be best to quickly outline the points to make before tackling writing the essay.

Compare and Contrast Example:

Stele of Hammurabi from Susa (modern Shush, Iran), ca. 1792 – 1750 BCE, Basalt, height of stele approx. 7’ height of relief 28’

Stele, relief sculpture, Art as propaganda – Hammurabi shows that his law code is approved by the gods, depiction of land in background, Hammurabi on the same place of importance as the god, etc.

Top of this stele shows the relief image of Hammurabi receiving the law code from Shamash, god of justice, Code of Babylonian social law, only two figures shown, different area and time period, etc.

Stele of Naram-sin , Sippar Found at Susa c. 2220 - 2184 bce. Limestone, height 6'6"

Stele, relief sculpture, Example of propaganda because the ruler (like the Stele of Hammurabi) shows his power through divine authority, Naramsin is the main character due to his large size, depiction of land in background, etc.

Akkadian art, made of limestone, the stele commemorates a victory of Naramsin, multiple figures are shown specifically soldiers, different area and time period, etc.

Iconography

Regardless of what essay approach you take in class it is absolutely necessary to understand how to analyze the iconography of a work of art and to incorporate into your paper. Iconography is defined as subject matter, what the image means. For example, why do things such as a small dog in a painting in early Northern Renaissance paintings represent sexuality? Additionally, how can an individual perhaps identify these motifs that keep coming up?

The following is a list of symbols and their meaning in Marriage a la Mode by William Hogarth (1743) that is a series of six paintings that show the story of marriage in Hogarth’s eyes.

  • Man has pockets turned out symbolizing he has lost money and was recently in a fight by the state of his clothes.
  • Lap dog shows loyalty but sniffs at woman’s hat in the husband’s pocket showing sexual exploits.
  • Black dot on husband’s neck believed to be symbol of syphilis.
  • Mantel full of ugly Chinese porcelain statues symbolizing that the couple has no class.
  • Butler had to go pay bills, you can tell this by the distasteful look on his face and that his pockets are stuffed with bills and papers.
  • Card game just finished up, women has directions to game under foot, shows her easily cheating nature.
  • Paintings of saints line a wall of the background room, isolated from the living, shows the couple’s complete disregard to faith and religion.
  • The dangers of sexual excess are underscored in the Hograth by placing Cupid among ruins, foreshadowing the inevitable ruin of the marriage.
  • Eventually the series (other five paintings) shows that the woman has an affair, the men duel and die, the woman hangs herself and the father takes her ring off her finger symbolizing the one thing he could salvage from the marriage.

How to Write a Visual Analysis Essay: Examples & Template

A visual analysis essay is an academic paper type that history and art students often deal with. It consists of a detailed description of an image or object. It can also include an interpretation or an argument that is supported by visual evidence.

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The picture shows the definition of a visual analysis.

In this article, our custom writing experts will:

  • explain what a visual analysis is;
  • share useful tips on how to write a good visual analysis essay;
  • provide an essay sample.
  • 🎨 Visual Analysis Definition
  • 🏺 Artwork Analysis Tips
  • ✅ Visual Analysis Writing Guide
  • 📑 Example & Citation Tips

🎨 What Is a Visual Analysis?

The primary objective of visual analysis is to understand an artwork better by examining the visual elements. There are two types of visual analysis: formal and contextual.

  • A formal analysis focuses on artwork elements such as texture, color, size, and line. It aims to organize visual information and translate it into words. A formal analysis doesn’t interpret the piece.
  • Unlike formal analysis, contextual analysis’ primary goal is to connect artwork to its purpose or meaning within a culture. A contextual analysis includes formal analysis. Additionally, it discusses an artwork’s social purpose and significance.

Usually, students deal with formal visual analysis. Before starting to work on your essay, make sure to ask your professor whether to include contextual analysis or not.

The Purpose of Analyzing Images

Why is visual analysis important? What does it help to learn? There are several things that visual analysis helps with:

  • It allows students to enhance their appreciation of art.
  • It enables students to develop the ability to synthesize information.
  • It encourages students to seek out answers instead of simply receiving them.
  • It prompts higher-order critical thinking and helps to create a well-reasoned analysis.
  • By conducting visual analysis, students learn how to support and explain their ideas by studying visual information.

What Is Formal Analysis: Art History

When we look at an artwork, we want to know why it was created, who made it, and what its function was. That’s why art historians and researchers pay special attention to the role of artworks within historical contexts.

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Visual analysis is a helpful tool in exploring art. It focuses on the following aspects:

  • Interpretation of subject matter ( iconography). An iconographic analysis is an explanation of the work’s meaning. Art historians try to understand what is shown and why it is depicted in a certain way.
  • The analysis of function. Many works of art were designed to serve a purpose that goes beyond aesthetics. Understanding that purpose by studying their historical use helps learn more about artworks. It also establishes a connection between function and appearance.

Formal Analysis: Art Glossary

Now, let’s look at some visual elements and principles and learn how to define them.

Visual Elements :

Visual Principles :

🏺 How to Analyze Artworks: Different Types

Writing a formal analysis is a skill that requires practice. Being careful and attentive during the pre-writing stage is essential if you want to create a good and well-structured visual analysis. 

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Visual analysis essay mainly consists of two components:

  • Description of the selected image or object,
  • Interpretation built on the visual evidence.

During the pre-writing stage:

  • Collect general information about an artwork. Describe it briefly. Pay special attention to visual elements and principles:
  • Develop an interpretation. Think critically. What does the information in your notes imply? How can it be interpreted?
  • Support your ideas. To do it, refer to the visual elements directly. Avoid generalizing art and double-check your prompts. 

How to Analyze a Painting Using the Elements of Art

To write an excellent formal visual analysis, you need to consider as many visual principles and elements as you can apply. In the formal analysis part:

  • Target your description;
  • Address only those elements relevant to your essay;
  • Pay attention to visual elements and principles;
  • Introduce the subject of the painting and describe it;
  • Explain why you have decided to discuss specific elements;
  • Discuss the relationship between visual elements of the artwork;
  • Use the vocabulary terms.

If you are asked to do a contextual analysis , you may want to:

  • Focus on the historical importance of an artwork;
  • Explore the style or movement associated with an artwork;
  • Learn about the historical context and the public’s reaction to the artwork;
  • Learn about the author and how they’ve created the piece of art.

Painting Analysis Essay Example & Tips

Here is a template you can use for your essay.

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Now, let’s take a look at an essay example.

How to Analyze a Photograph

Analyzing photos has a lot in common with paintings. There are three methods on which photo visual analysis relies: description, reflection, and formal analysis. Historical analysis can be included as well, though it is optional.

  • Description . It implies looking closely at the photo and considering all the details. The description needs to be objective and consists of basic statements that don’t express an opinion.
  • Reflection. For the next step, focus on the emotions that the photograph evokes. Here, every viewer will have a different opinion and feelings about the artwork. Knowing some historical context may be helpful to construct a thoughtful response.
  • Formal analysis . Think of the visual elements and principles. How are they represented in the photograph?
  • Historical analysis. For a contextual analysis, you need to pay attention to the external elements of the photograph. Make sure that you understand the environmental context in which the photo was taken. Under what historical circumstances was the picture made?

Photo Analysis Essay Tips

Now that we’ve talked about analyzing a photograph let’s look at some helpful tips that will help you write an essay.

How to Analyze a Sculpture

Visual analysis of a sculpture is slightly different from the one of a painting or a photograph. However, it still uses similar concepts, relies on visual elements and principles. When you write about sculpture, consider:

Visual Analysis Essay on a Sculpture: Writing Tips

A sculpture analysis consists of the following parts:

  • Description . Include specific details, such as what the sculpture may represent. For instance, the human figure may be an athlete, an ancient God, a poet, etc. Consider their pose, body build, and attire.
  • Formal analysis . Here, visual elements and principles become the focus. Discuss the color, shape, technique, and medium.
  • Contextual analysis . If you decide to include a contextual analysis, you can talk about the sculpture’s function and how it conveys   ideas and sentiments of that period. Mention its historical and cultural importance.

When it comes to sculpture analysis, you may also want to collect technical data such as:

  • The size of the sculpture
  • Medium (the material)
  • The current condition (is it damaged, preserved as a fragment, or as a whole piece)
  • Display (Was a sculpture a part of an architectural setting, or was it an independent piece of work?)

