a level art essay introduction examples

Art-based Artefact FULL Essay & Sketchbook Example

Jennifer Leigh | 28th September 2019

Many students are warned before taking on an EPQ, that artefact projects are substantially harder and score substantially lower than full essay projects. The key difficulty with artefact EPQs is making them research-based and the biggest task I had to overcome was insuring my artefact complimented my research, rather than the other way around. I was the only student in my year group to attempt an artefact EPQ and there was very little help as to the structure my EPQ should take.

During Sixth Form, I completed an art-based artefact EPQ on the significance of light and colour in Impressionist art. This EPQ followed obtaining full marks in my Art GCSE, so I chose to take a very similar process in creating my EPQ project and sketchbook.

In the end, I obtained 48/50 in my EPQ in June 2019 (AQA EPQ A* boundary = 45/50).

Looking for top EPQ tips? Check out my EPQ advice article here! This article features my EPQ essay and sketchbook in full that helped me achieve my A*. All the art below was submitted collectively as my artefact, with mini essays, artist studies and my final pieces being documented in an A3 sketchbook.

My EPQ essay (ft. photos of artefact)

Is use of light and colour the sole feature that defines the impressionist art era, or are there more significant motives behind the movement.

Impressionism can be described as “a style or movement in painting originating in France in the 1860s, characterised by a concern with depicting the visual impression of the movement, especially in terms of the shifting effect of light and colour”. Today, the Impressionists are some of the most popular artists whose artworks are readily seen by the public, namely due to the expressive use of colour and unique depictions of interesting compositions of light. However, this project aims to explore whether use of light and colour really is the defining feature of Impressionist art, or whether there are other reasons why this movement of art is so unique from other movements. Furthermore, I also explored whether some of the most famous “Impressionist” artists today can be defined as “true Impressionists”, based on their techniques and motives.

Initially, I researched Claude Monet, as he is frequented described by art historians as “epitomis[ing] most closely the values of Impressionism”1. Monet frequently used varied colour palettes in his paintings, such as in “The Cliff Walk at Pourville” (1882) and “Red Boats, Argenteuil” (1875), which helped create a powerful mood and atmosphere for the viewer. For example, in “Le Grand Canal” (1908), he primarily used more muted, cool colours to emphasise the bright morning, which focuses the viewer on the reflections and varied hues of the water. Studying the painting up close, one can see how the hints of pinks and yellows contrasts with the muted colours, creating a sense of calmness and tranquility. In series works such as his Haystacks, Monet painted many similar, simplistic scenes so that “nothing distracts the attention from his harmonies of colour and atmosphere”2. Taking a random selection of paintings from this collection, such as “Haystacks, Hazy Sunshine” (1891) and “Haystacks at the End of Summer, Morning” (1891), it is clear to the viewer that the real interest is in Monet’s manipulations of light through the medium of colour.

However, use of light and colour is not the only technique that Monet demonstrated that is considered typically Impressionist: Monet also frequently varied his style of brushstrokes, working very loosely and liberally in paintings such as in his Waterlilies series. This technique, combined with frequently working in plein air, led to many of Monet’s paintings creating a feel of a “moment in time” for the viewer. Indeed, many of the revolutionary techniques Monet demonstrated had the same key purpose: to create a sense of a moment or impression of a scene for the viewer, rather than a full, still representation of a period of time.

Considering Monet as a “true Impressionist”, I then began to compare his techniques and works to those of other artists during a similar period of art history. I initially researched Edgar Degas, who separated himself from most Impressionists by outwardly describing himself as a Realist, rather than an Impressionist, with a “lack of interest in plein-air painting, his abiding passion for the art of the great masters, and his experimentation in different media, including photography” 3 . However, it is clear by studying his works that Degas aimed to create an impression of a person’s life rather than Monet, who aimed to create an impression of a scene. One way that he demonstrated this was how Degas “began experimenting with off-centre compositions, and figures cut in half by the picture frame” 1 , which can be considered a way that Degas allowed the viewer to glimpse “an unexpected slice of Parisian life”. This is comparable to how Monet used sketchy strokes and varied colours in his paintings; both artists used these contrasting techniques to give the viewer an impression of the scene in front of them, whether it was a landscape or a group of people.

Some critics have argued that “Degas never allowed himself to be called an Impressionist, and, affirming the supremacy of drawing over colour, was often highly critical of his colleagues [the Impressionist artists he frequently exhibited with at the Salon des Refusés]” 4 yet, despite this, he did show very similar motifs to other Impressionists like Monet. Indeed, a majority of written sources on Degas were in books containing a wide range of other Impressionist artists, implying that many art historians do draw great similarities between Degas’ and other Impressionists’ work. Studying Degas’ sketches and paintings as a modern viewer, it is clear that the theme of capturing a moment for the viewer was a theme of Impressionism that Degas consistently demonstrated, along with other Impressionists.

Another artist prominent at the time of the Impressionists was Paul Cézanne, whom I also researched as part of my project. Like other Impressionists, Cézanne presented his work at the 1870 Salon de Réfuses, however he drifted away from the Impressionist movement and focused on creating more carefully structured compositions, with a unique crystal-life appearance. In paintings such as Tall Trees at the Jas de Bouffan (1883), Cézanne used “constructive” strokes, consisting of flat strokes of a consistent scale, shape and direction, “giving the picture an overall coherence … through slow methodical brushwork” 5 . Art historians can infer that rather than attempting to create atmospheric conditions, he sought to create spectrums of colour that more realistically replicated the conditions of the day.

Some critics argue that Cézanne was key to the Impressionist movement, while others, such as Hajo Düchting, claim “once the heyday of Impressionism dawned, Cézanne had already put both Paris and Impressionism far behind him” 6 . In this case, it is important to note that Düchting is writing with the purpose to persuade the reader that Cézanne was a truly unique and revolutionary artist of his time, so the author avoids crediting the origins of Cézanne’s style to any artist or movement, such as the Impressionists, throughout the book. Despite potential bias in his work, it is difficult to ignore Düchting’s argument that Cézanne was unlike the Impressionists; indeed, even sources specifically covering Impressionist artists describe Cézanne as relinquishing Impressionism, “insufficient for [his] purpose and inadequate to [his] aims” 4 .

Many of the sources I did study as part of my research gave a general overview of Impressionism, such as “Great Artists of the Western World: Impressionism”, considering how many artists of the same period of history used Impressionist techniques; this suggests that the authors may be biased in looking at Cézanne and Degas from a purely Impressionist viewpoint, rather than considering techniques which made both artists stand out from classic Impressionists like Monet. Despite this, visiting galleries and exhibitions such as “Drawn in Colour: Degas from the Burrell” (National Art Gallery) and “Corteau Impressionists: From Manet to Cézanne” (National Art Gallery) offered the opportunity for first hand research in seeing these artists’ work up close, supporting evidence from these texts regarding to what extent Degas and Cézanne really were “Impressionists”. The Corteau Impressionists exhibition at the National Art Gallery 5 featured a range of artists from a similar period of art history, such as Manet, Renoir and Seurat. However, the paintings themselves and their descriptions were clear evidence of how differently these artists worked; for example, Seurat was described as being “dissatisfied with Impressionists’ intuitive responses to light and colour” and thoroughly discarded their style of thinking, despite being exhibited as one of them in this exhibition, suggesting that not all those artists considered “Impressionists” by the public can truly be considered one by art historians. Generally, the Impressionist exhibitions proved more useful sources than the texts, which were prone to producing bias to make the artist seem more original in their techniques (and therefore less “typically Impressionist”), while seeing the paintings and annotations up close allowed for a more critical judgement of the methods used.

Using the research I had gathered from these three key artists, I began to develop an idea for a final piece which incorporated what I felt were the key features of Impressionism. I focused on a series of works, taking inspiration from how both Monet and Degas created multiple, similar paintings which showed subtle changes in composition and/or atmosphere. I chose to focus on landscapes, picking compositions from my garden in order to give me the change to work en plein air, trying to pick images which worked together in a series, yet also showed some compositional interest, taking inspiration from Degas. Eventually I chose a set of two compositions that complemented each other with similar viewpoints. Throughout the painting process, I focused on capturing all the colours reflected in the light of the scenes, while preserving the spontaneous, loose feel of the Impressionist artists, taking note of what I’d learnt in my research. This can particularly be reflected in the portrayal of the trees, where I used broad brushstrokes to capture the constant movement of the leaves. I also used subtle variations of colour to reflect the slight changes in light and impression for the viewer: while the first painting has a strong, warm tint to reflect the calm twilight, the second painting consists of slightly cooler tones to suggest the vibrant daytime. This was an ode to Monet’s many series works, containing multiple similar scenes with strong variations in light and atmosphere. Overall, these paintings reflected and supported what I’d learnt during my research regarding the techniques and aims of Monet and Degas.

In conclusion, there is clear evidence for colour being a key feature in Impressionist art, yet this cannot be prioritised over the real motive behind the artist’s work: the reason for “Impressionist” art being given its name is due to whether or not the aim of the piece is to suggest a moment in time, inflicting some sort of emotion or atmosphere for the viewer. Despite this, it is accurate to suggest that “the Impressionist group in France falls into several sections” 4 . Monet and Degas both shared the same intention to capture an impression of a scene, despite doing this through different techniques; in comparison, Cézanne shared similar technical qualities in his painting style to Monet, yet his overall aim leant towards capturing a representation of a longer period of time. In this way, it is clear Monet and Degas demonstrate their Impressionist qualities to a much greater extent than Cézanne, which can be noted in viewing their work. In this way, the significance of colour in Impressionism is limited to simply being a means through which artists, such as Monet, can create these atmospheric effects and feelings for the viewer.

• Anon. (1987). Great Artists of the Western World. London: Marshall Cavendish.
• Mannering. (1998). The Masterworks of Monet. Bristol: Parragon.
• Drawn in Colour: Degas from the Burrell. The National Gallery, London. (Exhibition February 2018)
• Francia, d. (1961). Movements in Modern Art: Impressionism. Vienna: Brüder Rosenbaum.
• Courtauld Impressionists: From Manet to Cézanne. The National Gallery, London. (Exhibition November 2018)
• Duchting. (1996). Cézanne. Taschen America Llc.
• Sagner-Duchting. (1992). Claude Monet. Taschen America Llc.
• Reyburn. (1997). The Art of the Impressionists. Grange Books Ltd.
• Gariff. (2008). World’s Most Influential Painters and the Artists They Inspired: Stories and Hidden Connections Between Great Works of Western Art.

© 2020 Jennifer Leigh. Based on website design GreatSEO .

Personal Investigation Essay

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Personal study for art

My chosen artist and why

The artist that I have chosen to look at is Barbara Kruger. I have chose to look at her work because I found her work very appealing and it inspired me more then any other artist that I have researched. The reason I think her work inspired is because most of her work consists of violence against women and I am very against this matter. Kruger expresses her views on this matter through text and photography in her art work. It’s like her aim is to show people how women are treated in this world. As I am a female myself I was attracted by her work and it made me want to research more in depth and create work in her style. She layers found photographs from existing sources with pithy and aggressive text that involves the viewer in the struggle for power and control that her captions speak to.

Most of her work includes text in black or white letters against a slash of red background, some of her instantly recognizable slogans read “I shop therefore I am,” and “Your body is a battleground." I think much of her text questions the viewer about feminism, classicism, consumerism, and individual autonomy and desire, although her black-and-white images are culled from the mainstream magazines that sell the very ideas she is disputing.

Here is a few of Kruger’s works attached together. It shows a view of what her work is about. She uses words such as “hate”, “body” “battleground”, and “world”. These are big words, and have strong meanings. This shows that the message she is trying to get out to people is also big, strong and has a lot of meaning.

Her works are direct and evoke an immediate response. Usually her style involves the cropping of a magazine or newspaper image enlarged in black and white. The enlargement of the image is done as crudely as possible to monumental proportions. A message is stenciled on the image, usually in white letters against a background of red. The text and image are unrelated in an effort to create anxiety by the audience that plays on the fears of society.

