| Art historians employ a number of methods in their research into the ontology and history of objects. |
Art historians use a variety of methods in their research on the ontology and history of objects.
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| Art historians often examine work in the context of its time. |
Art historians often examine works in the context of their time.
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| At best, this is done in a manner which respects its creator's motivations and imperatives; with consideration of the desires and prejudices of its patrons and sponsors; with a comparative analysis of themes and approaches of the creator's colleagues and teachers; and with consideration of iconography and symbolism. |
Ideally, this is done in a way that respects the motivations and needs of the creator, taking into account the desires and prejudices of patrons and sponsors, with a comparative analysis of the themes and approaches of the artist’s colleagues and teachers, and considering iconography and symbolism. |
| In short, this approach examines the work of art in the context of the world within which it was created. |
In short, this approach examines the artwork in the context of the world in which it was created. |
| Art historians also often examine work through an analysis of form; that is, the creator's use of line, shape, color, texture, and composition. |
In short, this approach examines the artwork in the context of the world in which it was created. (Same repeated paragraph as 4.)
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| This approach examines how the artist uses a two-dimensional picture plane or the three dimensions of sculptural or architectural space to create his or her art. |
Art historians also often study works through a formal analysis, meaning how the artist uses line, shape, color, texture, and composition.
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| The way these individual elements are employed results in representational or non-representational art. |
This approach looks at how the artist uses the two-dimensional picture plane or the three dimensions of sculptural or architectural space to create the work.
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| Is the artist imitating an object or image found in nature? |
The way these individual elements are used leads to either figurative or non-figurative art. |
| If so, it is representational. |
Is the artist imitating an object or an image found in nature? |
| The closer the art hews to perfect imitation, the more the art is realistic. |
If so, it is representational. |
| Is the artist not imitating, but instead relying on symbolism, or in an important way striving to capture nature's essence, rather than copy it directly? |
The closer the art comes to perfect imitation, the more realistic it is.
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| If so the art is non-representational—also called abstract. |
Is the artist not imitating but instead relying on symbolism, or making a deliberate effort to capture the essence of nature rather than copying it directly? |
| Realism and abstraction exist on a continuum. |
If that’s the case, the art is non-figurative; it is also called abstract. |
| Impressionism is an example of a representational style that was not directly imitative, but strove to create an "impression" of nature. |
Realism and abstraction exist on a continuum. |
| If the work is not representational and is an expression of the artist's feelings, longings and aspirations, or is a search for ideals of beauty and form, the work is non-representational or a work of expressionism. |
Impressionism is an example of a figurative style that was not directly imitative, but aimed to create an “impression” of nature. |
| An iconographical analysis is one which focuses on particular design elements of an object. |
If the work is not representational and expresses the artist’s feelings, desires, and aspirations, or is a search for ideals of beauty and form, then the work is non-representational or expressionist.
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| Through a close reading of such elements, it is possible to trace their lineage, and with it draw conclusions regarding the origins and trajectory of these motifs. |
An iconographic analysis is a method that focuses on specific design elements of an object.
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| In turn, it is possible to make any number of observations regarding the social, cultural, economic, and aesthetic values of those responsible for producing the object. |
Through a careful reading of these elements, it’s possible to trace their lineage and draw conclusions about their origins and development.
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