For instance, if you were to do a visual analysis of Laocoön and His Sons , you could first look up such details:

  • Location: Discovered in a Roman vineyard in 1506
  • Current location: Vatican
  • Date: Hellenistic Period (323 BCE – 31 CE)
  • Size: Height 208 cm; Width 163 cm; Depth 112 cm
  • Material: Marble
  • Current condition: Missing several parts.

Visual Analysis Essay: Advertisement Analysis

Visuals are used in advertisements to attract attention or convince the public that they need what is being advertised. The purpose of a visual argument is to create interest. Advertisements use images to convey information and communicate with the audience.

When writing a visual analysis of an advertisement, pay attention to the following:

  • text elements,
  • illustrations,
  • composition.

All of this influences how the viewer perceives the information and reacts to it.

When you write about an advertisement, you conduct a rhetorical analysis of its visual elements. Visual rhetoric is mainly directed at analyzing images and extracting information from them. It helps to understand the use of typography, imagery, and the arrangement of elements on the page.

Think of the famous visual rhetoric examples such as the We can do it! poster or a Chanel №5 commercial. Both examples demonstrate how persuasive imagery has been used throughout history.

How to Write a Visual Analysis Paper on an Advertisement

The presentation of visual elements in advertising is essential. It helps to convince the audience. When you analyze visual arguments, always keep the rhetorical situation in mind. Here are some crucial elements to focus on:

✅ How to Write a Visual Analysis Paper: Step by Step

Now, we’ll focus on the paper itself and how to structure it. But first, check out the list of topics and choose what suits you best.

Visual Analysis Essay Topics

There are a lot of artworks and advertisements that can be analyzed and viewed from different perspectives. Here are some essay topics on visual analysis that you may find helpful:

  • Analyze Gustav Klimt’s The Kiss (1907-1908.)
  • The theme of humanity and The Son of Man (1964) by René Magritte.
  • The use of visual elements in Almond Blossom by Vincent van Gogh (1888-1890.)
  • Identity and Seated Harlequin (1901) by Picasso .
  • Explore the themes of Paul Klee ’s The Tree of Houses , 1918.
  • Objectives, activities, and instructions of Pietro Perugino’s fresco The Delivery of the Keys to Saint Peter .
  • Reflection on social issues of the time in Two Fridas by Frida Kahlo and Untitled by Ramses Younan .
  • Analyze the importance of Mural (1943) by Jackson Pollock .
  • The political message in John Gast’s painting American Progress (1872).
  • Describe the visual techniques used in Toy Pieta by Scott Avett .
  • The interpretation of the painting Indian Fire God by Frederic Remington.
  • Explore the historical significance and aesthetic meaning of Ognissanti Madonna by Giotto di Bondone .
  • Analyze different interpretations of The Three Dancers by Pablo Picasso .

Photography:

  • The idea behind Lindsay Key (1985) by Robert Mapplethorpe.
  • Explore the mythical appeal of Robert Capa’s photograph The Falling Soldier (Spain,1936) from Death in Making photobook.
  • Describe Two Boys with Fish (2018) from Faith series by Mario Macilau.
  • Kevin Carter’s Starving Child and Vulture (1993) as the representation of photojournalism.
  • The story behind Philippe Halsman’s Dali Atomicus , 1948.
  • Describe The Starving Boy in Uganda photograph by Mike Wells
  • Analyse the view of a historic disaster in San Francisco photograph by George R. Lawrence.
  • The statement behind Eddie Adams’s photo Shooting a Viet Cong Prisoner .
  • How is Steve McCurry’s perception of the world reflected in his photo Afghanistan Girl .
  • Analyze the reflection of Ansel Adams’s environmental philosophy in his photo Moon and Half Dome (1960).
  • Describe Girl on the Garda Lake (2016) by Giuseppe Milo.
  • Combination of internal geometry and true-to-life moments in Behind the Gare Saint Lazare by Henri Cartier-Bresson .
  • Modern art and Couple on Seat by Lynn Chadwick (1984.)
  • Analyze the biblical context of Pieta (1498-1499) by Michelangelo.
  • The use of shapes in Louise Bourgeois ’ Spider (1996.)
  • Analysis of the symbolism behind The Thinker (1880) by Rodin.
  • The historical meaning of Fountain (1917) by Duchamp .
  • Analyze the Miniature Statue of Liberty by Willard Wigan
  • The combination of Egyptian culture and classical Greek ideology in statue of Osiris-Antinous .
  • Reflection of the civilization values in emperor Qin’s Terracotta Army .
  • The aesthetic and philosophical significance of Michelangelo’s David .
  • Explore the controversial meaning of Damien Hirst’s sculpture For the Love of God (2007).
  • Analyze the elements of art and design used in The Thinker by August Rodin .
  • Symbolic elements in the Ancient Greek statues of Zeus .
  • Depiction of the fundamental aspects of Buddhism in The Parinirvana of Siddhartha/Shakyamuni.

Advertisement:

  • How Volkswagen : Think Small (1960) ad changed advertising.
  • Analyze the use of figures in California Milk Processor Board: Got Milk? (1993) ad campaign .
  • Analyze the use of colors in Coca-Cola — The Pause that Refreshes (1931.)
  • Explore the historical context of We Can Do It! (1942) campaign.
  • The importance of a slogan in 1947: A Diamond Is Forever by De Beers.
  • Examine the specifics of visual advert: dogs and their humans.
  • Describe the use of visual techniques in Kentucky Fried Chicken company’s advertisement.
  • Analyze the multiple messages behind the print ad of JBL .
  • Discuss the methods used in Toyota Highlander advertisement .
  • Elucidation of people’s dependency on social networks in the advertising campaign Followers by Miller Lite.
  • The use of the visual arguments in Schlitz Brewing Company advertisement .
  • The role of colors and fonts in Viva la Juicy perfume advertisement .

Visual Analysis Essay Outline

You can use this art analysis template to structure your essay:

The picture shows the main steps in writing a visual analysis essay: introduction, main body, conclusion.

How to Start an Art Essay

Every analysis starts with an introduction. In the first paragraph, make sure that:

  • the reader knows that this essay is a visual analysis;
  • you have provided all the necessary background information about an artwork.

It’s also important to know how to introduce an artwork. If you’re dealing with a panting or a photograph, it’s better to integrate them into the first page of your analysis. This way, the reader can see the piece and use it as a reference while reading your paper.

Art Thesis Statement Examples & Tips

Formulating a thesis is an essential step in every essay. Depending on the purpose of your paper, you can either focus your visual analysis thesis statement on formal elements or connect it with the contextual meaning. 

To create a strong thesis, you should relate it to an artwork’s meaning, significance, or effect. Your interpretation should put out an argument that someone could potentially disagree with. 

  • For instance, you can consider how formal elements or principles impact the meaning of an artwork. Here are some options you can consider:
  • If your focus is the contextual analysis, you can find the connection between the artwork and the artist’s personal life or a historical event.

How to Write Visual Analysis Body Paragraphs

Body paragraphs of formal analysis consist of two parts—the description and the analysis itself. Let’s take Klimt’s The Kiss as an example:

The contextual analysis includes interpretation and evaluation.

Visual Analysis Essay Conclusion

When you work on the conclusion, try to conclude your paper without restating the thesis. At the end of your essay, you can present an interesting fact. You can also try to:

  • Compare an artwork to similar ones;
  • Contrast your own ideas on the piece with the reaction people had when it was first revealed.
  • Talk about an artwork’s significance to the culture and art in general.

📑 Visual Analysis Essay Example & Citation Tips

In this section of the article, we will share some tips on how to reference an artwork in a paper. We will also provide an essay example.

How to Reference a Painting in an Essay

When you work on visual analysis, it is important to know how to write the title of an artwork properly. Citing a painting, a photograph, or any other visual source, will require a little more information than citing a book or an article. Here is what you will need:

  • Size dimensions
  • Current location
  • Name of the piece
  • Artist’s name
  • Date when artwork was created

If you want to cite a painting or an artwork you saw online, you will also need:

  • The name of the website
  • Website URL
  • Page’s publication date
  • Date of your access

How to Properly Credit an Artwork in APA

How to properly credit an artwork in mla, how to properly credit an artwork in chicago format.

Finally, here’s a sample visual analysis of Rodin’s sculpture The Thinker in APA format. Feel free to download it below.