Barbara Kruger’s works has appeared in museums and galleries worldwide, her work has appeared on billboards, buscards, posters, a public park, a train station platform in Strasbourg, France, and in other public commissions.

About the Artist  

Born in Newark, New Jersey, in 1945, Barbara Kruger grew up in a working-class family. After graduating from high school, she spent a year at Syracuse University. The death of her father brought her to New York City, where she studied photography and graphic design at the Parsons School of Design. Kruger accepted a position at Condé Nast Publications designing ads for Mademoiselle magazine, where she was eventually promoted to chief designer. In the 1970s, Kruger decided to resume making art. Drawn to the work of Magdalena Abakanowicz, she produced fabric wall hangings. After experimenting with painting for a time, she began juxtaposing photographs with text, a method that allowed her to apply her knowledge of graphic design. Kruger’s text-and-image works have appeared in various forms, such as billboards, posters, and even matchbooks and tote bags.

Kruger makes her works from images she finds in the popular media, not unlike how other artists use found objects, notably Tony Cragg, and Jeff Koons. She notes that her work as a graphic designer for a magazine influenced her choice of images: “If you didn’t make people look at that page you were fired.” Once she selects the pictures she attempts to match them with phrases, drawing inspiration from lists of phrases she compiles, favorite books, and the thesaurus.

After choosing a phrase to use with the image, Kruger makes Photostats of the pictures, manipulating the size, framing, and contrast so that the images can be re photographed. During the layout process, she arranges the type faced words with the images. Next she sends them to a photographic studio, which enlarges the designs to the size she specifies and prints the photographs in either black and white or color. Finally, the works are fitted into red enamel frames.

Kruger adopted a format that is deceptively simple (photograph, text, and frame) to convey a powerful message about relationships in society. The artist has said about her work: “Basically I want to be effective in making changes in power relations, in social relations. . . The spectators who view my work don’t have to understand [art history]. They just have to consider the pictures that bombard their lives and tell them who they are to some extent. That’s all they have to understand.”

Append ix    

This is a preview of the whole essay

Barbara kruger’s work sends out the message on violence against women. Although her work sends out the message on violence against women,as a female looking at her work I still feel strong. I think this is because I feel like I have come this far in life without experiencing any of these problems such as violence against women, looking at her work makes me feel confident that I can manage ahead in life without experincing these problems. It makes me feel confident and to me confindence is the key to prevent violence against women because looking at krugers work, I found out that most of her images on women show that they are under the contol of men and they look as though they are being under pressured. For example looking at the image below shows a women looking downwards and the text in the middle of the picture reads, “we have recieved orders not to move”.This shows that the women is being treated as a slave. She does not have the free will to do what she wants, she is under someone else’s control. This image shows that there are women out there who may be in the same situation, who may not be allowed to do as they want, and are under someone else’s control. The colour Kruger has used for the bottom text, where it reads “not to move”  is in bigger and bolder writing than the text above. She has also changed the colour of the background for the bottom text whereas the top one is white. With the writing bigger, bolder and the background red shows threats and danger. The image tries and sends out the message that if she does not follow the rules as she is supposed to her life maybe at risk. The way she is sat down with her head facing downwards shows that she is afraid and fragile. The position she is sat in makes the viewer think she is scared and weak and if she moves she will be punished.

Looking at this image you can see a mother pointing at her daughters muscle and saying to her, “we don’t need another hero”. This shows that Barbara Kruger is also trying to send out the messages to women and girls that they don’t need anyone else to protect them. They can be strong too although they are females. They don’t have to have men as their heroes, females can be heroes too. She is trying to show that you don’t just need a man in your life to feel safe and secure. You alone have the power to keep yourself safe and secure. Looking at girls face you can see the power and strength in her. Barbara Kruger may also be sending out the message to females to keep a strong face and don’t let anyone see your weakness show no fear in order for you to live a stronger life.

Comparing Artists  

When doing my artist research, I also came across Jenny Holzer her work is similar to Barber Kruger’s work because she also uses texts and photography in her work. Some of jenny Holzer’s work is also based on violence against women. But as Kruger uses small text and words in most of her work, Holzer uses long sentences and paragraphs in most of her images. Barber Kruger’s use of text seems to match the image she had linked it to whereas most of Holzer’s work is on images on big buildings with long texts.  

                        Jenny Holzer                                                  Barbara Kruger

Above you can see the difference between Holzer’s ( left ) and Kruger’s ( right ) work. Jenny Holzer’s work looks as though she has used an over head projector to get the text on the building whereas Kruger’s work looks as though she has edited the picture in order to place the text on the image.

This image on the left is also some work created by Jenny Holzer again you can see the difference between her and Kruger’s work when expressing their views on violence against women through art. In this image Jenny Holzer has an image of a women running with a t- shirt on that reads “Abuse of power comes as no surprise” the text makes abuse against women sound normal like it’s not a shock and that it’s a normal everyday thing. Also when looking at her work it doesn’t seem as powerful as Kruger’s work, I think this maybe because Kruger’s work doesn’t show much expression or live as Kruger’s work like when looking at Holzer’s work everything looks still everything looks at rest. For example looking at this image all you see is a women who seems to be running with a straight face on, it doesn’t look real she look as if she’s a zombie who doesn’t seem to care about what is happening around her. You then notice the text on her t- shirt which says “Abuse as power comes as no surprise!” and it sort of confuses you a little because when you look at them women’s face she doesn’t even seem to be bothered whatsoever. But maybe that is perhaps the message that Holzer is trying to get through to other people that abuse comes as no surprise that’s why the women probably has a straight face on because she may find abuse regular. That’s why she’s not surprised because she thinks of abuse as a normal everyday thing.

Most of Holzer’s work appears to be still, for example looking at the images above created by Holzer you can see that they are just photographs taken with the text already on. By this I mean she hasn’t edited the pictures or done anything with them, all she has done is set everything up and take a picture and that’s it her work is done. Whereas Kruger edits her picture, she uses different affects on the images so they look more attractive and adds short words or short sentences on the image so it’s easier to read and so the public finds it interesting to read whereas if it was too long the public won’t be bothered reading in other words may be bored doesn’t get bored by reading it.

By saying most of Holzer’s work appears still, by this I also mean that most of her work is on real pictures such as pictures on buildings, places, people and so on, she doesn’t edit them or change them in anyway whereas barber Kruger, changes the colour, the effect and makes the image look more attractive and different than normal everyday images, so they look as though she has created them herself.  Although they may have some differences they also have one or two things in common. This is that they both use text in their work. Albeit not all of Holzer’s work appears to be about violence against women, however some of her work does consist on this issue.

I think both Kruger’s and Holzer’s work try and to make us think about social and political questions, about the stereotypes and clichés created by our society. Consumerism ( I shop therefore I am ), conformity ( Think like us , Look like us ), politics ( Hate like us ), love ( Thinking of you ), and again Your body is a battleground , Love for sale , etc.: these are just a few of the slogans and themes on which the American artist has focused.

As barber Kruger’s work sticks with one issue violence against women, Holzer’s work is on a number of different issues. This is a quote from jenny Holzer stating what different issues her work is on.

“At the beginning of my work I wanted to figure out how to put war, peace, sex, death and various other subjects in front of as many people as possible. So I first worked with street posters and then moved on to plaques that went on the sides of the buildings, then to electronic signs and on to a number of other media. I put things where there is a fighting chance that people will take notice of them.”

Quotes from Barbara Kruger and analysis  

“I work with pictures and words because they have the ability to determine who we are and who we aren’t"

This quote from Barbara Kruger suggests that the reason she works with words and pictures is to decide who women are and who they are not. This shows that she expresses the way she feels through text and pictures. There must be a reason why she picked the issue on violence against women to work on.  Perhaps she may have experienced this issue in life or she may have been a victim of this issue in the past so as a result she maybe expressing her views on how she thinks some women maybe living their lives in today’s society.

“The brevity of the text is about cutting through the grease. I just want to address people in a very forthright manner. It is why I always use pronouns, because they cut through in the same way. Direct address has been a consistent tactic in my work, regardless of the medium that I'm working in. I try to deal with the complexities of power and social life, but as far as the visual presentation goes I purposely avoid a high degree of difficulty. I want people to be drawn into the space of the work. And a lot of people are like me in that they have relatively short attention spans. So I shoot for the window of opportunity.”

Another quote from Barbara Kruger suggests that her language emphasizes communication and contact, for example, she’s not just saying, "Look here, I'm going to give you an idea." As she has said direct address has always been an important feature of her work. She wants people to get the message straight forward rather than using big words and explaining.

Look, we're all saddled with things that make us better or worse. This world is a crazy place, and I've chosen to make my work about that insanity.

This quote from Barbara Kruger suggests that looking at the world all people seem to care and think about is them selves. So after looking at the world she describes it as crazy and decided to base her work on this madness.

Our culture is saturated with irony whether we know it or not.

This quote from Barbara suggests that she thinks that the culture we live in is selfish and sarcastic. She also then says although we may not think this or know this, however this statement is still true. This shows that this statement may be one of the reasons why her work is based on violence against women. This may be one of the reasons why she creates images of women being disrespected by men. It shows that people don’t care about anything nowadays, their religion, their belief or other all they seem to care about is themselves.

More quotes from Kruger

All the gossip and craziness becomes a kind of sustained narrative which, in turn, can become history.

Although my art work was heavily informed by my design work on a formal and visual level, as regards meaning and content the two practices parted ways.     Direct address has been a consistent tactic in my work, regardless of the medium that I'm working in.     Do you know why language manifests itself the way it does in my work? It's because I understand short attention spans.   I mean, making art is about objectifying your experience of the world, transforming the flow of moments into something visual, or textual, or musical. Art creates a kind of commentary.  

I think what I'm trying to do is create moments of recognition. To try to detonate some kind of feeling or understanding of lived experience.   I try to deal with the complexities of power and social life, but as far as the visual presentation goes I purposely avoid a high degree of difficulty.  

I'd always been a news junkie, always read lots of newspapers and watched the Sunday morning news shows on TV and felt strongly about issues of power, control, sexuality and race.   I'm an artist who works with pictures and words. Sometimes that stuff ends up in different kinds of sites and contexts which determine what it means and looks like.   I've always thought that it's good to watch the news to find out what everybody else is looking at and believing, if only because that's how consensus is constructed.   If most American cities are about the consumption of culture, Los Angeles and New York are about the production of culture - not only national culture but global culture.   It's good to keep in mind that prominence is always a mix of hard work, eloquence in your practice, good timing and fortuitous social relations. Everything can't be personalized.  

How Barbara Kruger’s work influences my work  

As Barbara Kruger’s work is based on violence against women and the use of text and images in her work, has influenced my work by giving me an idea on what to base my theme and work on.

I want to base my work on the same issue as Kruger violence against women. I will also use the idea of using words and images in my work but not in the exact style of Kruger so it doesn’t seem as though I have copied her work exactly.

The reason I want to base my work on Kruger’s is because looking at her work makes me think about the world about what is going on around me. One of the reasons why I like Kruger’s work is because it brings up a number of questions in my mind such as, how our culture has changed from the past years. How people treat one another? How men take advantage women, and how the world has become so selfish.

I think by basing my work in the style of Kruger’s work will give me a deeper understanding of her work. It will help me to understand her work intensely and will give me more knowledge on the artist than I already have.

The use of text in her work gives me an idea on how to use words in my work, on how to make my work look more attractive just like hers by using short direct phrases and words. I want my work to send out strong messages just like hers to make the viewer believe in me.

In my work I will try and change the effects and the colour of the images the way she changes hers, and the way she makes the image look as though she made it rather than an existing picture.

Also the expressions of the people in her image make the image look more real and attractive, it makes you feel like its true whatever she is trying to tell viewer. She makes the viewer believe in her work, that what she saying is true. This also influences my work to take more effective pictures with the correct expressions and text that go together and make the image look real and attractive that would make the viewer believe in you and your work.

