art history research paper sample

Writing in Art History

This guide provides a brief introduction to writing in the field of  art history  through the lens of  threshold concepts.  It includes:

• A statement of threshold concepts in art history
• “So you’re taking an art history course”: A Description of Writing Characteristics Valued in Art History
• “This is how we write and do research in art history”: Resources for Writers

A Statement of Threshold Concepts in Art History

“Seeing comes before words, the child looks and recognizes before it can speak.” (John Berger,  Ways of Seeing )

“Seeing establishes our place in the world.” (John Berger,  Ways of Seeing )

“We do not explain pictures: we explain remarks about pictures.” (Michael Baxandall,  Patterns of Intention )

Threshold Concept #1: Connections between Looking and Writing

The statement:   It is not easy to write what you see. If seeing establishes our place in the world, art history is a tool to make sense of the visual world in which we all live.

What this means for our students:   Looking well is a time-intensive and skilled practice. Visual information is not self-evident, and writing about what is seen involves thinking about how and why visual information is understood in a particular way.

Where/how we teach this Threshold Concept : Visual analysis assignment in ART 285; Short essays in 100-level courses. Writing about and describing what is seen is also modeled in class examples and discussions.

Threshold Concept #2: Context Matters

The statement:   All art is conditioned by historical and cultural circumstances. Art history endeavors to understand these circumstances or contexts in order to explain the crucial role art occupies in humanity. The contexts that produced the work of art help art historians contextualize why art matters.

What this means for students:  Art is never understood by its visual appearance or form alone. The goal of art history is to place a work of art within its historic, religious, political, economic, and aesthetic contexts. Students should also understand that various contexts do not stand on their own, but usually overlap. Only by unpacking the circumstances that give rise to a work of art is one able to communicate how art matters and how its meanings change through time and place.      

Where/how we teach this Threshold Concept:  100-level courses engage with this concept while upper-level courses provide students with practical applications through the execution of research and writing assignments.

Threshold Concept #3: Frames of interpretation

The statement:  Art historical writing involves multiple frames of interpretation and—perhaps more importantly—the ability to hold multiple frames in suspension at the same time while producing an original argument. While there is no one “right” interpretation of a work of art, there are interpretations and scholarly arguments that have more quality or staying power than others. (See below for examples of quality art historical arguments)

What this means for students:   Research done in preparation for writing is framed not only as a search for facts to be relayed to the reader through writing, but also as discourses of interpretation within which the writer seeks to interject. This kind of writing involves a conversation with artworks, contexts, and prior interpretations and scholarship in service of an original argument.

Where/how we teach this Threshold Concept:   Research papers in upper level courses, at the end of Art 285 and the Art 480 seminar, and as part of the capstone project and honors theses ideally move students through this threshold. Being able to do this involves building upon awareness and skills gained in Threshold Concepts 1 and 2.

“So You’re Taking an Art History Course”: A Description of Writing Characteristics Valued in Art History

Art history is rooted in the study of visual, performed, and material expression. Goals for our work include interpretation, producing frameworks, narratives, and histories to understand the human experience and condition, and the expansion of what is considered “art”. We want you to know that there are some key things that we value in our field. We value the  complexity of seeing and the diversity of different ways of seeing . We tend not to value or prioritize subjective opinion and unsubstantiated claims.

What is considered effective or good writing in our field varies by genre and purpose, but overall we expect to see:

• a direct address of the subject or work of art.
• an interpretive analysis of a work of art backed by research from credible sources.
• engagement with significant interpretive and theoretical frameworks.

Writers in our field must provide evidence for their claims. We understand evidence to include:

• Formal analysis. Formal analysis is the description of the visual and material features of an object to support an argument. It can include a consideration of color, line, size, weight, form, shape, depth. Formal analysis is often a place to generate questions for research.
• Biographical records or artists’ statements
• Archival records
• Ethnographic data
• Historical events
• Significant secondary literature
• Adjacent artistic and cultural production (music, literature, theatre, etc.)