Many people believe that works of art are bound to be immortal. Indeed, some remarkable masterpieces have outlived their artists by many years, gaining more and more popularity with time. Among them is The Thinker, a brilliant sculpture made by Auguste Rodin, depicting a young, athletic man, immersed deep into his thoughts.

You can also look at the following essay samples to get even more ideas.

  • The Protestors Cartoon by Clay Bennett: Visual Analysis
  • Visual Analysis – Editorial Cartoon
  • Visual Analysis: “Dust Storm” Photo by Steve McCurry
  • Visual, Aural, Read & Write, Kinesthetic Analysis
  • Schlitz Brewing Company Advertisement: Visual Arguments Analysis

Thanks for reading through our article! We hope you found it helpful. Don’t hesitate to share it with your friends.

Further reading:

  • How to Write a Lab Report: Format, Tips, & Example
  • Literature Review Outline: Examples, Approaches, & Templates
  • How to Write a Research Paper Step by Step [2024 Upd.]
  • How to Write a Term Paper: The Ultimate Guide and Tips

❓ Visual Analysis FAQs

To write a visual argument essay, you need to use rhetorical analysis. Visual rhetoric is directed at analyzing images and extracting the information they contain. It helps to analyze the visuals and the arrangement of elements on the page.

A well-though contextual analysis will include:

1. formal analysis, 2. some information about the artist, 3. details on when and where the piece was created, 4. the social purpose of the work, 5. its cultural meaning.

It is better to include pictures  in the introduction  part of your paper. Make sure to cite them correctly according to the format you’re using. Don’t forget to add the website name, the URL, and the access date.

To analyze means not only to describe but also to evaluate and synthesize visual information. To do that, you need to learn about visual elements and principles and see how and why they are used within artworks.

🔍 References

  • Art History: University of North Carolina at Chapel Hill
  • Visual Analysis: Duke University
  • Writing a Formal Analysis in Art History: Hamilton College
  • Contextual Analysis: Pine-Richland School District
  • How to Analyze an Artwork: Student Art Guide
  • Introduction to Art Historical Analysis: Khan Academy
  • Guidelines for Analysis of Art: University of Arkansas at Little Rock
  • Elements of Art: Getty.edu
  • Formal or Critical Analysis: LibreTexts
  • Analyzing a Photograph: University of Oregon
  • Picture Composition Analysis and Photo Essay: University of Northern Iowa
  • Visual Analysis Guidelines: Skidmore College
  • How to Analyze Sculpture: NLA Design and Visual Arts: WordPress
  • Visual Rhetoric: Purdue University
  • Formal Visual Analysis: The Elements & Principles of Composition
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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.

Visual Art Essay Topic

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.

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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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  • Archaeology
  • Cultural and media studies

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’.

figure 1

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

figure 2

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

figure 3

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

figure 4

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

figure 5

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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visual art essays

Art History

What this handout is about.

This handout discusses a few common assignments found in art history courses. To help you better understand those assignments, this handout highlights key strategies for approaching and analyzing visual materials.

Writing in art history

Evaluating and writing about visual material uses many of the same analytical skills that you have learned from other fields, such as history or literature. In art history, however, you will be asked to gather your evidence from close observations of objects or images. Beyond painting, photography, and sculpture, you may be asked to write about posters, illustrations, coins, and other materials.

Even though art historians study a wide range of materials, there are a few prevalent assignments that show up throughout the field. Some of these assignments (and the writing strategies used to tackle them) are also used in other disciplines. In fact, you may use some of the approaches below to write about visual sources in classics, anthropology, and religious studies, to name a few examples.

This handout describes three basic assignment types and explains how you might approach writing for your art history class.Your assignment prompt can often be an important step in understanding your course’s approach to visual materials and meeting its specific expectations. Start by reading the prompt carefully, and see our handout on understanding assignments for some tips and tricks.

Three types of assignments are discussed below:

  • Visual analysis essays
  • Comparison essays
  • Research papers

1. Visual analysis essays

Visual analysis essays often consist of two components. First, they include a thorough description of the selected object or image based on your observations. This description will serve as your “evidence” moving forward. Second, they include an interpretation or argument that is built on and defended by this visual evidence.

Formal analysis is one of the primary ways to develop your observations. Performing a formal analysis requires describing the “formal” qualities of the object or image that you are describing (“formal” here means “related to the form of the image,” not “fancy” or “please, wear a tuxedo”). Formal elements include everything from the overall composition to the use of line, color, and shape. This process often involves careful observations and critical questions about what you see.

Pre-writing: observations and note-taking

To assist you in this process, the chart below categorizes some of the most common formal elements. It also provides a few questions to get you thinking.

Let’s try this out with an example. You’ve been asked to write a formal analysis of the painting, George Morland’s Pigs and Piglets in a Sty , ca. 1800 (created in Britain and now in the Virginia Museum of Fine Arts in Richmond).

An oil painting of two pigs with piglets in a sty.

What do you notice when you see this image? First, you might observe that this is a painting. Next, you might ask yourself some of the following questions: what kind of paint was used, and what was it painted on? How has the artist applied the paint? What does the scene depict, and what kinds of figures (an art-historical term that generally refers to humans) or animals are present? What makes these animals similar or different? How are they arranged? What colors are used in this painting? Are there any colors that pop out or contrast with the others? What might the artist have been trying to accomplish by adding certain details?

What other questions come to mind while examining this work? What kinds of topics come up in class when you discuss paintings like this one? Consider using your class experiences as a model for your own description! This process can be lengthy, so expect to spend some time observing the artwork and brainstorming.

Here is an example of some of the notes one might take while viewing Morland’s Pigs and Piglets in a Sty :

Composition

  • The animals, four pigs total, form a gently sloping mound in the center of the painting.
  • The upward mound of animals contrasts with the downward curve of the wooden fence.
  • The gentle light, coming from the upper-left corner, emphasizes the animals in the center. The rest of the scene is more dimly lit.
  • The composition is asymmetrical but balanced. The fence is balanced by the bush on the right side of the painting, and the sow with piglets is balanced by the pig whose head rests in the trough.
  • Throughout the composition, the colors are generally muted and rather limited. Yellows, greens, and pinks dominate the foreground, with dull browns and blues in the background.
  • Cool colors appear in the background, and warm colors appear in the foreground, which makes the foreground more prominent.
  • Large areas of white with occasional touches of soft pink focus attention on the pigs.
  • The paint is applied very loosely, meaning the brushstrokes don’t describe objects with exact details but instead suggest them with broad gestures.
  • The ground has few details and appears almost abstract.
  • The piglets emerge from a series of broad, almost indistinct, circular strokes.
  • The painting contrasts angular lines and rectangles (some vertical, some diagonal) with the circular forms of the pig.
  • The negative space created from the intersection of the fence and the bush forms a wide, inverted triangle that points downward. The point directs viewers’ attention back to the pigs.

Because these observations can be difficult to notice by simply looking at a painting, art history instructors sometimes encourage students to sketch the work that they’re describing. The image below shows how a sketch can reveal important details about the composition and shapes.

An oil painting of two pigs with piglets in a sty demarcating large compositional elements in different colors.

Writing: developing an interpretation

Once you have your descriptive information ready, you can begin to think critically about what the information in your notes might imply. What are the effects of the formal elements? How do these elements influence your interpretation of the object?

Your interpretation does not need to be earth-shatteringly innovative, but it should put forward an argument with which someone else could reasonably disagree. In other words, you should work on developing a strong analytical thesis about the meaning, significance, or effect of the visual material that you’ve described. For more help in crafting a strong argument, see our Thesis Statements handout .

For example, based on the notes above, you might draft the following thesis statement:

In Morland’s Pigs and Piglets in a Sty, the close proximity of the pigs to each other–evident in the way Morland has overlapped the pigs’ bodies and grouped them together into a gently sloping mound–and the soft atmosphere that surrounds them hints at the tranquility of their humble farm lives.

Or, you could make an argument about one specific formal element:

In Morland’s Pigs and Piglets in a Sty, the sharp contrast between rectilinear, often vertical, shapes and circular masses focuses viewers’ attention on the pigs, who seem undisturbed by their enclosure.

Support your claims

Your thesis statement should be defended by directly referencing the formal elements of the artwork. Try writing with enough specificity that someone who has not seen the work could imagine what it looks like. If you are struggling to find a certain term, try using this online art dictionary: Tate’s Glossary of Art Terms .