Document Details

• Word Count 3401
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• Level AS and A Level
• Subject Art & Design

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What Topic Should I Do My Study On?

• Compare and contrast the work of two painters. Choose two that have some similarities, maybe in subject matter or the time they lived in. Discuss the similarities and then the differences. You can focus on just one area of their work if they were prolific. E.g. Braque and Picasso, Hirst and Emin, Magritte and Dali.
• Discuss what has influenced an artist's work. The influence of African art on Picasso and the Cubists has been done rather a lot, so how about van Gogh and Japanese art, the influence of the pre-Raphaelites on surrealism, the influence of primitive art on sculptors such as Henry Moore and Barbara Hepworth.
• How has one artist's work influenced many? Photographers like Henri Cartier-Bresson and Ansel Adams have influenced hundreds of other photographers.
• Of course you can think of any question to set yourself. Was Turner the first impressionist? Was Andy Warhol prophetic in his obsession with celebrity culture?

Making Your Personal Study Personal

Next the study should be PERSONAL. This means it should be about your response to the works of art. How does it make you feel? What story does it tell you? What do you conclude from looking at the picture, sculpture, or photograph?

Your study should be about your opinions and feelings. You can refer to other people's interpretations of a piece but you should always state this and never pass these opinions off as you own. Always write it in quotations and give the author's name.

A personal study is not just a biography of the artist. You will get few marks for simply re-writing a book on an artist's life. Biographical details should be brief and could be included as an appendix if you have too many words! Also, this is an art project, so make your study visual with lots of examples of artists works, diagrams and your visual responses to the works.

Image Credit: My Life Through A Lens

What Should My Personal Study Include?

You should of course always refer to the syllabus for your particular exam board, but here are a few suggestions of things to include in your study.

• Introduction . State the purpose of the study that is, the question that you are going to answer or the theme which you are going to explore.
• Make an analysis of at least two pictures by each artist in your study. Describe the picture, how it makes you feel, what it tells you. Is it relaxing or energetic, narrative or impressionistic?
• Visit galleries to view original works and write about your visit. How does it feel to view an original work compared with seeing a reproduction? Were the colours different? Was it bigger or smaller than you imagined? Exciting or disappointing?
• Conclusion . What is the answer to your question. What have you found out? Was it what you expected or were you surprised by it?
• Add a bibliography and list any other resources that you used, such as museums and galleries that you have visited or websites that you have used.

Recommended Books

These are two books that I found invaluable during my A-Level Art course.

The Story of Art - E.H. Gombrich A bestselling history of art book and quite rightly so. From prehistory to the present day, this book is so well written that you can read it for pleasure.

This book is an investment, because if you decide to continue studying art you will still be referring to it all the time.

Approaching Art and Design: A Guide for Students - Rod Taylor and Dorothy Taylor.

Sadly out of print but you may be able to find it secondhand or in your local library.

This is a book which gives an approach to studying A-Level art and shows you the standard required to succeed. It emphasises the importance of basic drawing skills, then shows how to develop drawings into a final piece of work. It does mainly focus on drawing and painting skills but is also relevant to 3D and Textiles.

Finally, best of luck with your A-Level art!

Updated 2nd March 2023

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How to Select a Great A2 Art Personal Study Topic

Last Updated on April 2, 2023

This is the first in a series of articles aimed at helping A Level Art students with their Personal Study (a project which is required as part of CIE A2 Art & Design). This article outlines twelve guidelines for selecting a good topic. The recommendations are based on my own experience with the teaching of this component, discussions with examiners during CIE training days and the feedback given within Examiner Reports.

READ NEXT: How to make an artist website (and why you need one)

1.  The topic must relate to Art or Design

This sounds obvious and something that should not need saying, but, absurdly, it does. For some, inexplicable reason, students continue to submit projects that are completely unrelated to Art or Design. This is a quote from a recent CIE Examiner Report:

There were numerous inappropriate submissions which were not concerned with any aspect of Art and Design. These included such topics as ‘Giving up smoking’, ‘The biology of the senses’, ‘Growing tea on a plantation’, as well as aspects of tourism, green issues and political themes. 

2. The topic should be something that you are genuinely interested in

The ultimate purpose of your Personal Study is to teach you something: to help you develop as an artist and to strengthen your understanding of art-related issues. The most successful Personal Studies communicate ‘ a strong sense of involvement through personal enthusiasm and a commitment to sustain the investigation ’.

Simply speaking, when you are passionate about a topic, you are more likely to do well.

3. The focus of your Personal Study should be process and materials (the way an artist or group of artists use/s media) or subject or theme (the way an artist approaches a topic, usually with reference to composition and technique)

In other words, your Personal Study should involve the analysis of specific pieces of art; it should NOT be the life story of an artist or the documentation of a broad period of Art history (unless this somehow includes sufficient focus upon specific artworks).

4. A topic should provide you sufficient material to write about, while not being so vast that your project becomes all-encompassing, disjointed or surface-deep

In order to produce a high quality Personal Study, you need to have a clear, well-articulated focus. This gives you something to organise your project around and encourages you to write with coherence and structure (a lack direction is a common weakness in low achieving Personal Studies). Completing an entire project around the analysis of one or two artwork, for example, is limiting, while attempting to analyse Abstract Art in all of its entirety (without any connection to a specific artist) sets up an enormous, daunting task which cannot be given justice in the time given.

5. The study should be about someone else’s art (not your own)

This is an area where CIE Art & Design students are often confused. There is an incorrect belief that students are expected to submit a body of original creative work as part of the Personal Study, similar to that produced for the Coursework project (some students even go so far as submitting only original practical work or additional Coursework pieces for this component – often with no annotation or explanation – which does not satisfy the requirements of the Personal Study at all). While the Personal Study certainly can – and in the majority of cases should – include beautiful practical work completed by the student, the Personal Study is about analysing, studying and learning from other artists : it is NOT about producing original artwork on your own topic (more information about the images used in a Personal Study will be given in a subsequent article). This quote from CIE helps to clarify this:

The main aim of the Personal Study is to encourage candidates to focus on selected examples of existing works of art or design from established contemporary or historical practitioners, seen at first hand, by making critical judgements and personal evaluations.

Note that this article has been written for CIE A2 Art Personal Studies: Personal Studies required for other examination boards differ in some respects.

6. A link to your Coursework can be advantageous

Although it is not necessary for CIE Art & Design students to select a Personal Study topic which relates to their A2 Coursework project , the examiners comment that ‘ good practice might suggest that a link between the two is advisable ’. This is because a selecting a related topic allows you to acquire knowledge, skills and understanding that may help you to complete your Coursework to a higher standard. (Remember that if you refer to your Coursework project within your Personal Study you should include photos to help explain what you are saying. Each component is assessed individually and examiners do not have access to your Coursework project while they are assessing your Personal Study).

7. Choose a topic that allows you to view artwork first-hand

This is not a guideline: it is imperative. In my experience, the best CIE A2 Art Personal Studies are produced when students not only view artwork in the flesh (in a gallery or museum exhibition, for example), but are able to meet and interview the artist or designer and see their methods of working. This gives opportunity for the work to be understood in great detail (seeing true colours, textural surface qualities and the real scale of the piece) and encourages truly personal responses. It also means that students can take beautiful photographs of the artist or designer working in their studio and see all of the processes and various stages of completion. Examiners frequently report that lower grade Personal Studies ignore this requirement and depend more heavily on secondary sources: lifeless reproductions from books and the internet.

8. Contrasting and comparing the work of artists can be helpful

Studying the work of a mainstream or critically acclaimed artist alongside a local artist can be beneficial, especially if the local artist is less established. This gives you the best of both worlds (the enthusiasm and first-hand contact from a local artist, plus the insight that comes from studying historical, contemporary and/or international artists who work in another cultural context). You may, for example, choose to focus upon two artists who paint the same subject in a different way, or to discuss the influence of a famous artist upon a local painter. It should be noted that the examiners understand that many students will not be able to see all of the artworks they study in the flesh, so supporting first-hand study with those viewed in reproduction is absolutely acceptable.

9. Select a topic that is supported by quality reference material

While the Personal Study is centred around your own personal responses, drawing on the opinions of educated critics can provide insight and a depth of understanding: grounding, validating and/or challenging your own views. Before finalising upon a Personal Study topic for A2 Art, check to see if there are existing articles, books or online reviews about the artists in question. This also helps to verify that the artist you have selected has some standing in the art community and is thus likely to be an appropriate and valuable person to study. It should be noted, of course, that in many cases, the more well-known an artist is, the less time they have to accommodate visits from eager high school students; sometimes relatively unknown artists can be very skilled and have much to teach a high school Art student.

10. Word your title so that it captures the essence of your Personal Study and indicates a well-chosen focus

For example: ‘ The Portraiture of [artist name]: An Appreciation of Light and Colour ’ is more appropriate than ‘ Portraiture in Art ’. ‘ The use of Symbolism in Traditional and Contemporary Weaving ’ (an example given in the CIE 9704 Art & Design syllabus ) is more appropriate than ‘ The Art of Weaving ’. ‘ Landscapes of the Idurah Valley ’ (another example given in the syllabus) is more appropriate than ‘ Landscape Paintings ’. ‘ An Investigation into Gender Roles in Contemporary Art ’ is better than ‘ Contemporary Art ’. In the former examples, the title helps to clarify the focus of the study; the latter suggest an enormously broad study that would be difficult to complete well. Similarly, it is also beneficial to avoid overly simplistic titles that convey little information, such as ‘ [artist name] Personal Study ’ or ‘ Fish ’. Ideally, the examiner a clear idea about what your study is about (and be impressed) from the first moment they encounter your project.

11. Select your Personal Study topic near the start of the A2 Art Course

The Personal Study is a large and comprehensive project. It is impossible to complete in its entirety (and achieve a good grade) at the last minute. It can be good practise to start thinking about your topic selection at the conclusion of the AS Course. High achieving students often use the winter or summer break, seeking out artists who are available for interview locally. This leaves them in a strong position to start the A2 year (it can be wise to touch base with teachers prior to making contact with an artist, however, to avoid wasting anyone’s time). Regardless of whether the vacation period is utilised, it is essential that the Personal Study receives regular attention (ideally within scheduled class time as well as in homework sessions) so that students can plan, research and complete the project in a systematic, organised way.

12. Submit an Outline Proposal Form to CIE before you begin

While this is not a requirement, all students should be encouraged to do this. Any concern about the suitability of a topic can be overcome by making use of the Outline Proposal Forms (OPF). This is a free way of gaining invaluable feedback from the official CIE Senior Moderator before you begin. Blank forms are available on the password protected Teachers’ Support Site and can be submitted electronically to CIE for approval. It is important to note that the brief feedback given should be read with great care and always adhered to. This form should then be retained and submitted along with the finished Personal Study.

An example of the CIE Examiner Reports quoted in this article can be found on the publicly accessible Art & Design section of the CIE website. Further reports are available from the password protected Teachers’ Support Site.

The next article in this series discusses how to write a Personal Study . A subsequent post will focus on the images. You may also be interested in reading our overview of the CIE A2 Art Personal Study .

Amiria has been an Art & Design teacher and a Curriculum Co-ordinator for seven years, responsible for the course design and assessment of student work in two high-achieving Auckland schools. She has a Bachelor of Architectural Studies, Bachelor of Architecture (First Class Honours) and a Graduate Diploma of Teaching. Amiria is a CIE Accredited Art & Design Coursework Assessor.

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Art Essay Examples

Art Essay Examples to Get You Inspired - Top 10 Samples

Published on: May 4, 2023

Last updated on: Jan 30, 2024

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Are you struggling to come up with ideas for your art essay? Or are you looking for examples to help guide you in the right direction? 

Look no further, as we have got you covered!

In this blog, we provide a range of art writing examples that cover different art forms, time periods, and themes. Whether you're interested in the classics or contemporary art, we have something for everyone. These examples offer insight into how to structure your essay, analyze art pieces, and write compelling arguments.