Writers in our field seem credible when they:

• Address current and historical debates about the interpretation of a topic
• Demonstrate an awareness of the historical and cultural context of a topic
• Cite credible sources accurately.  Credible sources  include peer-reviewed journals, books, or websites from reputable institutions and organizations.
• For more information on citing sources accurately, see the “ Quick Guide to Citations for Art Historical Writing ”

This is How We Write and Do Research in Art History

Art historical writing is about analyzing works of art to make a point or argument. Not every student in our classes needs to be able to write in the professional way of the field. However, depending on the reasons for taking our courses, we want students to become proficient and comfortable with analyzing art and the important place writing occupies in that process. Students taking an art history course should expect to write in the following genres:

• research papers
• exhibition reviews/evaluations
• book reviews
• visual analyses
• reading reflection/canvas posts
• museum labels
• essay exams

Writing goals and outcomes are different depending on the level of the course.  For example:

• Undergraduates taking Miami Plan (100-level) or elective courses  should recognize the relationship between how to develop a thesis and employ visual evidence in support of that thesis. Such a skill is undoubtedly useful for all students since looking closely coupled with the ability to make sense of what one sees are crucial for many other kinds of writing and ways of thinking. We argue the complexity and diversity of “looking deeply” is too often taken for granted in the visual world in which we live. In 100-level classes, students start to become familiar with how to write and think about art.
• Undergraduates majoring in our field  should recognize that art historical writing is approached as a conversation or dialogue. As students progress through the major, being able to place a topic and research paper within previous published and ongoing debates is crucial. In other words, students should start to understand that writing in Art History is about creating a dialog between one’s ideas and the sources the student engages. We also want our students to understand the value of inserting their own voice when writing. Over time, majors will need to become skilled at synthesizing their ideas and arguments with original research. This very process is how objects tell us something distinctive about their historical context and their value within human history.  

Resources for Art History Writers

Annotated Sample of Writing from Art History (ART 188)

The following is a student paper from the course ART 188: History of Western Art (Renaissance to Modern). Miami faculty from Art History have inserted comments to indicate and explain disciplinary writing conventions in Art History.

This sample contains 8 comments. These comments appear within the text of the article and are noted with bold text, brackets [ ], and the word "comment" before the text they refer to.  You can also view these annotations and the original paper in a  Google Doc format .

Sample Annotated Student Essay for ART 188

The essay prompt.

Compare Hyacinthe Rigaud’s painting  Louis XIV  (1701) (on the left) to Jacques-Louis David’s  Death of Marat  (1793) (on the right). Both of these artworks were made for explicitly political purposes, though they clearly depict very different types of figures and employ very different styles. Compare these two artworks in terms of how they convey their particular political message to the viewer. What strategies does each artist employ and why? What are they trying to communicate to the viewer about the state?

Introduction (2 comments)

A Martyr of Royal Proportions

[Comment 1: Introduction sets the context without making claims that are too broad or general. Also sets the tone for a focus on class conflict.]  For the majority of the eighteenth-century, French farmers stayed starving and cold while an elite class of nobility consumed them. For years, the upper echelon of French society relied on the blood and sweat of the layman to provide them with ample nourishment. But after the spring of 1791, the fields would be nourished by the blood of laymen and aristocrat alike, and the old ways would be no more. A revolution had begun, and revolutionary figures like Jean Paul Marat would be painted in stark contrast to the grandiose portraiture of King Louis the Fourteenth nearly a century prior.  [Comment 2: Clear thesis signals what the argument will be and why comparing these two paintings is worthwhile.]  Indeed, the transition in composition from the early eighteenth century spoke to more than simple brushstrokes. It represented the political enlightenment of the French people attempting to secure for themselves unalienable liberties they had been denied so long. Marat, therefore, was not simply a brutalized revolutionary lying lifeless in his bathtub;  The Death of Marat  depicts the efforts of the enlightenment revolution ferociously contesting with the old paradigm of French government.