Your body paragraphs should explain how the elements work together to create an overall effect. Avoid listing the elements. Instead, explain how they support your analysis.

As an example, the following body paragraph illustrates this process using Morland’s painting:

Morland achieves tranquility not only by grouping animals closely but also by using light and shadow carefully. Light streams into the foreground through an overcast sky, in effect dappling the pigs and the greenery that encircles them while cloaking much of the surrounding scene. Diffuse and soft, the light creates gentle gradations of tone across pigs’ bodies rather than sharp contrasts of highlights and shadows. By modulating the light in such subtle ways, Morland evokes a quiet, even contemplative mood that matches the restful faces of the napping pigs.

This example paragraph follows the 5-step process outlined in our handout on paragraphs . The paragraph begins by stating the main idea, in this case that the artist creates a tranquil scene through the use of light and shadow. The following two sentences provide evidence for that idea. Because art historians value sophisticated descriptions, these sentences include evocative verbs (e.g., “streams,” “dappling,” “encircles”) and adjectives (e.g., “overcast,” “diffuse,” “sharp”) to create a mental picture of the artwork in readers’ minds. The last sentence ties these observations together to make a larger point about the relationship between formal elements and subject matter.

There are usually different arguments that you could make by looking at the same image. You might even find a way to combine these statements!

Remember, however you interpret the visual material (for example, that the shapes draw viewers’ attention to the pigs), the interpretation needs to be logically supported by an observation (the contrast between rectangular and circular shapes). Once you have an argument, consider the significance of these statements. Why does it matter if this painting hints at the tranquility of farm life? Why might the artist have tried to achieve this effect? Briefly discussing why these arguments matter in your thesis can help readers understand the overall significance of your claims. This step may even lead you to delve deeper into recurring themes or topics from class.

Tread lightly

Avoid generalizing about art as a whole, and be cautious about making claims that sound like universal truths. If you find yourself about to say something like “across cultures, blue symbolizes despair,” pause to consider the statement. Would all people, everywhere, from the beginning of human history to the present agree? How do you know? If you find yourself stating that “art has meaning,” consider how you could explain what you see as the specific meaning of the artwork.

Double-check your prompt. Do you need secondary sources to write your paper? Most visual analysis essays in art history will not require secondary sources to write the paper. Rely instead on your close observation of the image or object to inform your analysis and use your knowledge from class to support your argument. Are you being asked to use the same methods to analyze objects as you would for paintings? Be sure to follow the approaches discussed in class.

Some classes may use “description,” “formal analysis” and “visual analysis” as synonyms, but others will not. Typically, a visual analysis essay may ask you to consider how form relates to the social, economic, or political context in which these visual materials were made or exhibited, whereas a formal analysis essay may ask you to make an argument solely about form itself. If your prompt does ask you to consider contextual aspects, and you don’t feel like you can address them based on knowledge from the course, consider reading the section on research papers for further guidance.

2. Comparison essays

Comparison essays often require you to follow the same general process outlined in the preceding sections. The primary difference, of course, is that they ask you to deal with more than one visual source. These assignments usually focus on how the formal elements of two artworks compare and contrast with each other. Resist the urge to turn the essay into a list of similarities and differences.

Comparison essays differ in another important way. Because they typically ask you to connect the visual materials in some way or to explain the significance of the comparison itself, they may require that you comment on the context in which the art was created or displayed.

For example, you might have been asked to write a comparative analysis of the painting discussed in the previous section, George Morland’s Pigs and Piglets in a Sty (ca. 1800), and an unknown Vicús artist’s Bottle in the Form of a Pig (ca. 200 BCE–600 CE). Both works are illustrated below.

An oil painting of two pigs with piglets in a sty for comparison with the image of a bottle in the form of a pig.

You can begin this kind of essay with the same process of observations and note-taking outlined above for formal analysis essays. Consider using the same questions and categories to get yourself started.

Here are some questions you might ask:

  • What techniques were used to create these objects?
  • How does the use of color in these two works compare? Is it similar or different?
  • What can you say about the composition of the sculpture? How does the artist treat certain formal elements, for example geometry? How do these elements compare to and contrast with those found in the painting?
  • How do these works represent their subjects? Are they naturalistic or abstract? How do these artists create these effects? Why do these similarities and differences matter?

As our handout on comparing and contrasting suggests, you can organize these thoughts into a Venn diagram or a chart to help keep the answers to these questions distinct.

For example, some notes on these two artworks have been organized into a chart:

As you determine points of comparison, think about the themes that you have discussed in class. You might consider whether the artworks display similar topics or themes. If both artworks include the same subject matter, for example, how does that similarity contribute to the significance of the comparison? How do these artworks relate to the periods or cultures in which they were produced, and what do those relationships suggest about the comparison? The answers to these questions can typically be informed by your knowledge from class lectures. How have your instructors framed the introduction of individual works in class? What aspects of society or culture have they emphasized to explain why specific formal elements were included or excluded? Once you answer your questions, you might notice that some observations are more important than others.

Writing: developing an interpretation that considers both sources

When drafting your thesis, go beyond simply stating your topic. A statement that says “these representations of pig-like animals have some similarities and differences” doesn’t tell your reader what you will argue in your essay.

To say more, based on the notes in the chart above, you might write the following thesis statement:

Although both artworks depict pig-like animals, they rely on different methods of representing the natural world.

Now you have a place to start. Next, you can say more about your analysis. Ask yourself: “so what?” Why does it matter that these two artworks depict pig-like animals? You might want to return to your class notes at this point. Why did your instructor have you analyze these two works in particular? How does the comparison relate to what you have already discussed in class? Remember, comparison essays will typically ask you to think beyond formal analysis.

While the comparison of a similar subject matter (pig-like animals) may influence your initial argument, you may find that other points of comparison (e.g., the context in which the objects were displayed) allow you to more fully address the matter of significance. Thinking about the comparison in this way, you can write a more complex thesis that answers the “so what?” question. If your class has discussed how artists use animals to comment on their social context, for example, you might explore the symbolic importance of these pig-like animals in nineteenth-century British culture and in first-millenium Vicús culture. What political, social, or religious meanings could these objects have generated? If you find yourself needing to do outside research, look over the final section on research papers below!

Supporting paragraphs

The rest of your comparison essay should address the points raised in your thesis in an organized manner. While you could try several approaches, the two most common organizational tactics are discussing the material “subject-by-subject” and “point-by-point.”

  • Subject-by-subject: Organizing the body of the paper in this way involves writing everything that you want to say about Moreland’s painting first (in a series of paragraphs) before moving on to everything about the ceramic bottle (in a series of paragraphs). Using our example, after the introduction, you could include a paragraph that discusses the positioning of the animals in Moreland’s painting, another paragraph that describes the depiction of the pigs’ surroundings, and a third explaining the role of geometry in forming the animals. You would then follow this discussion with paragraphs focused on the same topics, in the same order, for the ancient South American vessel. You could then follow this discussion with a paragraph that synthesizes all of the information and explores the significance of the comparison.
  • Point-by-point: This strategy, in contrast, involves discussing a single point of comparison or contrast for both objects at the same time. For example, in a single paragraph, you could examine the use of color in both of our examples. Your next paragraph could move on to the differences in the figures’ setting or background (or lack thereof).

As our use of “pig-like” in this section indicates, titles can be misleading. Many titles are assigned by curators and collectors, in some cases years after the object was produced. While the ceramic vessel is titled Bottle in the Form of a Pig , the date and location suggest it may depict a peccary, a pig-like species indigenous to Peru. As you gather information about your objects, think critically about things like titles and dates. Who assigned the title of the work? If it was someone other than the artist, why might they have given it that title? Don’t always take information like titles and dates at face value.

Be cautious about considering contextual elements not immediately apparent from viewing the objects themselves unless you are explicitly asked to do so (try referring back to the prompt or assignment description; it will often describe the expectation of outside research). You may be able to note that the artworks were created during different periods, in different places, with different functions. Even so, avoid making broad assumptions based on those observations. While commenting on these topics may only require some inference or notes from class, if your argument demands a large amount of outside research, you may be writing a different kind of paper. If so, check out the next section!