So, let's explore our collection of art essay examples and take the first step toward becoming a better art writer!

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Good Art Essay Examples

In the following section, we will examine a selection of art essay examples that are inspiring for various academic levels.

College Art Essay Examples

Let’s take a look at college art essay examples below:  

The Intersection of Art and Politics: An Analysis of Picasso's Guernica

The Role of Nature in American Art: A Comparative Study

University Art Essay Examples

University-level art essay assignments often differ in length and complexity. Here are two examples:

Gender and Identity in Contemporary Art: A Comparative Study

Art and Activism: The Role of Street Art in Political Movements

A Level Art Essay Examples

Below are some art paper examples A level. Check out: 

The Use Of Color In Wassily Kandinsky's Composition Viii

The Influence of African Art on Pablo Picasso's Les Demoiselles D'avignon

A Level Fine Art Essay Examples

If you're a student of fine arts, these A-level fine arts examples can serve as inspiration for your own work.

The Use Of Texture In Vincent Van Gogh's Starry Night

Exploring Identity Through Portraiture: A Comparative Study

Art Essay Examples IELTS 

The Impact of Art on Mental Health

The Effects of Technology on Art And Creativity

Paper Due? Why Suffer? That's our Job!

AP Art Essay Examples

A Comparison of Neoclassical and Romantic Art

An Examination Of The Effects Of Globalization On Contemporary Art

Types of Art Essay with Examples

Art essays can be categorized into different types. Let's take a brief look at these types with examples:

Art Criticism Essay : A critical essay analyzing and evaluating an artwork, its elements, and its meaning.

The Persistence of Memory" by Salvador Dali: A Critical Analysis

Art History Essay: A comprehensive essay that examines the historical context, development, and significance of an artwork or art movement.

The Renaissance: A Rebirth of Artistic Expression

Exhibition Review: A review of an art exhibition that evaluates the quality and significance of the artwork on display.

A Review of the Metropolitan Museum of Art's Exhibition

Contemporary Art Essay: An essay that explores and analyzes contemporary art and its cultural and social context.

The Intersection of Technology and Art in Contemporary Society

Modern Art Essay: An essay that examines modern art and its significance in the development of modernism.

Cubism and its Influence on Modern Art [insert pdf]

Art Theory Essay: An essay that analyzes and critiques various theories and approaches to art.

Feminist Art Theory: A Critical Analysis of its Impact on Contemporary Art [insert pdf]

Additional Art Essay Example

Let’s take a brief look at some added art essay samples:

Artwork Essay Example

Artist Essay Example

Advanced Higher Art Essay Example

Common Art Essay Prompts

Here are some common art essay topics that you may encounter during your coursework:

• Describe a piece of artwork that has inspired you.
• A comparative analysis of Leonardo da Vinci's Mona Lisa and Michelangelo's David.
• Analyze the cultural significance of a particular art movement.
• Discuss the relationship between art and politics.
• Compare and contrast two works of art from different time periods or cultures.
• The representation of identity in art
• The Evolution of Artists' Paintings:
• From Traditional to Contemporary Art
• The representation of identity in Frida Kahlo's self-portraits.
• The significance of oil on canvas in the history of art.
• The significance of the Mona Lisa in the Italian Renaissance

Art Essay Topics IELTS

Here are some art essay topics for IELTS students. Take a look: 

• The value of art education.
• The role of museums in preserving art and culture.
• The impact of globalization on contemporary art.
• The influence of technology on art and artists.
• The significance of public art in urban environments.

Tips For Writing a Successful Art Essay

Here are some tips for writing a stand-out art essay:

• Develop a clear thesis statement that guides your essay: Your thesis statement should clearly and concisely state the main argument of your essay.
• Conduct thorough research and analysis of the artwork you are writing about : This includes examining the visual elements of the artwork, researching the artist, and considering the historical significance.
• Use formal and precise language to discuss the artwork: Avoid using colloquial language and instead focus on using formal language to describe the artwork.
• Include specific examples from the artwork to support your arguments: Use specific details from the artwork to back up your analysis.
• Avoid personal bias and subjective language: Your essay should be objective and avoid using personal opinions or subjective language.
• Consider the historical and cultural context of the artwork: Analyze the artwork in the context of the time period and cultural context in which they were created.
• Edit and proofread your essay carefully before submitting it: Ensure your essay is well-organized, coherent, and free of grammatical errors and typos.
• Use proper citation format when referencing sources: Follow the appropriate citation style guidelines and give credit to all sources used in your essay.
• Be concise and focused in your writing: Stick to your main thesis statement and avoid going off-topic or including irrelevant information.
• Read your essay aloud to ensure clarity and coherence: Reading your essay out loud can help you identify inconsistencies or any other mistakes.

The Bottom Line!

We hope that the art essay examples we've explored have provided you with inspiration for your own essay. Art offers endless possibilities for analysis, and your essay is a chance to showcase your unique opinions.

Use these examples as a guide to craft an essay that reflects your personality while demonstrating your knowledge of the subject.

Short on time? Let CollegeEssay.org help you! All you have to do is to ask our experts, " write college essay for me " and they'll help you secure top grades in college.

Don't wait, reach out to our art essay writing service.

Take the first step towards excellence in your art studies with our AI essay writer !

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For more than five years now, Cathy has been one of our most hardworking authors on the platform. With a Masters degree in mass communication, she knows the ins and outs of professional writing. Clients often leave her glowing reviews for being an amazing writer who takes her work very seriously.

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Programmes & Qualifications

Cambridge international as & a level art & design (9479).

• Syllabus overview

Not available to private candidates.

The Cambridge International A Level Art and Design syllabus considers expression and communication. Learners gain an understanding of visual perception and aesthetic experience, and the ways in which art and design creates a language of its own. 

Most of the work for this syllabus is practical or studio based, so that learners can develop their abilities of observation and analysis of the visual world, sensitivity, skill, personal expression and imagination. They also learn how to relate their skills to an enhanced knowledge of their own cultures, past and present, as well as an appreciation of practical design problems.

This syllabus replaces from 2019 onwards. The last series for Cambridge AS & A Level Art & Design (9704) will be November 2019.

The syllabus year refers to the year in which the examination will be taken.

• -->2022-2024 Syllabus update (PDF, 171KB)
• -->2022 - 2024 Guide to Administering Art & Design (PDF, 172KB)
• -->2025 Syllabus update (PDF, 143KB)
• -->2025 Guide to Administering (PDF, 524KB)
• -->2026 Guide to Administering (PDF, 478KB)

Important notices

For some subjects, we publish grade descriptions to help understand the level of performance candidates’ grades represent.

We paused the publication of grade descriptions in response to the Covid-19 pandemic and the temporary changes to the awarding standard in 2020, 2021 and 2022.

As the awarding standard has now returned to the pre-pandemic standard, we are working to produce up-to-date grade descriptions for most of our general qualifications. These will be based on the awarding standards in place from June 2023 onwards.

School Support Hub

Teachers at registered Cambridge schools can unlock over 30 000 teaching and learning resources to help plan and deliver Cambridge programmes and qualifications, including Schemes of work, Example candidate responses, Past papers, Specimen paper answers, as well as digital and multimedia resources.

Schemes of work

Example responses, past papers, specimen paper answers.

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Sign up for updates about changes to the syllabuses you teach

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How to Write an Essay Introduction (with Examples)   

The introduction of an essay plays a critical role in engaging the reader and providing contextual information about the topic. It sets the stage for the rest of the essay, establishes the tone and style, and motivates the reader to continue reading. 

Table of Contents

What is an essay introduction , what to include in an essay introduction, how to create an essay structure , step-by-step process for writing an essay introduction , how to write an introduction paragraph , how to write a hook for your essay , how to include background information , how to write a thesis statement .

• Argumentative Essay Introduction Example: 
• Expository Essay Introduction Example 

Literary Analysis Essay Introduction Example

Check and revise – checklist for essay introduction , key takeaways , frequently asked questions .

An introduction is the opening section of an essay, paper, or other written work. It introduces the topic and provides background information, context, and an overview of what the reader can expect from the rest of the work. 1 The key is to be concise and to the point, providing enough information to engage the reader without delving into excessive detail. 

The essay introduction is crucial as it sets the tone for the entire piece and provides the reader with a roadmap of what to expect. Here are key elements to include in your essay introduction: 

• Hook : Start with an attention-grabbing statement or question to engage the reader. This could be a surprising fact, a relevant quote, or a compelling anecdote. 
• Background information : Provide context and background information to help the reader understand the topic. This can include historical information, definitions of key terms, or an overview of the current state of affairs related to your topic. 
• Thesis statement : Clearly state your main argument or position on the topic. Your thesis should be concise and specific, providing a clear direction for your essay. 

Before we get into how to write an essay introduction, we need to know how it is structured. The structure of an essay is crucial for organizing your thoughts and presenting them clearly and logically. It is divided as follows: 2  

• Introduction:  The introduction should grab the reader’s attention with a hook, provide context, and include a thesis statement that presents the main argument or purpose of the essay.  
• Body:  The body should consist of focused paragraphs that support your thesis statement using evidence and analysis. Each paragraph should concentrate on a single central idea or argument and provide evidence, examples, or analysis to back it up.  
• Conclusion:  The conclusion should summarize the main points and restate the thesis differently. End with a final statement that leaves a lasting impression on the reader. Avoid new information or arguments. 

Here’s a step-by-step guide on how to write an essay introduction: 

• Start with a Hook : Begin your introduction paragraph with an attention-grabbing statement, question, quote, or anecdote related to your topic. The hook should pique the reader’s interest and encourage them to continue reading. 
• Provide Background Information : This helps the reader understand the relevance and importance of the topic. 
• State Your Thesis Statement : The last sentence is the main argument or point of your essay. It should be clear, concise, and directly address the topic of your essay. 
• Preview the Main Points : This gives the reader an idea of what to expect and how you will support your thesis. 
• Keep it Concise and Clear : Avoid going into too much detail or including information not directly relevant to your topic. 
• Revise : Revise your introduction after you’ve written the rest of your essay to ensure it aligns with your final argument. 

Here’s an example of an essay introduction paragraph about the importance of education: 

Education is often viewed as a fundamental human right and a key social and economic development driver. As Nelson Mandela once famously said, “Education is the most powerful weapon which you can use to change the world.” It is the key to unlocking a wide range of opportunities and benefits for individuals, societies, and nations. In today’s constantly evolving world, education has become even more critical. It has expanded beyond traditional classroom learning to include digital and remote learning, making education more accessible and convenient. This essay will delve into the importance of education in empowering individuals to achieve their dreams, improving societies by promoting social justice and equality, and driving economic growth by developing a skilled workforce and promoting innovation. 

This introduction paragraph example includes a hook (the quote by Nelson Mandela), provides some background information on education, and states the thesis statement (the importance of education). 

This is one of the key steps in how to write an essay introduction. Crafting a compelling hook is vital because it sets the tone for your entire essay and determines whether your readers will stay interested. A good hook draws the reader in and sets the stage for the rest of your essay.  

• Avoid Dry Fact : Instead of simply stating a bland fact, try to make it engaging and relevant to your topic. For example, if you’re writing about the benefits of exercise, you could start with a startling statistic like, “Did you know that regular exercise can increase your lifespan by up to seven years?” 
• Avoid Using a Dictionary Definition : While definitions can be informative, they’re not always the most captivating way to start an essay. Instead, try to use a quote, anecdote, or provocative question to pique the reader’s interest. For instance, if you’re writing about freedom, you could begin with a quote from a famous freedom fighter or philosopher. 
• Do Not Just State a Fact That the Reader Already Knows : This ties back to the first point—your hook should surprise or intrigue the reader. For Here’s an introduction paragraph example, if you’re writing about climate change, you could start with a thought-provoking statement like, “Despite overwhelming evidence, many people still refuse to believe in the reality of climate change.” 