Analysis (6 comments)

[Comment 3: Clear topic sentences signal what each paragraph will analyze.]  When comparing two pieces it is important to recognize their respective contexts first. The Louis XIV portrait is painted by Hyacinthe Rigaud during the early Enlightenment period of France in 1701. This painting has King Louis XIV surrounded by opulence in a very stately posture. Louis states, “I am the state,” reinforcing his role as monarch of France for anyone viewing his kingly grandeur.  The Death of Marat , however, imparts a very different sentiment. Painted by French revolutionary artist Jacques-Louis David in 1793,  The Death of Marat  displays the infamous revolutionary writer is lifeless in a tub. At the height of the French revolution, he is soaking in a mixture of medicinal sulfur used to treat a rare skin condition he contracted in the sewers of France. Indeed, this disease that Marat contracted in the sewers placed him in the tub he would be murdered in. In this way, the poverty that drove him into the sewers also drove him to his demise; the French aristocracy could expunge the poor from the streets, but they could never extricate the ideas Marat imbued. The piece evoked compassion and provided justification to the many rebellious Parisians for whom he spoke. Furthermore, the painting immortalized Marat as a martyr and freedom fighter in the eyes of his fellow revolutionaries. The Louis XIV portrait flaunts power and status while  The Death of Marat  condemns monarchical rule in France.

After examining context, it is crucial to integrate the content of the works to get at their underlying meaning. Examining the content of the Louis XIV portrait gives the viewer an idea of the intentions and priorities of the French king. It is especially apparent that the king has a lot of money.  [Comment 4:  Descriptive prose points to specific aspects in the work of art.]  His encrusted sword and outrageously fanciful robe serve to bolster his status and wealth. It would almost seem that in a secondary effort to avoid being directly arrogant, these items are also imbued with a national relevance. The ludicrous robe displays the three-pronged lily representing the French monarchy, and his encrusted sword represents French military might. It is his shoes that cannot be accounted for. The king, old and sickly as he actually was, adorns some stylish footwear to juxtapose his position as self-proclaimed “Sun King” with some suave contemporary sneakers and a cheeky flash of the thigh. As powerful and sophisticated as he may have been, this portraiture shows  [Comment 5: Returns the analysis of symbols within the painting to the context of class conflict signaled in the introduction.]  a clear separation from reality; the wealth and power of “France” depicted in Louis’ portrait was not representative of the people who actually lived there. It was only relatable to the fancifully rich. Comparatively, the Marat portrait makes King Louis look like a bad attempt at humor.  The Death of Marat  was something extremely real and very relatable. It illustrated a man who suffered dearly at the hand of the monarchy and was ultimately killed by those who supported its rule. The rich and famous could never relate to  The Death of Marat  in the same way Parisians did; Marat would have been more honorable in the eyes of the public than any would-be king. Marat is shown in his tub, papers under arm and his quill in hand. It would appear that he was working on some enlightenment literature when he received a letter which tricked him into granting his killer access to him. Similar to the Louis XIV portrait, Marat’s body is sculpted with the precision and attention expected of the neoclassical age. The sickly and bleeding body of Marat elicits a specific emotional reaction of resentment and remorse. That the Marat painting gained the popularity that it did supports the idea that people began to relate more with enlightenment concepts and less of the idea of a king.

The skillful hand of each artist has a unique place in the message of each painting. The separate pieces are painted with unique and very different forms. Looking at the Louis XIV painting one notices that it is very full. This is assumed to be an intentional detail, as a king would surely have many possessions. Small shadows hide in the creases of cloth behind him. The only true shadow that rivals that of the king is in the very back of the painting almost out of sight. It would not be a stretch to say that the painting is full of cloth, and every cloth is radiant with color.  [Comment 6:  Attention to formal detail reasserts and supports the main argument about class and the king’s presentation within the painting.]  Light comes from the right-side illuminating Louis the XIV making him look larger with his robe on. The piece is extremely skilled but has some element of blurring when looked at closely. The overall atmosphere is one of style, color, and power regarding the king. The Marat piece does not share much with the Louis portrait; it is of a bath tub, a man, and a desk. The details of Marat are more vivid and retain their integrity upon close inspection. Marat himself is so realistic, he truly looks lifeless.  [Comment 7:  Formal analysis here connects to prior class content, and points to the art historical references within the painting.]   His posture is very reminiscent of pieta, reinforcing his martyr status in a Christ-like fashion. Despite the detail and realism of Marat,  [Comment 8:  Looks not only to what is in the painting, but how absences are treated, considering the entire composition.]  the stark ambiguity of the upper half of the painting is both unconventional and genius. With a black top half, there is nothing but Marat himself to focus on, the only thing one can really see and feel is Marat. As a result, the piece evokes keeps the viewers attention and feeling on the death of the man. One might ask who would do such a thing. Then answer inevitably reached is the monarchy.