3. Research papers

Some assignments in art history ask you to do outside research (i.e., beyond both formal analysis and lecture materials). These writing assignments may ask you to contextualize the visual materials that you are discussing, or they may ask you to explore your material through certain theoretical approaches. More specifically, you may be asked to look at the object’s relationship to ideas about identity, politics, culture, and artistic production during the period in which the work was made or displayed. All of these factors require you to synthesize scholars’ arguments about the materials that you are analyzing. In many cases, you may find little to no research on your specific object. When facing this situation, consider how you can apply scholars’ insights about related materials and the period broadly to your object to form an argument. While we cannot cover all the possibilities here, we’ll highlight a few factors that your instructor may task you with investigating.

Papers that ask you to consider iconography may require research on the symbolic role or significance of particular symbols (gestures, objects, etc.). For example, you may need to do some research to understand how pig-like animals are typically represented by the cultural group that made this bottle, the Vicús culture. For the same paper, you would likely research other symbols, notably the bird that forms part of the bottle’s handle, to understand how they relate to one another. This process may involve figuring out how these elements are presented in other artworks and what they mean more broadly.

Artistic style and stylistic period

You may also be asked to compare your object or painting to a particular stylistic category. To determine the typical traits of a style, you may need to hit the library. For example, which period style or stylistic trend does Moreland’s Pigs and Piglets in a Sty belong to? How well does the piece “fit” that particular style? Especially for works that depict the same or similar topics, how might their different styles affect your interpretation? Assignments that ask you to consider style as a factor may require that you do some research on larger historical or cultural trends that influenced the development of a particular style.

Provenance research asks you to find out about the “life” of the object itself. This research can include the circumstances surrounding the work’s production and its later ownership. For the two works discussed in this handout, you might research where these objects were originally displayed and how they ended up in the museum collections in which they now reside. What kind of argument could you develop with this information? For example, you might begin by considering that many bottles and jars resembling the Bottle in the Form of a Pig can be found in various collections of Pre-Columbian art around the world. Where do these objects originate? Do they come from the same community or region?

Patronage study

Prompts that ask you to discuss patronage might ask you to think about how, when, where, and why the patron (the person who commissions or buys the artwork or who supports the artist) acquired the object from the artist. The assignment may ask you to comment on the artist-patron relationship, how the work fit into a broader series of commissions, and why patrons chose particular artists or even particular subjects.

Additional resources

To look up recent articles, ask your librarian about the Art Index, RILA, BHA, and Avery Index. Check out www.lib.unc.edu/art/index.html for further information!

Works consulted

We consulted these works while writing this handout. This is not a comprehensive list of resources on the handout’s topic, and we encourage you to do your own research to find additional publications. Please do not use this list as a model for the format of your own reference list, as it may not match the citation style you are using. For guidance on formatting citations, please see the UNC Libraries citation tutorial . We revise these tips periodically and welcome feedback.

Adams, Laurie Schneider. 2003. Looking at Art . Upper Saddle River, NJ: Prentice Hall.

Barnet, Sylvan. 2015. A Short Guide to Writing about Art , 11th ed. Upper Saddle River, NJ: Prentice Hall.

Tate Galleries. n.d. “Art Terms.” Accessed November 1, 2020. https://www.tate.org.uk/art/art-terms .

You may reproduce it for non-commercial use if you use the entire handout and attribute the source: The Writing Center, University of North Carolina at Chapel Hill

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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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CREATING WORKS OF VISUAL ART: FEATURES, PROBLEMS AND CONCEPTS OF ARTISTIC ACTIVITY

DOI: 10.36871 / hon.202103001

M. V. Boubnova Moscow Region State University, Mytishchi, Moscow region, Russian Federation

The goal of this paper is to identify the features of visual activity and conceptual approaches to the process of depiction. The research was carried out through observation of students’ work at the Moscow Region State University (MRSU) on the creation of paintings within the traditions of realistic depiction. The article analyzes the tendencies typical for visual activity, as well as the main problems arising in the process of artistic work, gives examples from practice, suggests ways to overcome such problems and to master the algorithms of “analytical depiction”. Author’s revisions of the following concepts are introduced: “depiction” as a method of “analytical painting”, when the result of the work is the realization of the conceived, and “copying” as drawing without comparing the qualities of the depicted, when the result of the activity is random and is not the artistic image that was intended to be created. The results of the research contribute to the theory of teaching professional art creativity, and to the understanding of theoretical problems of art and arts education. The materials can be used in teaching practice.

academic painting, life drawing, life painting, problems of visual activity, artistic perception, artistic image, artistic vision, copying, life analysis

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Evgeny chubarov.

Evgeny Chubarov (1934, Nizhnee Bobino, Bashkortostan, USSR — 2012, Mytishchi, Moscow region, Russia).

A painter, sculptor, and an enigmatic artist, Chubarov translated his emotions, moods, and intellectual insights to a new ultimate visual language. Pushing beyond conventional boundaries, Chubarov created his unique iconography that seamlessly merged the elements of contemporary world with the rich tapestry of spiritual art traditions.

For over four decades of his career, Chubarov ventured through the vibrant artistic scenes of Berlin, New York, and Moscow. Throughout this period, he focused on refining and advancing the concept of Pure Abstraction—an innovative intellectual form of abstract gesture painting, where the line and its implementation held a special meaning, endowing it with a distinctive and transformative power.

As an artist of Armenian origin, he drew deep inspiration from the history of Medieval relics, Christian Icons and Middle Eastern Manuscripts, which always surrounded him in his studio. Rooted in the rich ongoing dialogue between the East and West, his abstract works fused the aesthetics of ancient calligraphy and Byzantine art with contemporary painting.

Chubarov subjected the works to a game of improvisation. Driven by the unpredictable nature of abstraction, he experienced this improvisation in a musical sense transforming the canvas into a symphonic phenomenon. Amplifying it with rhythmic bars, visual accents and powerful brushstrokes, he masterfully created a dynamic visual symphony that resonated deeply with its observer. Always completed in sections, with no major “paint attack” on the canvas, Chubarov’s works diverged from classical gestural abstraction, or drip painting, to the realm of new intellectual expressionism.

“There is no traditional center in his paintings. The composition is randomly scattered across the canvas. The works are intentionally created in defiance of academic canons. The arbitrary composition eliminates the internal balance of colors, shapes and strokes and represent “non-relational art.” Nothing is weighed in this limitless freedom. This is where Chubarov performs masterfully.” — Dr. Tayfun Belgin, Osthaus Museum Hagen. Notes about E. Chubarov

Evgeny Chubarov was an artist whose passion for drawing and painting blossomed during his childhood. Influenced by his admiration for applying art and history. He began his artistic journey by studying jewelry design, weapons engraving, and eventually sculpture – the skills that he would later revive on his paintings.

In the early 1990s, Chubarov relocated to Berlin and later to New York City, where his artistic style underwent its final transformation from figurative art to abstraction. Chubarov was awarded a Pollock-Krasner Foundation grant and participated in exhibitions together with the leading artists of the post-war generation: Frank Stella, Peter Halley, Sol LeWitt and Damien Hirst. Artist’s heritage includes over hundreds of paintings, thousands of works on paper and sculptures that can be found in public funds, museums and private collections around the world.

The Chubarov Foundation has been established to collect, preserve and promote the art of Evgeny Chubarov.

The main goals of the Foundation are to collaborate with art institutions on exhibiting, publishing and cataloguing the artist’s works in museums and private collections.