Including background information in the introduction section of your essay is important to provide context and establish the relevance of your topic. When writing the background information, you can follow these steps: 

• Start with a General Statement:  Begin with a general statement about the topic and gradually narrow it down to your specific focus. For example, when discussing the impact of social media, you can begin by making a broad statement about social media and its widespread use in today’s society, as follows: “Social media has become an integral part of modern life, with billions of users worldwide.” 
• Define Key Terms : Define any key terms or concepts that may be unfamiliar to your readers but are essential for understanding your argument. 
• Provide Relevant Statistics:  Use statistics or facts to highlight the significance of the issue you’re discussing. For instance, “According to a report by Statista, the number of social media users is expected to reach 4.41 billion by 2025.” 
• Discuss the Evolution:  Mention previous research or studies that have been conducted on the topic, especially those that are relevant to your argument. Mention key milestones or developments that have shaped its current impact. You can also outline some of the major effects of social media. For example, you can briefly describe how social media has evolved, including positives such as increased connectivity and issues like cyberbullying and privacy concerns. 
• Transition to Your Thesis:  Use the background information to lead into your thesis statement, which should clearly state the main argument or purpose of your essay. For example, “Given its pervasive influence, it is crucial to examine the impact of social media on mental health.” 

A thesis statement is a concise summary of the main point or claim of an essay, research paper, or other type of academic writing. It appears near the end of the introduction. Here’s how to write a thesis statement: 

• Identify the topic:  Start by identifying the topic of your essay. For example, if your essay is about the importance of exercise for overall health, your topic is “exercise.” 
• State your position:  Next, state your position or claim about the topic. This is the main argument or point you want to make. For example, if you believe that regular exercise is crucial for maintaining good health, your position could be: “Regular exercise is essential for maintaining good health.” 
• Support your position:  Provide a brief overview of the reasons or evidence that support your position. These will be the main points of your essay. For example, if you’re writing an essay about the importance of exercise, you could mention the physical health benefits, mental health benefits, and the role of exercise in disease prevention. 
• Make it specific:  Ensure your thesis statement clearly states what you will discuss in your essay. For example, instead of saying, “Exercise is good for you,” you could say, “Regular exercise, including cardiovascular and strength training, can improve overall health and reduce the risk of chronic diseases.” 

Examples of essay introduction 

Here are examples of essay introductions for different types of essays: 

Argumentative Essay Introduction Example:  

Topic: Should the voting age be lowered to 16? 

“The question of whether the voting age should be lowered to 16 has sparked nationwide debate. While some argue that 16-year-olds lack the requisite maturity and knowledge to make informed decisions, others argue that doing so would imbue young people with agency and give them a voice in shaping their future.” 

Expository Essay Introduction Example  

Topic: The benefits of regular exercise 

“In today’s fast-paced world, the importance of regular exercise cannot be overstated. From improving physical health to boosting mental well-being, the benefits of exercise are numerous and far-reaching. This essay will examine the various advantages of regular exercise and provide tips on incorporating it into your daily routine.” 

Text: “To Kill a Mockingbird” by Harper Lee 

“Harper Lee’s novel, ‘To Kill a Mockingbird,’ is a timeless classic that explores themes of racism, injustice, and morality in the American South. Through the eyes of young Scout Finch, the reader is taken on a journey that challenges societal norms and forces characters to confront their prejudices. This essay will analyze the novel’s use of symbolism, character development, and narrative structure to uncover its deeper meaning and relevance to contemporary society.” 

• Engaging and Relevant First Sentence : The opening sentence captures the reader’s attention and relates directly to the topic. 
• Background Information : Enough background information is introduced to provide context for the thesis statement. 
• Definition of Important Terms : Key terms or concepts that might be unfamiliar to the audience or are central to the argument are defined. 
• Clear Thesis Statement : The thesis statement presents the main point or argument of the essay. 
• Relevance to Main Body : Everything in the introduction directly relates to and sets up the discussion in the main body of the essay. 

Writing a strong introduction is crucial for setting the tone and context of your essay. Here are the key takeaways for how to write essay introduction: 3  

• Hook the Reader : Start with an engaging hook to grab the reader’s attention. This could be a compelling question, a surprising fact, a relevant quote, or an anecdote. 
• Provide Background : Give a brief overview of the topic, setting the context and stage for the discussion. 
• Thesis Statement : State your thesis, which is the main argument or point of your essay. It should be concise, clear, and specific. 
• Preview the Structure : Outline the main points or arguments to help the reader understand the organization of your essay. 
• Keep it Concise : Avoid including unnecessary details or information not directly related to your thesis. 
• Revise and Edit : Revise your introduction to ensure clarity, coherence, and relevance. Check for grammar and spelling errors. 
• Seek Feedback : Get feedback from peers or instructors to improve your introduction further. 

The purpose of an essay introduction is to give an overview of the topic, context, and main ideas of the essay. It is meant to engage the reader, establish the tone for the rest of the essay, and introduce the thesis statement or central argument.  

An essay introduction typically ranges from 5-10% of the total word count. For example, in a 1,000-word essay, the introduction would be roughly 50-100 words. However, the length can vary depending on the complexity of the topic and the overall length of the essay.

An essay introduction is critical in engaging the reader and providing contextual information about the topic. To ensure its effectiveness, consider incorporating these key elements: a compelling hook, background information, a clear thesis statement, an outline of the essay’s scope, a smooth transition to the body, and optional signposting sentences.  

The process of writing an essay introduction is not necessarily straightforward, but there are several strategies that can be employed to achieve this end. When experiencing difficulty initiating the process, consider the following techniques: begin with an anecdote, a quotation, an image, a question, or a startling fact to pique the reader’s interest. It may also be helpful to consider the five W’s of journalism: who, what, when, where, why, and how.   For instance, an anecdotal opening could be structured as follows: “As I ascended the stage, momentarily blinded by the intense lights, I could sense the weight of a hundred eyes upon me, anticipating my next move. The topic of discussion was climate change, a subject I was passionate about, and it was my first public speaking event. Little did I know , that pivotal moment would not only alter my perspective but also chart my life’s course.” 

Crafting a compelling thesis statement for your introduction paragraph is crucial to grab your reader’s attention. To achieve this, avoid using overused phrases such as “In this paper, I will write about” or “I will focus on” as they lack originality. Instead, strive to engage your reader by substantiating your stance or proposition with a “so what” clause. While writing your thesis statement, aim to be precise, succinct, and clear in conveying your main argument.  

To create an effective essay introduction, ensure it is clear, engaging, relevant, and contains a concise thesis statement. It should transition smoothly into the essay and be long enough to cover necessary points but not become overwhelming. Seek feedback from peers or instructors to assess its effectiveness. 

References  

• Cui, L. (2022). Unit 6 Essay Introduction.  Building Academic Writing Skills . 
• West, H., Malcolm, G., Keywood, S., & Hill, J. (2019). Writing a successful essay.  Journal of Geography in Higher Education ,  43 (4), 609-617. 
• Beavers, M. E., Thoune, D. L., & McBeth, M. (2023). Bibliographic Essay: Reading, Researching, Teaching, and Writing with Hooks: A Queer Literacy Sponsorship. College English, 85(3), 230-242. 

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

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 essential in studying Communication, English, and Art History. It's a fundamental part of writing about art found in scholarly books, art magazines, and even undergraduate essays. You might encounter a visual analysis as a standalone assignment or as part of a larger research paper.

When you do this type of assignment, you're examining the basic elements of an artwork. These include things like its colors, lines, textures, and size. But it goes beyond just describing these elements. A good analysis also considers the historical context in which the artwork was created and tries to understand what it might mean to different people.

It also encourages you to look closely at details and think deeply about what an artwork is trying to say. This kind of analysis makes you appreciate art more and teaches you how to explain your ideas clearly based on what you see in the artwork.

What is the Purpose of Visual Analysis?

The purpose of a visual analysis is to recognize and understand the visual choices the artist made in creating the artwork. By looking closely at different elements, analysts can learn a lot about how an artwork was made and why the artist made certain choices. 

For example, studying how colors are used or how things are arranged in the artwork can reveal its themes or the emotions it's trying to convey. Also, understanding the time period when the artwork was created helps us see how societal changes and cultural ideas influenced its creation and how people reacted to it.

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How to Write a Visual Analysis Step-by-Step

To create an insightful visual analysis, you should not only examine the artwork in detail but also situate it within a broader cultural and historical framework. This process can be broken down into three main steps: 

• Identifying, describing, and analyzing the visual material
• Situating the visual material in its context
• Interpreting and responding to the content of the visual material.

Let’s discuss each of these steps in more detail.

Step 1: Identify, Describe, and Analyze the Visual Material

Begin by clearly identifying the visual material you will analyze. This could be a painting, photograph, sculpture, advertisement, or any other visual artwork. Provide essential information such as the title, artist, date, and medium. 

Next, offer a detailed description of the visual material. Focus on the key elements and principles of design, such as:

• Composition

Describe what you see without interpreting its meaning yet. For instance, note the use of bright colors, the placement of objects, the presence of figures, and the overall layout. This descriptive part forms the foundation of your analysis, allowing your reader to visualize the artwork.

Afterward, consider how the artist uses elements like contrast, balance, emphasis, movement, and harmony. Analyze the techniques and methods used and how they contribute to the overall effect of the piece. 

Step 2: Situate the Visual Material in its Context

To fully understand a piece of visual material, you need to consider its historical and cultural context. Start by researching the time period when the artwork was created. Look at the social, political, and economic conditions of that time, and see if there were any cultural movements that might have influenced the artwork.

Next, learn about the artist and their reasons for creating the visual material. Find out about the artist's life, other works they have made, and any statements they have made about this piece. Knowing the artist’s background can give you valuable insights into the artwork's purpose and message.

Finally, think about how the visual material was received by people when it was first shown and how it has impacted others over time. Look for reviews and public reactions, and see if it influenced other works or movements. This will help you understand the significance of the visual material in the larger cultural and artistic context.

Step 3: Interpret and Respond to the Content of the Visual Material

Now, combine your description, analysis, and understanding of the context to interpret what the visual material means. Talk about the themes, symbols, and messages the artwork conveys. Think about what it reveals about human experiences, society, or specific issues. Use evidence from earlier steps to support your interpretation.

Afterward, consider your own reaction to the visual material. How does it personally resonate with you? What emotions or thoughts does it provoke? Your personal response adds a subjective aspect to your analysis, making it more relatable.

Finally, summarize your findings and emphasize the importance of the visual material. Highlight key aspects from your identification, description, analysis, context, and interpretation. Then, it concludes by reinforcing the impact and significance of the visual material in both its original setting and its enduring influence.

Who Does Formal Analysis of Art

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.

6 Questions to Answer Before Analyzing a Piece of Art

According to our experienced term paper writer , there are six important questions to ask before you start analyzing a piece of art. Answering these questions can make writing your analysis much easier:

• Who is the artist, and what type of art do they create? - To place the artwork in context, you should identify the artist and understand the type of art they create. 
• What was the artist's goal in creating this painting? - Determine why the artist created the artwork. Was it to convey a message, evoke emotions, or explore a theme?
• When and where was this artwork made? - Knowing the time and place of creation helps understand the cultural and historical influences on the artwork.
• What is the main focus or theme of this artwork? - Identify what the artwork is about. This could be a person, place, object, or abstract concept.
• Who was the artwork created for? - To provide insight into its style and content, consider who the artist intended to reach with their work. 
• What historical events or cultural factors influenced this painting? - Understanding the historical background can reveal more about the significance and meaning of the artwork.

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Elements of the Visual Analysis 

To fully grasp formal analysis, it's important to differentiate between the elements and principles of visual analysis. The elements are the basic building blocks used to create a piece of art. These include:

Principles of the Visual Analysis

The principles, on the other hand, are how these elements are combined and used together to create the overall effect of the artwork. These principles include:

Visual Analysis Outline

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. 

In the introduction, you should:

• Introduce the Artwork : Mention the title, artist, date, and medium of the artwork.
• Provide a Brief Description : Offer a general overview of what the artwork depicts.
• State the Purpose : Explain the goal of your analysis and what aspects you will focus on.
• Thesis Statement : Present a clear thesis statement that outlines your main argument or interpretation of the artwork.