Conclusion (0 comments)

The differences in context, content, and form of  The Death of Marat  and  Louis XIV  vary widely. These aspects are essential to the message and reception of the works. Their comparison brings out everything that is right, or wrong, with the messages they impart. In the case of David’s painting, it simply elicits the exact emotions people needed to feel; the emotions they needed reassurance of if they were to carry out their cause. The power of  The Death of Marat  inspired people to carry on fighting for the French Revolution. The influence of art certainly stretches beyond the construct of the mind, art is part and parcel of society, and should be regarded so dearly.

Annotated Sample of Read, Look, Reflect Essay

This sample contains 10 comments. These comments appear within the text of the article and are noted with bold text, brackets [ ], and the word "comment" before the text they refer to.  You can also view these annotations and the original paper in a  Google Doc format .

Assignment Context

As a student in ART 188, you might be asked to write a series of Read, Look, Reflect papers. The following paper is an example of exemplary student work. For this assignment, students are asked to read two sonnets by Michelangelo and look closely at Michelangelo’s sculpture Awakening Slave. Then they are asked to reflect on the questions below. This is a paper in which all students referenced the same assigned texts. No outside research was necessary, so footnotes were not required. Only clear references to the specific sonnet being discussed were necessary.

How does the allusion to the creative process in Michelangelo’s poems help us understand his philosophy of carving sculpture? How is that process visually apparent in the sculpture,  Awakening Slave ?

Introduction (3 comments)

Read, Look, Reflect: Michelangelo’s  Awakening Slave

[Comment 1: This introductory paragraph is effective because it begins providing an answer to the essay prompt. The author begins to explain a connection between hand and mind, which suggests a particular approach to the creative process.]   [Comment 2:  The author also gets straight to the point without making any sweeping historical claims or claims about beauty or greatness of a work of art.]  Michelangelo’s sonnets give insight into his beliefs about the mind’s vision and the hand’s product. Using sonnets to discuss the creative process and its resulting translation to Michelangelo’s sculptures is a testament to Michelangelo’s own mental capabilities, for both forms of art are quite difficult to produce well. Poetry and art require excessive refinement and revision on the part of the creator to convey what he or she wants to with a finished product. In the sonnet numbered 151, Michelangelo describes the “hand that obeys the intellect”,  [Comment 3:  Here’s one place where the author provides an interpretation of a specific quote.]  an indication that he believes that the mind is central to sculpting a vision from inspiration before the hand sculpts the stone itself. Further, Michelangelo’s choice of words here shows his reverence for the mind in its central creative role. In this paper, demonstrate how Michelangelo’s sonnets and the sculpture,  Awakening Slave , express a tension between idea and execution.

Analysis (7 comments)

With this in mind, Michelangelo’s second sonnet, numbered 152, delves further into the carving process.  [Comment 4:  The author focuses on a specific part of the poem here.]  Michelangelo speaks of a living figure “that grows larger wherever the stone decreases” in this poem, a more direct allusion to what stone is literally subtracted as artistic additions are made to the stone. From there, the sonnet further describes the process of addition, discussing how one cannot see his or her own good in the same way that others can.  [Comment 5:  The author comes to a thoughtful interpretation of the quote here.]  Rather, according to Michelangelo, other people seem to see the good in an individual and can bring it out to the surface in a way that the individual is unable to introspectively.  [Comment 6:  The author continues to reflect on the significance of that interpretation to the creative process.]  This is a powerful observation both psychologically and artistically, and though Michelangelo is commenting on both, the latter alludes more to the creative process. Artistically, it seems like Michelangelo is alluding to his personal definition of inspiration. When artists like himself create, they seek to bring out qualities worth displaying, whether they be qualities like grace and beauty, or in the case of his sculpture,  Awakening Slave , a quality like the beauty of struggle.