Evgeny Chubarov Foundation

Untitled 1993–1995 Oil on canvas 300 x 400 cm Exhibitions "Return to the Abstract", The State Russian Museum, St.Petersburg, Russia, 2004 "Evgeny Chubarov — The Berlin Works", The Osthaus Museum, Hagen, Germany. July 31 — October 2, 2016 Publications Catalog "Return to the Abstract", Gary Tatintsian Gallery, 2004. pp. 98-99 Catalog "Evgeny Chubarov — The Berlin Works". The Osthaus Museum, Hagen, Germany, 2016. pp. 24-25, 30-33

Evgeny Chubarov - Untitled

Untitled 1996 Oil on canvas 300 x 200 cm Exhibitions "Return to the Abstract", The State Russian Museum, St.Petersburg, Russia, 2004 Evgeny Chubarov — The Berlin Works, The Osthaus Museum, Hagen, Germany. July 31 — October 2, 2016 Publications Catalog "Return to the Abstract", Gary Tatintsian Gallery, 2004. pp. 94-95 Catalog "Evgeny Chubarov", Gary Tatintsian Gallery, Moscow, 2015. pp. 191-193 Catalog "Evgeny Chubarov — The Berlin Works". The Osthaus Museum, Hagen, Germany, 2016. pp. pp. 20-21, 24, 27, 35-37

Evgeny Chubarov - Untitled

Untitled 1996 Oil on canvas 200 x 150 cm Exhibitions "Evgeny Chubarov — The Berlin Works", The Osthaus Museum, Hagen, Germany. July 31 — October 2, 2016 Publications Catalog "Evgeny Chubarov", Gary Tatintsian Gallery, Moscow, 2015. pp. 55-57 Catalog "Evgeny Chubarov — The Berlin Works". The Osthaus Museum, Hagen, Germany, 2016. pp. 44, 50-55

Evgeny Chubarov - Untitled

Untitled 1993 Oil on canvas 200 × 150 cm

Evgeny Chubarov - Untitled

Untitled 1993 Oil on canvas 200 x 150 cm

Evgeny Chubarov - Untitled

Untitled 1994 Oil on canvas 200 x 150 cm

Evgeny Chubarov - Untitled

Untitled 1992 Oil on canvas 200 x 150 cm

Evgeny Chubarov - Untitled

Untitled 1969 Oil on canvas 205 x 300 cm

visual art essays

The 10 Essays That Changed Art Criticism Forever By Will Fenstermaker June 14, 2017 Dr. Cornel West There has never been a time when art critics held more power than during the second half of the twentieth century.

A visual analysis essay is a type of essay written mostly by students majoring in Art History and Communications. The process of visual analysis can be applied to painting, visual art, journalism, photo-journalism, photography, film, and writing. Works in these mediums are often meant to be consumed for entertainment or informative purposes.

A visual arts essay is a scholarly piece that explores various aspects of the visual arts, a broad field encompassing diverse forms of human expression. This genre of essay goes beyond simply describing or critiquing a work of art.

A visual essay is a sequence of photographs or other images which are either: original, taken and/or created by yourself, or found, and significantly processed (e.g. using Photoshop, Illustrator) Taken together, the images provide a critical commentary of some kind on a defined topic, working as a kind of argument, explanation, discussion.

Typically in an art history class the main essay students will need to write for a final paper or for an exam is a formal or stylistic analysis. ... Visual Cultural Studies. Stylistic Analysis Example: The following is a brief stylistic analysis of two Greek statues, an example of how style has changed because of the "essence of the age." ...

A visual analysis essay is an academic paper type that history and art students often deal with. It consists of a detailed description of an image or object. It can also include an interpretation or an argument that is supported by visual evidence. Our specialists will write a custom essay specially for you! Hire Expert

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.

Sample Outline of Visual Analysis Essay. Introduction: Tell the basic facts about the art (see citing your image). Get the reader interested in the image by using one of the following methods: Describe the image vividly so the reader can see it. Tell about how the image was created. Explain the purpose of the artist.

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.

Elements Of Visual Arts Essay (519 words) Visual Arts. Words: 519 (3 pages) Elements of the visual arts Line - line is an important element at the disposal of every artist. Through the lines of a painting or sculpture, the artist can make us know what the work is about. He uses lines to represent figures and forms.

1 Altmetric Metrics Abstract 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...

Visual analysis is the basic unit of art historical writing. Sources as varied as art magazines, scholarly books, and undergraduate research papers rely on concise and detailed visual analyses. You may encounter a visual analysis as an assignment itself; or you may write one as part of a longer research paper.

Writing in art history. Evaluating and writing about visual material uses many of the same analytical skills that you have learned from other fields, such as history or literature. In art history, however, you will be asked to gather your evidence from close observations of objects or images. Beyond painting, photography, and sculpture, you may ...

Visual Arts - Free Essay Examples and Topic Ideas Visual arts is a form of creative expression that includes a wide range of mediums such as painting, sculpture, photography, drawing, and printmaking. These forms of art often require a high level of skill and creativity to create a visually stunning and thought-provoking piece.

Visual Arts IB Visual Arts EE examples Filter exemplars IB Common App Category IA EE TOK Notes Subject Type a subject Grade A B C D E Session May 2025 May 2024 November 2023 May 2023 November 2022 May 2022 November 2021 May 2021 November 2020 May 2020 Other Apply

Visual Arts Salvador Dali - Surrealism The artists of the Surrealist movement researched and studied the works of Sigmund Freud and Carl Jung, determined to explore ways in which to express their art through the world of dreams and the unconscious. Some expressed their art in the abstract tradition, others, in the symbolic tradition. Although, surrealism and certain forms of abstract art share ...

ORDER PAPER LIKE THIS 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.

Here's my advice for HSC visual arts essays• Understanding essays in the Visual Arts exams It's in Section II after you finish your short answers You'll ...

IB Core The Extended Essay Sample Extended Essays Use this resource to get a sense of what examiners are looking for, and to share good practice with your students. Select the essay page you want to share in student access.These are all top scoring essays.

CREATING WORKS OF VISUAL ART: FEATURES, PROBLEMS AND CONCEPTS OF ARTISTIC ACTIVITY DOI: 10.36871 / hon.202103001. Authors. M. V. Boubnova ... The article analyzes the tendencies typical for visual activity, as well as the main problems arising in the process of artistic work, gives examples from practice, suggests ways to overcome such problems ...

Art institutions Artworks. Styles Genres Media Court Métrage New. Short Films Shop Reproductions Home/ Artists/ Realism / Vasily Perov/ All works. Vasily Perov: List of works - All Artworks by Date 1→10. List of works Featured works (7) All Artworks by Date 1→10 (184) All Artworks by Date 10→1 (184) ...

Evgeny Chubarov. Evgeny Chubarov (1934, Nizhnee Bobino, Bashkortostan, USSR — 2012, Mytishchi, Moscow region, Russia). A painter, sculptor, and an enigmatic artist, Chubarov translated his emotions, moods, and intellectual insights to a new ultimate visual language. Pushing beyond conventional boundaries, Chubarov created his unique ...

Produced by: Maria Gracia Turgeon, Habib Attia. Mohamed is deeply shaken when his oldest son Malik returns home after a long journey with a mysterious new wife. 'Tea Party at Mytishchi near Moscow' was created in 1862 by Vasily Perov in Realism style. Find more prominent pieces of genre painting at Wikiart.org - best visual art database.

2 likes, 0 comments - vibalgroup on February 16, 2024: "#AboutTheBook Fabian de la Rosa and His Times is a visual overview and collection of essays on a..."

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TCS NQT is National Qualifier Test conducted by Tata Consultancy Services, it is a prerequisite for all the tests. The validity of the NQT score is of two years. Candidates are eligible to apply on the TCS iON Job Listing Portal with an NQT score. NQT exams are conducted in both online and offline modes. This sheet will help you prepare for the TCS NQT exam & you can apply for all the top-notch companies that recognize the exam score. Here we have collected all the interview questions and answers to land a job at TCS.

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This article contains TCS coding questions i.e. the coding questions that are mostly asked in TCS hiring challenges on different topics. The questions are arranged topic-wise in this sheet along with their solutions.

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Data Structures: A data structure is a storage that is used to store and organize data. It is used for processing, retrieving, and storing data. There are different basic and advanced types of data structures used in almost every program or software system that has been developed.

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Write effective problem statements and create engaging presentations for stakeholders with this roundup of problem statement slide templates for PowerPoint and Google Slides. Download these free, customizable templates and edit them for your needs.

On this page, you’ll find a  project problem statement worksheet slide template , a  customer problem statement slide template , a  5 Ws product problem statement template , and more. You’ll also find tips for  writing problem statements and links to  related problem-solving templates .

Project Problem Statement Elements Slide Template

Project Problem Statement Elements Slide Template

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Three Part Problem Statement Slide Template

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When to Use This Template: Project managers or teams can use this template to clearly communicate challenges, proposed solutions, and expected results. It serves as a foundational tool for project planning and decision-making, helping teams effectively communicate critical issues to stakeholders and align efforts toward shared objectives.

Notable Template Features: This slide template helps guide the audience from problem identification to resolution and final outcomes. The bullet points under each category allow you to list key details and focus on what matters most.

Project Problem Statement Worksheet Slide Template

Project Problem Statement Worksheet Slide Template

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When to Use This Template:  This worksheet template is designed to clearly outline the central challenge of a new project or initiative. It provides a straightforward way to write a problem statement that is clear and actionable. Teams can use this tool at the outset of the planning stage to ensure that everyone understands the issues being addressed, the criteria for success, and the boundaries of the project.