The body of the visual analysis is where you break down the visual material into its component parts and examine each one in detail. This section should be structured logically, with each paragraph focusing on a specific element or aspect of the visual material.

• Description: Start with a detailed description of the visual material. Describe what you see without interpreting or analyzing it yet. Mention elements such as color, line, shape, texture, space, and composition. For instance, if analyzing a painting, describe the subject matter, the arrangement of figures, the use of light and shadow, etc.
• Analysis of Visual Elements: Analyze how each visual element contributes to the overall effect of the material. Discuss the use of color (e.g., warm or cool tones, contrasts, harmonies), the role of lines (e.g., leading lines, contours), the shapes (e.g., geometric, organic), and the texture (e.g., smooth, rough). Consider how these elements work together to create a certain mood or message.
• Contextual Analysis: Examine how the context in which the visual material was created and is being viewed influences its interpretation. This includes historical, cultural, social, and political factors. Discuss how these contextual elements impact the meaning and reception of the visual material.
• Interpretation: Discuss your interpretation of the visual material. Explain how the visual elements and contextual factors contribute to the meaning you derive from it. Support your interpretation with specific examples from the material.
• Comparative Analysis (if applicable): If relevant, compare the visual material with other works by the same creator or with similar works by different creators. Highlight similarities and differences in style, technique, and thematic content.

The conclusion of a visual analysis essay summarizes the main points of the analysis and restates the thesis in light of the evidence presented.

• Restate Thesis: Reiterate your thesis statement in a way that reflects the depth of your analysis. Show how your understanding of the visual material has been supported by your detailed examination.
• Summary of Main Points: Summarize the key points of your analysis. Highlight the most important findings and insights.
• Implications: Discuss the broader implications of your analysis. What does your analysis reveal about the visual material? How does it contribute to our understanding of the creator's work, the time period, or the cultural context?
• Closing Thought: End with a final thought that leaves a lasting impression on the reader. This could be a reflection on the significance of the visual material, a question for further consideration, or a statement about its impact on you or on a broader audience.

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

Visual Analysis Example

In this section, we've laid out two examples of visual analysis essays to show you how it's done effectively. Get inspired and learn from them!

Key Takeaways

Visual analysis essays are fundamental early in your communications and art history studies. Learning how to formally break down art is key, whether you're pursuing a career in art or communications.

Before jumping into analysis, get a solid grasp of the painter's background and life. Analyzing a painting isn't just for fun, as you need to pay attention to the small details the painter might have hidden. Knowing how to do this kind of assignment not only helps you appreciate art more but also lets you deeply understand the media messages you encounter every day. 

If you enjoyed this article and found it insightful, make sure to also check out the summary of Lord of the Flies and an article on Beowulf characters .

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What are the 4 Steps of Visual Analysis?

How to write a formal visual analysis, what is the function of visual analysis.

is an expert in nursing and healthcare, with a strong background in history, law, and literature. Holding advanced degrees in nursing and public health, his analytical approach and comprehensive knowledge help students navigate complex topics. On EssayPro blog, Adam provides insightful articles on everything from historical analysis to the intricacies of healthcare policies. In his downtime, he enjoys historical documentaries and volunteering at local clinics.

• Added new sections
• Added new writing steps
• Added a new example
• Updated an outline
• Duke University. (n.d.). Visual Analysis . https://twp.duke.edu/sites/twp.duke.edu/files/file-attachments/visual-analysis.original.pdf  
• Glatstein, J. (2019, December 9). Formal Visual Analysis: The Elements & Principles of Composition . Www.kennedy-Center.org. https://www.kennedy-center.org/education/resources-for-educators/classroom-resources/articles-and-how-tos/articles/educators/visual-arts/formal-visual-analysis-the-elements-and-principles-of-compositoin/  
• MADA: Visual analysis . (n.d.). Student Academic Success. https://www.monash.edu/student-academic-success/excel-at-writing/annotated-assessment-samples/art-design-and-architecture/mada-visual-analysis  

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Home Essay Samples

Essay Samples on Art

While it may seem easy to compose essays about art, it’s not really so because you have to offer background information in your introduction part and explain why some exhibition or a school of thought is important. This should go to your first paragraph because your purpose is to inspire your readers and provide enough background information. When you already have a prompt that must be followed, determine what kind of essay must be written. It can be a descriptive essay, which is great for a description of the works of art or photography. Some other cases may require working with an explanatory tone where you have to explain why an artist has chosen certain palettes or what has been an inspiration. See various free art essay examples below for inspiration. It also helps to learn how to structure your writing and implement quotes or footnotes that are used to highlight the images. Remember to focus on the ways how to cite images and multimedia elements, depending on the chosen style. Your writing should address every image that you have by checking twice with the grading rubric to ensure that you use the sources that may have already been specified.

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One may call war a side effect of human civilization. Nevertheless, it is in a war that people show their best virtues: courage, loyalty, strength, perseverance, and honesty. Nothing is surprising in the fact that texts on this subject have existed since the writing appeared....

Comparing Two Great Pieces by Pablo Picasso and by Francisco Goya

Today I will be comparing and contrasting two great pieces called “GUERNICA” by Pablo Picasso and “THE THIRD OF MAY” by Francisco Goya.The “GUERNICA” by Pablo Picasso was hard to understand at first but the longer you look at it you understand it is a...

• Pablo Picasso

Black Swan is About Destructive Nature of Ballet

Nina Portman is a ballerina in a New York City ballet company whose life, like all those in her profession, is completely consumed with dance. She lives with her obsessive former ballerina mother Erica who exerts a suffocating control over her life. When artistic director...

The Development of Islamic Art

Islamic art is created not only for the Muslim faith, but it consists of artworks such as textiles, architecture, paintings and drawings that were produced in the regions that were once ruled by Muslim empires. Artists from various disciplines take part in collaborative projects and...

• History of Islam
• Islamic Art

Role of Cultural and Religious Pluralism

Cultural pluralism is a term used when smaller groups within a larger society maintain their own unique cultural identities. Migration is a key process that makes significant contribution to the growth of urbanism. Often immigrants belonging to particular region, language, religion ,tribe etc tend to...

• Art and Religion
• Religious Pluralism

John Berger: Understanding His Artwork

John Berger is a remarkable man who enlighten us with his knowledge using one of his brilliant essays “Ways of Seeing.” Berger has concurred the ability to fully understand any artwork and to recognize what is visible before him. He clarifies that there is a...

• John Berger

America’s Contemporary Multimedia Artist Jeff Koons

Jeff Koons is one of America’s most popular contemporary multimedia artists, who believes that art can change lives, give vastness and expand your parameters. Koons was born in York, Pennsylvania in 1955. He studied at the Maryland Institute College of Art in Baltimore and the...

• American Culture

The Sistine Chapel Ceiling by Michelangelo

The Sistine Chapel Ceiling (Italian: Volta Della Cappella Sistina), painted by Michelangelo somewhere in the range of 1508 and 1512, is a foundation work of High Renaissance craftsmanship. The Creation of Adam' is one of the nine ceiling boards in the Sistine Chapel portraying scenes...

• Michelangelo

History of Medieval And Byzantine Art Movements

A painting wealthy in color typical for St.George on a rearing white horse, shown against a rocky landscape, slaying the winged monster as it appears before him. An angel crowns St.George with a martyr’s crown, symbolizing the triumph of good over evil. The tower on...

• Byzantine Empire

The Power Of Photography: Capturing Emotions With Camera

Photographs help people preserve memories with its technology, but what is actually happening is much more interesting when thought about in more depth. A moment in time is captured forever, so long as the photograph is kept in good shape. It is the closest people...

Jackson Pollock as an Influential America Artist

The painter Jackson Pollock was an influential America painter and a key person to the abstract expressionist movement. He was born in Cody , Wyoming in 1912 and he was the youngest of 5 brothers. He grew up in Arizona and Chico, California he moved...

• Jackson Pollock

The Girl Who Loved Caravaggio by Belle Ami

The Girl Who Loved Caravaggio by Belle Ami is a romantic suspense thriller and the second book in the Out of Time series. High on the success of finding a centuries-old Leonardo da Vinci painting, Angela Renatus, and her fiance Alex Caine are on a...

The Portrayal of the Culture of Death and Afterlife in Art

Throughout history, different cultures dealt with the concept of death and afterlife according to their beliefs, and developed different perspectives about what happens after the body dies. These ideas were often reflected in their art, literature, and their lifestyle as well. Most cultures produce art...

Art Nouveau and Modernist Movements in Art

Art Nouveau is originated in England. William Morris collaborated with other artists so Art Nouveau was created. It has a wide range of different decorative arts, like architectural, painting, graphic art, and jewelry. It was most popular during the 1890s. Its popularity came to a...

• Art Nouveau
• William Morris

The Famous Michelangelo Merisi Da Caravaggio

The famous Michelangelo Merisi da Caravaggio produced original paintings, criticizing those who imitated other artists creative styles. He even accused the great Giovanni Baglione and Guido Reni for imitating his uniquely developed techniques. Caravaggio was the building block for modern art and followed by many....

Art of Theatre and French Figure Joan of Arc

Bernard Shaw (1856-1950) is an irish playwright, critic, and political activist. His influence on Western theatre started from the 1880s till after his death. He won the Nobel Prize in literature in 1925 becoming the leading dramatist of his generation. Shaw's first play to bring...

• Joan of Arc

The Beauty and Skill of Ansel Adams’ Photography

Ansel Adams was born in San Francisco, California on February 20, 1902. As a child, Adams had many freedoms and lots of energy. He was an unattractive child, with big dark circles under his eyes, a crooked nose, and large ears. He was often teased...

• Ansel Adams

Holi Festival and Vibrant Celebration of Colors

Holi is a very vibrant celebration of colors. We have to wait for a whole year. So we can enjoy the festival of color. Although, Holi is fun and joyous. It's also immensely damaging to your skin. The colors are not extracted from flowers but...

• Holi Festival

The Struggle of the Graphic Designers and Social Media

Graphic designers relied heavily on word-of-mouth for their works to become popular and to be seen by the public, it was close to impossible to grow an organic dedicated fanbase to follow your work, nowadays with the rise of the internet and social media, you...

• Graphic Design

Some Interesting Facts About Salvador Dali

Salvador Dali was one of the most, if not the most celebrated artist of the 20th century. His art is iconic, his personality, eccentric, his fashion sense, interesting, his style, unique, his showmanship, unforgettable. All these combined to make him an interesting human and a...

Salvador Dali's Biography: Main Topics

 Salvador Dali was born on May 11, 1904 in Figueres, Catalonia, Spain. His father was an atheist lawyer who was very strict in Dali’s upbringing. Dali’s mother, on the other hand, was loving and encouraged him to be artistic. He has an older brother named...

Caravaggio’s Artwork Judith Beheading Holofernes

For this essay, you needed to decide on a painting, Sculpture and other selected types of art work by which ever artist that created them before the 1900’s.Select a topic out of the selection given to do research about the topic and art work to...

William Morris: Arts and Crafts Movement

William Morris was a famous artists who mainly focused on his wallpaper and fabric designs. While he was mainly known for his art, even today, he had many other notable careers and accomplishments, One of them being that he founded the Arts and crafts movement....

Breaking The Parametr In Red Wheelbarrow: Analysis

The most conspicuous element of modernist poetry is the invention and experimentation of new forms of representation. It featured movements such as imagism and symbolism and moved consciously away from naturalism and realism. Ezra Pound was one of the first to delve into this new...

The Importance Of Paying Attention To Detail In Architecture

The architectural detailing process of a project is a long process that includes a lot of steps and patterns to consider. The designing issue is not consecutive for making a theoretical plan for the entire structure, the detailing, and construction of a building. It is...

Depiction Of Revolution In Les Miserables And Musical Theatre

This essay will deliberate the framework of genre, and investigate Musical Theatre, a genre within performing arts. What is Genre? Genre has been around for centuries, it commenced with the Greek philosophers Aristotle and Plato, they created a classification system that would separate literature into...