Because Michelangelo’s sculpture,  Awakening Slave , is still very much confined to the stone, viewers can see his poetic description of replacing raw stone with a mental vision in artistic practice. It could be argued that the sculpture is either intentionally or accidentally unfinished, but with the information from the sonnets, the former seems to be a more accurate reflection of Michelangelo’s beliefs in this art. For Michelangelo, crafting a seemingly unfinished sculpture can successfully show the struggles of the creative process, especially conflicts with inspiration itself. Conflicts could entail a situation such as if inspiration were to run dry, or a time when the pressure on the creator to produce a fully developed vision becomes too much.

The man who is supposed to be awakening in the sculpture is facing a personal struggle that he cannot escape from.  [Comment 7:  The author makes a clear and specific observation about the sculpture.]  It is worth noting that a body is more clearly defined in the sculpture than a head.  [Comment 8:  The author suggests a possible interpretation of the observation above.]  This structural observation could mean that the head, and therefore the mind, is the source of the struggle for the man depicted in the stone.  [Comment 9:  The author again makes a specific observation in the next sentence and then moves into interpretation for the rest of the paragraph.]  The central parts of the body are more prominent in the stone than the upper and lower regions of the body, giving the sculpture a warped look on the top, but also a little bit on the bottom as well. This further enhances the theme of struggle and the overtaking of the mind by said struggle. The all- consuming nature of struggle is made more powerful and central to the sculpture by that design choice, especially since viewers know that Michelangelo’s anatomical accuracy was part of what has made many of his other works so respected.

The ability that viewers have to pair Michelangelo’s  Awakening Slave  with written explanations from the artist centuries later undoubtedly adds to one’s interpretation of the art. Michelangelo’s decision to reflect on his own creative process shows that while he was a renowned artist, the talent was accompanied by other highly developed talents, too. In more than one respect, Michelangelo continues to succeed in making critics and common viewers alike understand the complexity of the artistic profession.

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Art History Resources

Guidelines for analysis of art.

• Formal Analysis Paper Examples
• Guidelines for Writing Art History Research Papers
• Oral Report Guidelines
• Annual Arkansas College Art History Symposium

Knowing how to write a formal analysis of a work of art is a fundamental skill learned in an art appreciation-level class. Students in art history survey and upper-level classes further develop this skill. Use this sheet as a guide when writing a formal analysis paper. Consider the following when analyzing a work of art. Not everything applies to every work of art, nor is it always useful to consider things in the order given. In any analysis, keep in mind: HOW and WHY is this a significant work of art?

Part I – General Information

• In many cases, this information can be found on a label or in a gallery guidebook. An artist’s statement may be available in the gallery. If so, indicate in your text or by a footnote or endnote to your paper where you got the information.
• Subject Matter (Who or What is Represented?)
• Artist or Architect (What person or group made it? Often this is not known. If there is a name, refer to this person as the artist or architect, not “author.” Refer to this person by their last name, not familiarly by their first name.)
• Date (When was it made? Is it a copy of something older? Was it made before or after other similar works?)
• Provenance (Where was it made? For whom? Is it typical of the art of a geographical area?)
• Location (Where is the work of art now? Where was it originally located? Does the viewer look up at it, or down at it? If it is not in its original location, does the viewer see it as the artist intended? Can it be seen on all sides, or just on one?)
• Technique and Medium (What materials is it made of? How was it executed? How big or small is it?)

Part II – Brief Description

In a few sentences describe the work. What does it look like? Is it a representation of something? Tell what is shown. Is it an abstraction of something? Tell what the subject is and what aspects are emphasized. Is it a non-objective work? Tell what elements are dominant. This section is not an analysis of the work yet, though some terms used in Part III might be used here. This section is primarily a few sentences to give the reader a sense of what the work looks like.