Notable Template Features:  The template's comprehensive structure breaks down the problem statement into specific components, such as context, success criteria, stakeholders, and scope. This helps teams focus their discussions and ensure a shared understanding of the problem. Teams can also use this template in presentations to provide stakeholders with context for the problem statement.

Traffic Light Problem Statement Slide Template

Traffic Light Problem Statement Slide Template

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When to Use This Template: Project or product managers can use this template to present a clear problem statement in meetings or in documents. This template is particularly useful during the initial stages of project planning or when addressing project roadblocks.

Notable Template Features: The template includes sections for identifying a problem, how to solve it, and what the results should be. Each part corresponds to the colors in the traffic light graphic, which reinforces the importance of a careful approach to problem-solving.

Single-Problem Statement and Solution Slide Template

Single-Problem Statement and Solution Slide Template

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When to Use This Template: This template is ideal for project proposals, strategy meetings, or pitches where a clearly defined problem and solution can drive decision-making. The visual juxtaposition of problems versus solutions helps stakeholders quickly grasp the core issues and the strategy for resolution.

Notable Template Features: This template has a two-column layout that visually distinguishes challenges and solutions. Each section contains placeholders for text and icons, enhancing the presentation’s visual appeal. Icons such as question and check marks guide the audience from problem to solution.

Multiple-Problem Statement and Solution Slide Template

Multiple-Problem Statement and Solution Slide Template

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When to Use This Template:  Project or product managers can use this template in strategic planning sessions, problem-solving meetings, or any scenario where a clear comparative analysis is needed. The slide format, which shows each challenge next to its proposed solution, can be useful during team meetings where alignment on issues and remedies is crucial.

Notable Template Features:  This template has a two-column layout that guides the viewer from problems on the left to solutions on the right. Each problem and solution pair is clearly marked, making complex information more accessible for the audience.

Customer Problem Statement Slide Template

Customer Problem Statement Slide Template

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When to Use This Template:  Product managers and customer service teams can use this template to break down a customer's problem into tangible parts, clarifying the issue, the attempts to resolve it, the obstacles faced, and its emotional impact. This template is particularly effective for internal presentations that aim to align team members on customer pain points and drive home the urgency of finding a solution.

Notable Template Features:  The template provides a step-by-step layout that guides the presenter through the different aspects of a customer's dilemma. Color-coded sections make the narrative easy to follow through each step of the statement. This breakdown not only captures the complexity of the issue but also fosters a deeper understanding of the problem among team members.

Circular Customer Problem Statement Slide Template

Circular Customer Problem Statement Slide Template

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When to Use This Template:  Use this customer problem statement template to get a full picture of a customer's issue, from who the customer is to their goals, challenges, and emotional responses. It is ideal for sessions focused on understanding and addressing customer experiences, ensuring that teams explore every facet of the problem and link it back to the customer's perspective.

Notable Template Features:  This template features a circular flow that tells the whole story of the customer’s issue, with each segment prompting a key part of the problem. Its design encourages comprehensive analysis, and the arrangement of sections ensures that thoughts flow logically. You can also customize the template to focus on the workflow around the problem or other details rather than only the customer story.

Product Problem Statement Slide Template

Product Problem Statement Slide Template

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When to Use This Template: Product managers can use this template to clearly articulate the problem their product aims to solve. This serves as an essential tool during the initial stages of product development or when proposing enhancements to existing products. By structuring thoughts and research systematically, this template helps managers secure stakeholder buy-in and align cross-functional teams toward a common objective.

Notable Template Features: Each section prompts users to delve deeply into understanding the problem and its potential impacts, customer value, and business significance. The template allows you to link externally to supporting documentation to show that all claims and assumptions are backed by research. The template's simple structure helps to streamline the problem-solving process, while its thoroughness makes the problem statement more compelling.

5 Ws Product Problem Statement Slide Template

Five Ws Product Problem Statement Slide Template

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When to Use This Template: Product managers and teams can use this template to define and document the who, what, when, where, and why of a problem. This ensures that team members align on the problem before moving toward solutions, fostering a focused approach to product development.

Notable Template Features:  This template prompts users to consider all aspects of a problem statement: who it affects, what the problem is, when and where it occurs, and why it is critical to address. Each column uses color-coding and clear bullet points for organized note-taking.

How to Write a Problem Statement

A problem statement serves as the foundation for any project, ensuring that everyone involved understands the core of the problem they need to solve. Crafting a well-defined statement is crucial for guiding a team toward a solution efficiently. 

Follow these steps to create a compelling problem statement:  

  • Identify the Problem: Gather information about the issue through research, observations, or discussions with stakeholders. For customer problem statements, this might include using surveys or customer service calls to gather data on customer pain points. Use templates such as the 5 Ws to thoroughly understand the who, what, when, where, and why of the problem. 
  • Explain the Impact: Describe how the problem affects the organization, customers, or stakeholders. Provide data or examples to illustrate the extent of the problem's impact. 
  • Analyze the Cause: Investigate and identify the root causes of the problem. Understanding why the problem exists is crucial for finding an effective solution. Keep asking why and drilling down to the root cause to ensure that your problem statement describes the core problem rather than a symptom.
  • Set Objectives: Define what a successful solution would look like. Outline the desired outcome and what changes or improvements you aim to achieve. Use financial and other measurable data to illustrate the benefits of your proposed solution.
  • Specify Constraints and Requirements: Highlight any limitations — such as budget, time, or resources — that could impact the solution. Also, list any necessary criteria that the solution must meet, providing measurable benchmarks for success. 
  • Review and Refine: Once you draft the problem statement, review it to ensure clarity. The statement can be referenced throughout the project to keep work on track, but keep in mind that factors can change, impacting solutions and action plans. Be prepared to pivot as the project progresses.

The key to an effective problem statement lies in its clarity and precision. Keep it succinct, focused on the problem, and free of jargon to ensure that it's accessible to everyone involved. 

For more tools, see this complete collection of free problem statement templates.

How Do You Present a Problem Statement?

Presenting a problem statement is your opportunity to bring the problem to life, engage your audience, and set the stage for collaborative problem-solving. While a written problem statement can be as short as an elevator pitch, stakeholders need context to understand the significance of a problem and the reasoning behind any proposed solutions. 

Here are the elements to include in a problem statement presentation:  

  • State the Problem Clearly: Present the problem statement in a clear and concise manner. Use simple language to ensure that everyone understands the issue at hand.
  • Discuss Causes and Impact: Briefly introduce the background and relevance of the problem to your audience. Share your insights into the causes of the problem. This helps in building a common understanding of the problem's roots and complexity. Use data, anecdotes, or real-life examples to illustrate the significance of the problem and how it affects the organization, stakeholders, or customers.
  • Clarify Outcomes: Clearly state what you aim to achieve by solving the problem. Define the desired outcomes and success criteria to give your audience a clear idea of the direction you propose. Acknowledge any limitations or specific requirements that could influence the approach to solving the problem. This transparency helps in setting realistic expectations.
  • Invite Feedback: Encourage your audience to share their thoughts, questions, and suggestions. Foster an open dialogue to promote collaborative problem-solving.
  • Conclude With Next Steps: End your presentation by summarizing the key points and outlining next steps to ensure everyone leaves with a clear understanding of the problem and the actions required.

Keep your presentation focused, clear, and interactive to maximize understanding and participation. The goal is not only to present a problem but to motivate and guide your audience toward finding a solution together.

Related Problem-Solving Templates

Using problem-solving templates can transform complex challenges into manageable tasks, guiding you from analysis to actionable solutions. Download one of the problem-solving templates below to clearly define problems, identify root causes, and create more successful outcomes.

Root Cause Analysis Template

This  root cause analysis template provides a comprehensive report with a list of questions to help you identify the cause of an event or issue, identify actions already taken, and recommend preventative strategies.

problem solving tcs goal sheet

DMAIC Analysis Template

DMAIC stands for  define, measure, analyze, implement, and  control . This  DMAIC template takes you through this process of defining the problem, measuring its significance, analyzing factors contributing to the problem, identifying potential solutions, and planning to prevent a recurrence of the problem.

problem solving tcs goal sheet

5 Whys Template

The 5 Why process is a method for investigating the root cause of a problem by asking why the issue is occurring, then repeating the question until you get to the root cause. Download this  5 Whys template to evaluate a problem and determine corrective actions.

problem solving tcs goal sheet

Fishbone Diagram Template

Brainstorm the possible causes of an issue with a  fishbone diagram template. The diagram provides a visual tool for identifying cause-and-effect relationships and getting at the root of an issue.