• Les Miserables

The Concepts Of Love And Hate With Loyalty In "Romeo And Juliet"

Loyalty is a virtue that most people strive for as seen in the play, The Tragedy of Romeo and Juliet by William Shakespeare, which is about two feuding families, the Montagues and the Capulets. Romeo, a Montague and Juliet, a Capulet fall in love. Throughout...

• Romeo and Juliet
• William Shakespeare

Romeo And Juliet: The Decision Between Choice And Fate

“God gave us free will, and we may choose to exercise it in ways that end up hurting other people”-Francis Collins. Romeo and Juliet is a tragic play written by Shakespeare, that follows the lives of two star-crossed lovers. The setting of Romeo and Juliet...

Societal Views On Graffiti: Street Art Or Vandalism

When you think of graffiti what’s the first thing that comes to mind? Vandalism or street art? Most would say vandalism, but what makes the distinction between the two? The intention of the piece. There’s a difference between defiling the back of a building and...

Portrayal Of Love And Hate In Shakespeare's Romeo And Juliet

Shakespeare’s exploration of themes through tragic conventions make the play, Romeo and Juliet, of enduring relevance to modern audiences. Shakespeare’s Romeo and Juliet (1595) captures audiences through the thrill of lovers from feuding families racing together to their tragic demises. This play explores themes understood...

Graffiti And Street Art As An Act Of Vandalism

It is difficult to apply a single definition to what is considered Art. Whether it can or should be defined has been constantly debated. “The definition of art is controversial in contemporary philosophy. Whether art can be defined has also been a matter of controversy....

Passionate Pursuit: Being Passionate About Art

Different pieces of artwork inspire people all around the world. Artists use a wide variety of techniques to make their work unique. While creating new pieces of art, it is common to look at other artists' work for inspiration. While evaluating their artwork you can...

Andy Warhol's Album Artwork: Don't Judge A Book By Its Cover

As the saying goes, don't judge a book by its cover, or in this case an album, but sometimes it cannot be helped. Custom packaging is an extremely important with any kind of product but despite this album cover art has not always been used...

• Andy Warhol

The Role Of Other Characters In Death Of Romeo And Juliet

Romeo and Juliet is such a tragic love story. It is sad that their lives ended, but that doesn’t mean their love for eachother did; their love may still live on with them in the after life. There are many characters who had a role...

The Presentation Of Love In Romeo And Juliet

Romeo and Juliet is a play written by Shakespeare in the 1500’s. It tells us the tragedy of two young lovers named Romeo and Juliet who fall in love at first sight but can never be together due to their two families conflict which ends...

The Importance Of Different Types Of Love In Romeo And Juliet

Romeo and Juliet is a play written by William Shakespeare during the 16th century that mainly follows the themes of love and tragedy. The intense passion the two lovers from both households have for one another causes the deaths of their friends, family and themselves....

The Use Of Hyperbole And Symbolism In "The Doll's House"

A Doll's House delves into the lives of a young couple living in Victorian era Norway. The play follows Nora through her journey, from her previously unexamined life of domestic, wifely comfort, to questioning the very foundation of everything she used to believe in. Having...

Realism In A Doll's House Play

Realism as a literary movement emerged in the late nineteenth century and extended to the twentieth century, the most important factors that led to the emergence of the period of realism is the horrors that happened to people after the World War, which made the...

20th Century Art: Representational Abstract Art

One of the most influential and significant periods in the history of the arts is the 20th century. It was a period that consisted of many rapid and radical artistic changes that gave birth to endless ideas, possibilities, experiences, and visions. Not only were ideas,...

• Abstract Art

The Opposite Concepts Of Realism Versus Idealism

 Introduction When comparing realism and idealism, the concepts must be understood historically, theoretically and practically. In this essay, a number of steps will be taken to present a thorough overview of the two schools of thought. Firstly, the epistemological and metaphysical questions of philosophy will...

The Abstract Art And Pop Art Artists And Movements

Pop art emerged in the mid 1950s in Britain, then later in the 1950s in the United States of America. Pop art still influences designers and artists to this day, was against abstract expressionists, pop artists saw abstract artists as intense. The art was a...

Romanticism & Realism: Changing Landscapes 

In my essay I will be looking at the contrast between romanticism and photo-realism, how light controls the image and how photographers are able to control how the picture will look like, by the time of day, the angle and being able to change the...

• Romantic Era

The Abstract Art And Expressionism In World War 2

In World War 2, many countries were destroyed by Hitler and his army. There were allies which were the U.S., Britain, France, USSR, Australia, Belgium, Brazil, Canada, China, Denmark, Greece, Netherlands, New Zealand, Norway, Poland, South Africa, and Yugoslavia and the axis powers, which were...

Coriolanus: Plutarch's And William Shakespeare's Versions

Two of the greatest contributors to the “Struggle of the Orders” between Plebeians and Patricians were the Patricians’ fears of Plebeian power overshadowing their influence on Roman politics, as well as the issues of grain pricing and distribution. Plutarch’s “Coriolanus” within his Parallel Lives work...

The Definition Of Fate And Free Will In Macbeth

Throughout time, it has been believed that fate has the power to forge one’s destiny. On the other hand though, I believe these choices can defy fate and that fate only manipulates one's mind into choosing their own path. In the play Macbeth, Shakespeare messes...

Reality Of Romanticism And Realism Under The Umbrella Of Gothic Genre

Two of the most common genres of writing that is found in literature belongs to either the Romanticism movement or the Realist/Naturalism movement. While these two movements might seem like they are related to each other, they are very opposite from one another in the...

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Fall 2024 Semester

Undergraduate courses.

Composition courses that offer many sections (ENGL 101, 201, 277 and 379) are not listed on this schedule unless they are tailored to specific thematic content or particularly appropriate for specific programs and majors.

• 100-200 level

ENGL 151.S01: Introduction to English Studies

Tuesday and Thursday, 11 a.m.-12:15 p.m.

Sharon Smith

ENGL 151 serves as an introduction to both the English major and the discipline of English studies. In this class, you will develop the thinking, reading, writing and research practices that define both the major and the discipline. Much of the semester will be devoted to honing your literary analysis skills, and we will study and discuss texts from several different genres—poetry, short fiction, the novel, drama and film—as well as some literary criticism. As we do so, we will explore the language of the discipline, and you will learn a variety of key literary terms and concepts. In addition, you will develop your skills as both a writer and researcher within the discipline of English.

ENGL 201.ST1 Composition II: The Mind/Body Connection

In this section of English 201, students will use research and writing to learn more about problems that are important to them and articulate ways to address those problems. The course will focus specifically on issues related to the mind, the body and the relationship between them. The topics we will discuss during the course will include the correlation between social media and body image; the efficacy of sex education programs; the degree to which beliefs about race and gender influence school dress codes; and the unique mental and physical challenges faced by college students today. In this course, you will be learning about different approaches to argumentation, analyzing the arguments of others and constructing your own arguments. At the same time, you will be honing your skills as a researcher and developing your abilities as a persuasive and effective writer.

ENGL 201.S10 Composition II: Environmental Writing   

Monday/Wednesday/Friday 1-1:50 p.m.

Gwen Horsley

English 201 will help students develop the ability to think critically and analytically and to write effectively for other university courses and careers. This course will provide opportunities to develop analytical skills that will help students become critical readers and effective writers. Specifically, in this class, students will:

• Focus on the relationships between world environments, land, animals and humankind.
• Read various essays by environmental, conservational and regional authors.
• Produce student writings. 

Students will improve their writing skills by reading essays and applying techniques they witness in others’ work and those learned in class. This class is also a course in logical and creative thought. Students will write about humankind’s place in the world and our influence on the land and animals, places that hold special meaning to them or have influenced their lives and stories of their own families and their places and passions in the world. Students will practice writing in an informed and persuasive manner, in language that engages and enlivens readers by using vivid verbs and avoiding unnecessary passives, nominalizations and expletive constructions.

Students will prepare writing assignments based on readings and discussions of essays included in "Literature and the Environment " and other sources. They may use "The St. Martin’s Handbook," as well as other sources, to review grammar, punctuation, mechanics and usage as needed.

ENGL 201.13 Composition II: Writing the Environment

Tuesday and Thursday 9:30-10:45 a.m.

Paul Baggett

For generations, environmentalists have relied on the power of prose to change the minds and habits of their contemporaries. In the wake of fires, floods, storms and droughts, environmental writing has gained a new sense of urgency, with authors joining activists in their efforts to educate the public about the grim realities of climate change. But do they make a difference? Have reports of present and future disasters so saturated our airwaves that we no longer hear them? How do writers make us care about the planet amidst all the noise? In this course, students will examine the various rhetorical strategies employed by some of today’s leading environmental writers and filmmakers. And while analyzing their different arguments, students also will strengthen their own strategies of argumentation as they research and develop essays that explore a range of environmental concerns.

ENGL 201 Composition II: Food Writing

S17 Tuesday and Thursday 12:30-1:45 p.m.

S18 Tuesday and Thursday 2-3:15 p.m.

Jodi Andrews

In this composition class, students will critically analyze essays about food, food systems and environments, food cultures, the intersections of personal choice, market forces and policy and the values underneath these forces. Students will learn to better read like writers, noting authors’ purpose, audience organizational moves, sentence-level punctuation and diction. We will read a variety of essays including research-intensive arguments and personal narratives which intersect with one of our most primal needs as humans: food consumption. Students will rhetorically analyze texts, conduct advanced research, reflect on the writing process and write essays utilizing intentional rhetorical strategies. Through doing this work, students will practice the writing moves valued in every discipline: argument, evidence, concision, engaging prose and the essential research skills for the 21st century.

ENGL 221.S01 British Literature I

Michael S. Nagy

English 221 is a survey of early British literature from its inception in the Old English period with works such as "Beowulf" and the “Battle of Maldon,” through the Middle Ages and the incomparable writings of Geoffrey Chaucer and the Gawain - poet, to the Renaissance and beyond. Students will explore the historical and cultural contexts in which all assigned reading materials were written, and they will bring that information to bear on class discussion. Likely themes that this class will cover include heroism, humor, honor, religion, heresy and moral relativity. Students will write one research paper in this class and sit for two formal exams: a midterm covering everything up to that point in the semester, and a comprehensive final. Probable texts include the following:

• The Norton Anthology of English Literature: The Middle Ages. Ed. Alfred David, M. H. Abrams, and Stephen Greenblatt. 9th ed. New York: W. W. Norton & Company, 2012.
• The Norton Anthology of English Literature: The Sixteenth Century and Early Seventeenth Century. Ed. George M. Logan, Stephen Greenblatt, Barbara K Lewalski, and M. H. Abrams. 9th ed. New York: W. W. Norton & Company, 2012.
• The Norton Anthology of English Literature: The Restoration and the Eighteenth Century. Ed. George M. Logan, Stephen Greenblatt, Barbara K Lewalski, and M. H. Abrams. 9th ed. New York: W. W. Norton & Company, 2012.
• Gibaldi, Joseph. The MLA Handbook for Writers of Research Papers. 6th ed. New York: The Modern Language Association of America, 2003.
• Any Standard College Dictionary.

ENGL 240.S01 Juvenile Literature Elementary-5th Grade

Monday, Wednesday and Friday noon-12:50 p.m.

April Myrick

A survey of the history of literature written for children and adolescents, and a consideration of the various types of juvenile literature. Text selection will focus on the themes of imagination and breaking boundaries.

ENGL 240.ST1 Juvenile Literature Elementary-5th Grade

Randi Anderson

In English 240 students will develop the skills to interpret and evaluate various genres of literature for juvenile readers. This particular section will focus on various works of literature at approximately the K-5 grade level. We will read a large range of works that fall into this category, as well as information on the history, development and genre of juvenile literature.