Part III – Form

This is the key part of your paper. It should be the longest section of the paper. Be sure and think about whether the work of art selected is a two-dimensional or three-dimensional work.

Art Elements

• Line (straight, curved, angular, flowing, horizontal, vertical, diagonal, contour, thick, thin, implied etc.)
• Shape (what shapes are created and how)
• Light and Value (source, flat, strong, contrasting, even, values, emphasis, shadows)
• Color (primary, secondary, mixed, complimentary, warm, cool, decorative, values)
• Texture and Pattern (real, implied, repeating)
• Space (depth, overlapping, kinds of perspective)
• Time and Motion

Principles of Design

• Unity and Variety
• Balance (symmetry, asymmetry)
• Emphasis and Subordination
• Scale and Proportion (weight, how objects or figures relate to each other and the setting)
• Mass/Volume (three-dimensional art)
• Function/Setting (architecture)
• Interior/Exterior Relationship (architecture)

Part IV – Opinions and Conclusions

This is the part of the paper where you go beyond description and offer a conclusion and your own informed opinion about the work. Any statements you make about the work should be based on the analysis in Part III above.

• In this section, discuss how and why the key elements and principles of art used by the artist create meaning.
• Support your discussion of content with facts about the work.

General Suggestions

• Pay attention to the date the paper is due.
• Your instructor may have a list of “approved works” for you to write about, and you must be aware of when the UA Little Rock Galleries, or the Arkansas Museum of Fine Arts Galleries (formerly Arkansas Arts Center) opening April 2023, or other exhibition areas, are open to the public.
• You should allow time to view the work you plan to write about and take notes.
• Always italicize or underline titles of works of art. If the title is long, you must use the full title the first time you mention it, but may shorten the title for subsequent listings.
• Use the present tense in describing works of art.
• Be specific: don’t refer to a “picture” or “artwork” if “drawing” or “painting” or “photograph” is more exact.
• Remember that any information you use from another source, whether it be your textbook, a wall panel, a museum catalogue, a dictionary of art, the internet, must be documented with a footnote. Failure to do so is considered plagiarism, and violates the behavioral standards of the university. If you do not understand what plagiarism is, refer to this link at the UA Little Rock Copyright Central web site: https://ualr.edu/copyright/articles/?ID=4
• For proper footnote form, refer to the UA Little Rock Department of Art website, or to Barnet’s A Short Guide to Writing About Art, which is based on the Chicago Manual of Style. MLA style is not acceptable for papers in art history.
• Allow time to proofread your paper. Read it out loud and see if it makes sense. If you need help on the technical aspects of writing, contact the University Writing Center at 501-569-8343 or visit the Online Writing Lab at https://ualr.edu/writingcenter/
• Ask your instructor for help if needed.

Further Information

For further information and more discussions about writing a formal analysis, see the following sources. Some of these sources also give information about writing a research paper in art history – a paper more ambitious in scope than a formal analysis.

M. Getlein, Gilbert’s Living with Art (10th edition, 2013), pp. 136-139 is a very short analysis of one work.

M. Stokstad and M. W. Cothren, Art History (5th edition, 2014), “Starter Kit,” pp. xxii-xxv is a brief outline.

S. Barnet, A Short Guide to Writing About Art (9th edition, 2008), pp. 113-134 is about formal analysis; the entire book is excellent for all kinds of writing assignments.

R. J. Belton, Art History: A Preliminary Handbook http://www.ubc.ca/okanagan/fccs/about/links/resources/arthistory.html is probably more useful for a research paper in art history, but parts of this outline relate to discussing the form of a work of art.

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Art history writing guide.

I. Introduction II. Writing Assignments III. Discipline-Specific Strategies IV. Keep in Mind V. Appendix

Introduction

At the heart of every art history paper is a close visual analysis of at least one work of art. In art history you are building an argument about something visual. Depending on the assignment, this analysis may be the basis for an assignment or incorporated into a paper as support to contextualize an argument. To guide students in how to write an art history paper, the Art History Department suggests that you begin with a visual observation that leads to the development of an interpretive thesis/argument. The writing uses visual observations as evidence to support an argument about the art that is being analyzed.