Fishbone Diagram Template

Corrective Action Plan Template

Use this  corrective action plan template to identify problems, plan action steps to mitigate the issues, and track progress.

Sample Simple Corrective Action Plan Template

For more related templates, including a cause mapping template and an example report, see this full selection of  root cause analysis templates .

Use Smartsheet to Solve Your Project Problems

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The Smartsheet platform makes it easy to plan, capture, manage, and report on work from anywhere, helping your team be more effective and get more done. Report on key metrics and get real-time visibility into work as it happens with roll-up reports, dashboards, and automated workflows built to keep your team connected and informed.

When teams have clarity into the work getting done, there’s no telling how much more they can accomplish in the same amount of time. Try Smartsheet for free, today.

Discover a better way to streamline workflows and eliminate silos for good.

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CareerByWell

Latest Job Updates

How To Prepare For The TCS Interview?

December 28, 2023 by Sadaf

Preparing for a TCS interview requires a combination of technical knowledge, problem-solving skills, and a good understanding of the company.

How To Prepare For  The TCS Interview?

Applying for a TCS interview can be a strategic decision based on various factors, and your reasons for doing so will depend on your career goals and aspirations.

Preparing for a TCS (Tata Consultancy Services) interview requires combining technical knowledge, problem-solving skills, and a good understanding of the company.

 Understand TCS and Job Role:

Research TCS thoroughly, including its values, services, recent projects, and notable achievements.

Understand the requirements of the position you’re applying for. Be prepared to discuss how your skills and experiences align with the job.

Besides, TCS uses a digital hiring platform for some of its recruitment processes. Please familiarize yourself with the platform and practice using it.

When considering applying for a TCS interview, aligning your career goals with what the company has to offer is essential. Familiarize yourself with the company’s culture and values.

TCS Ninja Exam:

The TCS Ninja exam, officially known as the TCS NQT (National Qualifier Test), is a nationwide recruitment process conducted by Tata Consultancy Services to identify and hire entry-level candidates.

TCS NQT is a standardized test that assesses candidates’ aptitude and technical skills, helping TCS identify potential talent for various job roles within the company.

The TCS NQT is conducted periodically, and candidates can register and appear for the exam during the specified dates.

It is a common platform for entry-level hiring, allowing TCS to identify and recruit talented individuals from diverse academic backgrounds.

Candidates interested in the TCS NQT should regularly check the official TCS website for updates and registration details.

TCS NQT scores are generally valid for a specific period, and candidates can use the scores to apply for job openings during that time frame.

Candidates who perform well in the TCS NQT are shortlisted for further interview rounds. The interview process may include technical interviews, HR interviews, and other assessments based on the specific job role.

Update Resume:

Ensure your resume is up-to-date. Highlight your skills, achievements, and experiences relevant to the position you are applying for.

Keeping your resume up-to-date is a proactive step that ensures accuracy, allows you to highlight relevant information, and demonstrates your commitment to presenting the best version of yourself during the interview process.

Although you can create your resume specifically for TCS, TCS may have specific technical or soft skills that they prioritize. Highlight these skills in your resume, especially those directly relevant to the job you’re applying for.

If applicable, mention your TCS NQT score prominently in your resume. TCS often uses this test as part of their hiring process, and a good score can enhance your candidacy.

Do you remember  Aditya Sharma , who created a resume for Google, Amazon, and Netflix using the UI of the website, respectively? If you don’t, then this image will help you remember him.

Resume Importance

Include relevant industry-specific keywords if you’re applying for a role in a specific industry or domain. This can demonstrate that you understand the sector and its requirements.

Tailor your resume’s objective or summary section to reflect your interest in working with TCS. Be specific about how your skills and career goals align with the company’s values and mission.

Remember, the goal is to present yourself as the ideal candidate for the specific position at TCS.

The Importance of Resume

Understand Interview Pattern:

Interview patterns can vary depending on the company, industry, and specific job role.

However, there are some common elements and structures that you might encounter during interviews. Understanding the typical interview pattern can help you prepare effectively.

Practice answering common questions, conducting mock interviews , and researching the specific interview format for the company you’re applying to.

Each industry and role may have nuances, so tailor your preparation accordingly. Usually, the TCS hiring process comprises three critical rounds:

Round 1: Aptitude Test (Foundation Round)

Round 2: technical interview, round 3: hr interview.

In the initial stage, candidates must undertake an Aptitude Test known as the Foundation Round. This test assesses their mathematical, logical, and analytical skills.

Successful performance in this round qualifies candidates for the subsequent stages of the hiring process.

Following the Aptitude Test, candidates proceed to the Technical Interview. This round focuses on evaluating the candidate’s technical knowledge, problem-solving abilities, and understanding of core concepts relevant to the job role.

It is an opportunity for candidates to showcase their expertise in programming, algorithms, and related technical areas.

The final stage of the TCS Ninja hiring process is the HR Interview. This interview assesses the candidate’s interpersonal skills, communication abilities, and alignment with the company’s values and culture.

It provides a platform for candidates to discuss their aspirations, experiences, and how they can contribute to the organization.

By successfully navigating through these rounds, candidates can progress through the TCS Ninja hiring process and position themselves for potential employment opportunities with TCS.

Technical Knowledge:

Brush up on your technical skills, especially those related to your interviewing role. TCS often conducts technical interviews, so be ready for questions related to programming, databases, algorithms, and problem-solving.

TCS is a global IT services and consulting company, and their technical interview typically covers a range of topics depending on the specific job role. Here are some general technical knowledge areas you might encounter in a TCS technical interview.

Prepare to delve into the details of your projects, emphasizing your proficiency in coding and demonstrating your problem-solving skills.

It’s crucial to refresh your understanding of foundational concepts and be ready to engage in discussions about the practical applications of your knowledge in real-world scenarios.

Remember, the technical interview at TCS aims to evaluate your problem-solving abilities, technical knowledge, and how well you can apply your skills to real-world scenarios.

Be prepared to discuss your projects, experiences, and any specific technical achievements your resume highlights.

Regular practice of coding problems and reviewing core technical concepts will enhance your readiness for a TCS technical interview.

 Soft Skills:

Work on your communication skills. TCS values effective communication, so practice articulating your thoughts clearly and concisely.

Soft skills are crucial for success in TCS interviews, as they complement technical expertise and contribute to effective communication and collaboration.

You enhance your candidacy and demonstrate the qualities needed to thrive in a professional and collaborative environment by showcasing critical soft skills in your TCS interview.

Professional Attire :

For a TCS interview, it’s important to dress professionally to make a positive first impression. Remember that the goal is to present yourself as polished, professional, and respectful of the formal nature of an interview.

Choose attire that reflects your understanding of the corporate culture and commitment to the opportunity.

[faq_page start]

How can I highlight my problem-solving skills?

At the time of the interview, effectively communicate your problem-solving approach, break down intricate problems into manageable steps, and explore multiple solutions before arriving at the optimal one.

Demonstrating problem-solving skills is pivotal in a TCS interview. Engage in consistent practice by tackling coding problems on platforms like LeetCode, HackerRank, or GeeksforGeeks.

What kind of technical questions can I prepare for a TCS interview?

Expect diverse technical questions in a TCS interview, spanning programming languages, data structures, algorithms, and database concepts.

Anticipate discussions on your projects, showcasing your coding proficiency and addressing coding challenges. Ensure a firm grasp of fundamental concepts and be ready to delve into practical applications of your knowledge.

This comprehensive preparation will position you well for the technical aspects of the TCS interview.

What is the importance of communication skills in a TCS interview?

Communication holds paramount importance in TCS interviews. When responding to technical queries, ensure clarity in articulating your thought process, assumptions, and reasoning.

Illustrate your capacity to collaborate and communicate efficiently by providing concise and comprehensive answers. Attentively listen to the interviewer’s questions before delivering your responses.

[/faq_page end]

Remember to tailor your preparation based on the specific role and requirements of the job you’re applying for at TCS. Good luck!

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