Readings for this course include classical works such as "Hatchet," "Little Women", "The Lion, the Witch and the Wardrobe" and "Brown Girl Dreaming," as well as newer works like "Storm in the Barn," "Anne Frank’s Diary: A Graphic Adaptation," "Lumberjanes," and a variety of picture books. These readings will be paired with chapters from "Reading Children’s Literature: A Critical Introduction " to help develop understanding of various genres, themes and concepts that are both related to juvenile literature and also present in our readings.

In addition to exposing students to various genres of writing (poetry, historical fiction, non-fiction, fantasy, picture books, graphic novels, etc.) this course will also allow students to engage in a discussion of larger themes present in these works such as censorship, race and gender. Students’ understanding of these works and concepts will be developed through readings, research, discussion posts, exams and writing assignments designed to get students to practice analyzing poetry, picture books, informational books and transitional/easy readers.

ENGL 241.S01: American Literature I

Tuesday and Thursday 12:30-1:45 p.m.

This course provides a broad, historical survey of American literature from the early colonial period to the Civil War. Ranging across historical periods and literary genres—including early accounts of contact and discovery, narratives of captivity and slavery, poetry of revolution, essays on gender equality and stories of industrial exploitation—this class examines how subjects such as colonialism, nationhood, religion, slavery, westward expansion, race, gender and democracy continue to influence how Americans see themselves and their society.

Required Texts

• The Norton Anthology of American Literature: Package 1, Volumes A and B Beginnings to 1865, Ninth Edition. (ISBN 978-0-393-26454-8)

ENGL 283.S01 Introduction to Creative Writing

Steven Wingate

Students will explore the various forms of creative writing (fiction, nonfiction and poetry) not one at a time in a survey format—as if there were decisive walls of separation between then—but as intensely related genres that share much of their creative DNA. Through close reading and work on personal texts, students will address the decisions that writers in any genre must face on voice, rhetorical position, relationship to audience, etc. Students will produce and revise portfolios of original creative work developed from prompts and research. This course fulfills the same SGR #2 requirements ENGL 201; note that the course will involve a research project. Successful completion of ENGL 101 (including by test or dual credit) is a prerequisite.

ENGL 283.S02 Introduction to Creative Writing

Jodilyn Andrews

This course introduces students to the craft of writing, with readings and practice in at least two genres (including fiction, poetry and drama).

ENGL 283.ST1 Introduction to Creative Writing

Amber Jensen, M.A., M.F.A.

This course explores creative writing as a way of encountering the world, research as a component of the creative writing process, elements of craft and their rhetorical effect and drafting, workshop and revision as integral parts of writing polished literary creative work. Student writers will engage in the research practices that inform the writing of literature and in the composing strategies and writing process writers use to create literary texts. Through their reading and writing of fiction, poetry and creative nonfiction, students will learn about craft elements, find examples of those craft elements in published works and apply these elements in their own creative work, developed through weekly writing activities, small group and large group workshop and conferences with the instructor. Work will be submitted, along with a learning reflection and revision plan in each genre and will then be revised and submitted as a final portfolio at the end of the semester to demonstrate continued growth in the creation of polished literary writing.

• 300-400 level

ENGL 424.S01 Language Arts Methods grades 7-12  

Tuesday 6-8:50 p.m.

Danielle Harms

Techniques, materials and resources for teaching English language and literature to middle and secondary school students. Required of students in the English education option.

AIS/ENGL 447.S01: American Indian Literature of the Present 

Thursdays 3-6 p.m.

This course introduces students to contemporary works by authors from various Indigenous nations. Students examine these works to enhance their historical understanding of Indigenous peoples, discover the variety of literary forms used by those who identify as Indigenous writers, and consider the cultural and political significance of these varieties of expression. Topics and questions to be explored include:

• Genre: What makes Indigenous literature indigenous?
• Political and Cultural Sovereignty: Why have an emphasis on tribal specificity and calls for “literary separatism” emerged in recent decades, and what are some of the critical conversations surrounding such particularized perspectives?
• Gender and Sexuality: What are the intersecting concerns of Indigenous Studies and Women, Gender and Sexuality Studies, and how might these research fields inform one another?
• Trans-Indigeneity: What might we learn by comparing works across different Indigenous traditions, and what challenges do such comparisons present?
• Aesthetics: How do Indigenous writers understand the dynamics between tradition and creativity?
• Visual Forms: What questions or concerns do visual representations (television and film) by or about Indigenous peoples present?

Possible Texts

• Akiwenzie-Damm, Kateri and Josie Douglas (eds), Skins: Contemporary Indigenous Writing. IAD Press, 2000. (978-1864650327)
• Erdrich, Louise, The Sentence. Harper, 2021 (978-0062671127)
• Harjo, Joy, Poet Warrior: A Memoir. Norton, 2021 (978-0393248524)
• Harjo, Sterlin and Taika Waititi, Reservation Dogs (selected episodes)
• Talty, Morgan. Night of the Living Rez, 2022, Tin House (978-1953534187)
• Wall Kimmerer, Robin. Braiding Sweet Grass, Milkweed Editions (978-1571313560)
• Wilson, Diane. The Seed Keeper: A Novel. Milkweed Editions (978-1571311375)
• Critical essays by Alexie, Allen, Cohen, Cox, King, Kroeber, Ortiz, Piatote, Ross and Sexton, Smith, Taylor, Teuton, Treuer, Vizenor, and Womack.

ENGL 472.S01: Film Criticism

Tuesdays 2-4:50 p.m.

Jason McEntee

Do you have an appreciation for, and enjoy watching, movies? Do you want to study movies in a genre-oriented format (such as those we typically call the Western, the screwball comedy, the science fiction or the crime/gangster, to name a few)? Do you want to explore the different critical approaches for talking and writing about movies (such as auteur, feminist, genre or reception)?

In this class, you will examine movies through viewing and defining different genres while, at the same time, studying and utilizing different styles of film criticism. You will share your discoveries in both class discussions and short writings. The final project will be a formal written piece of film criticism based on our work throughout the semester. The course satisfies requirements and electives for all English majors and minors, including both the Film Studies and Professional Writing minors. (Note: Viewing of movies outside of class required and may require rental and/or streaming service fees.)

ENGL 476.ST1: Fiction

In this workshop-based creative writing course, students will develop original fiction based on strong attention to the fundamentals of literary storytelling: full-bodied characters, robust story lines, palpable environments and unique voices. We will pay particular attention to process awareness, to the integrity of the sentence, and to authors' commitments to their characters and the places in which their stories unfold. Some workshop experience is helpful, as student peer critique will be an important element of the class.

ENGL 479.01 Capstone: The Gothic

Wednesday 3-5:50 p.m.

With the publication of Horace Walpole’s "The Castle of Otranto " in 1764, the Gothic officially came into being. Dark tales of physical violence and psychological terror, the Gothic incorporates elements such as distressed heroes and heroines pursued by tyrannical villains; gloomy estates with dark corridors, secret passageways and mysterious chambers; haunting dreams, troubling prophecies and disturbing premonitions; abduction, imprisonment and murder; and a varied assortment of corpses, apparitions and “monsters.” In this course, we will trace the development of Gothic literature—and some film—from the eighteenth-century to the present time. As we do so, we will consider how the Gothic engages philosophical beliefs about the beautiful and sublime; shapes psychological understandings of human beings’ encounters with horror, terror, the fantastic and the uncanny; and intervenes in the social and historical contexts in which it was written. We’ll consider, for example, how the Gothic undermines ideals related to domesticity and marriage through representations of domestic abuse, toxicity and gaslighting. In addition, we’ll discuss Gothic texts that center the injustices of slavery and racism. As many Gothic texts suggest, the true horrors of human existence often have less to do with inexplicable supernatural phenomena than with the realities of the world in which we live. 

ENGL 485.S01: Undergraduate Writing Center Learning Assistants 

Flexible Scheduling

Nathan Serfling

Since their beginnings in the 1920s and 30s, writing centers have come to serve numerous functions: as hubs for writing across the curriculum initiatives, sites to develop and deliver workshops and resource centers for faculty as well as students, among other functions. But the primary function of writing centers has necessarily and rightfully remained the tutoring of student writers. This course will immerse you in that function in two parts. During the first four weeks, you will explore writing center praxis—that is, the dialogic interplay of theory and practice related to writing center work. This part of the course will orient you to writing center history, key theoretical tenets and practical aspects of writing center tutoring. Once we have developed and practiced this foundation, you will begin work in the writing center as a tutor, responsible for assisting a wide variety of student clients with numerous writing tasks. Through this work, you will learn to actively engage with student clients in the revision of a text, respond to different student needs and abilities, work with a variety of writing tasks and rhetorical situations, and develop a richer sense of writing as a complex and negotiated social process.

Graduate Courses

Engl 572.s01: film criticism, engl 576.st1 fiction.

In this workshop-based creative writing course, students will develop original fiction based on strong attention to the fundamentals of literary storytelling: full-bodied characters, robust story lines, palpable environments and unique voices. We will pay particular attention to process awareness, to the integrity of the sentence and to authors' commitments to their characters and the places in which their stories unfold. Some workshop experience is helpful, as student peer critique will be an important element of the class.

ENGL 605.S01 Seminar in Teaching Composition

Thursdays 1-3:50 p.m.

This course will provide you with a foundation in the pedagogies and theories (and their attendant histories) of writing instruction, a foundation that will prepare you to teach your own writing courses at SDSU and elsewhere. As you will discover through our course, though, writing instruction does not come with any prescribed set of “best” practices. Rather, writing pedagogies stem from and continue to evolve because of various and largely unsettled conversations about what constitutes effective writing and effective writing instruction. Part of becoming a practicing writing instructor, then, is studying these conversations to develop a sense of what “good writing” and “effective writing instruction” might mean for you in our particular program and how you might adapt that understanding to different programs and contexts.

As we read about, discuss and research writing instruction, we will address a variety of practical and theoretical topics. The practical focus will allow us to attend to topics relevant to your immediate classroom practices: designing a curriculum and various types of assignments, delivering the course content and assessing student work, among others. Our theoretical topics will begin to reveal the underpinnings of these various practical matters, including their historical, rhetorical, social and political contexts. In other words, we will investigate the praxis—the dialogic interaction of practice and theory—of writing pedagogy. As a result, this course aims to prepare you not only as a writing teacher but also as a nascent writing studies/writing pedagogy scholar.

At the end of this course, you should be able to engage effectively in the classroom practices described above and participate in academic conversations about writing pedagogy, both orally and in writing. Assessment of these outcomes will be based primarily on the various writing assignments you submit and to a smaller degree on your participation in class discussions and activities.

ENGL 726.S01: The New Woman, 1880–1900s 

Thursdays 3–5:50 p.m.

Katherine Malone

This course explores the rise of the New Woman at the end of the nineteenth century. The label New Woman referred to independent women who rebelled against social conventions. Often depicted riding bicycles, smoking cigarettes and wearing masculine clothing, these early feminists challenged gender roles and sought broader opportunities for women’s employment and self-determination. We will read provocative fiction and nonfiction by New Women writers and their critics, including authors such as Sarah Grand, Mona Caird, George Egerton, Amy Levy, Ella Hepworth Dixon, Grant Allen and George Gissing. We will analyze these exciting texts through a range of critical lenses and within the historical context of imperialism, scientific and technological innovation, the growth of the periodical press and discourse about race, class and gender. In addition to writing an argumentative seminar paper, students will complete short research assignments and lead discussion.

ENGL 792.ST1 Women in War: Female Authors and Characters in Contemporary War Lit

In this course, we will explore the voices of female authors and characters in contemporary literature of war. Drawing from various literary theories, our readings and discussion will explore the contributions of these voices to the evolving literature of war through archetypal and feminist criticism. We will read a variety of short works (both theoretical and creative) and complete works such as (selections subject to change): "Eyes Right" by Tracy Crow, "Plenty of Time When We Get Home" by Kayla Williams, "You Know When the Men are Gone" by Siobhan Fallon, "Still, Come Home" by Katie Schultz and "The Fine Art of Camouflage" by Lauren Johnson.