Writing Assignments

You will be expected to write several different kinds of art history papers. They include:

• Close Visual Analysis Essays
• Close Visual Analysis in dialogue with scholarly essays
• Research Papers

Close Visual Analysis pieces are the most commonly written papers in an introductory art history course. You will have to look at a work of art and analyze it in its entirety. The analysis and discussion should provide a clearly articulated interpretation of the object. Your argument for this paper should be backed up with careful description and analysis of the visual evidence that led you to your conclusion.

Close Visual Analysis in dialogue with scholarly essays combines formal analysis with close textual analysis.

Research papers range from theoretic studies to critical histories. Based on library research, students are asked to synthesize analyses of the scholarship in relation to the work upon which it is based.

Discipline-Specific Strategies

As with all writing assignment, a close visual analysis is a process. The work you do before you actually start writing can be just as important as what you consider when writing up your analysis.

Conducting the analysis :

• Ask questions as you are studying the artwork. Consider, for example, how does each element of the artwork contribute to the work's overall meaning. How do you know? How do elements relate to each other? What effect is produced by their juxtaposition
• Use the criteria provided by your professor to complete your analysis. This criteria may include forms, space, composition, line, color, light, texture, physical characteristics, and expressive content.

Writing the analysis:

• Develop a strong interpretive thesis about what you think is the overall effect or meaning of the image.
• Ground your argument in direct and specific references to the work of art itself.
• Describe the image in specific terms and with the criteria that you used for the analysis. For example, a stray diagonal from the upper left corner leads the eye to...
• Create an introduction that sets the stage for your paper by briefly describing the image you are analyzing and by stating your thesis.
• Explain how the elements work together to create an overall effect. Try not to just list the elements, but rather explain how they lead to or support your analysis.
• Contextualize the image within a historical and cultural framework only when required for an assignment. Some assignments actually prefer that you do not do this. Remember not to rely on secondary sources for formal analysis. The goal is to see what in the image led to your analysis; therefore, you will not need secondary sources in this analysis. Be certain to show how each detail supports your argument.
• Include only the elements needed to explain and support your analysis. You do not need to include everything you saw since this excess information may detract from your main argument.

Keep in Mind

• An art history paper has an argument that needs to be supported with elements from the image being analyzed.
• Avoid making grand claims. For example, saying "The artist wanted..." is different from "The warm palette evokes..." The first phrasing necessitates proof of the artist's intent, as opposed to the effect of the image.
• Make sure that your paper isn't just description. You should choose details that illustrate your central ideas and further the purpose of your paper.

If you find you are still having trouble writing your art history paper, please speak to your professor, and feel free to make an appointment at the Writing Center. For further reading, see Sylvan Barnet's A Short Guide to Writing about Art , 5th edition.

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Art History

What this handout is about.

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

Writing in art history

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

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

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

Three types of assignments are discussed below:

• Visual analysis essays
• Comparison essays
• Research papers

1. Visual analysis essays

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

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

Pre-writing: observations and note-taking

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

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

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

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

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

Composition

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

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

Writing: developing an interpretation

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

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

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

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

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

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

Support your claims

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

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

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

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

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

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

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

Tread lightly

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

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

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

2. Comparison essays

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

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

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

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

Here are some questions you might ask:

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

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

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

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

Writing: developing an interpretation that considers both sources

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

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

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

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

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

Supporting paragraphs

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

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

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

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

3. Research papers

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

Iconography

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

Artistic style and stylistic period

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

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

Patronage study

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

Additional resources

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

Works consulted

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

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

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

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

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

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Tips for Writing an Art History Paper

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• Art History
• Architecture
• Ph.D., Art History, City University of New York Graduate Center
• M.A., Art History, State University of New York at Binghamton
• B.A., Art History, State University of New York at Binghamton

You have been assigned an art history paper to write. You would like to finish your assignment on time with a minimum of stress, and your instructor fervently hopes to read an engaging, well-written paper. Here are some dos and don'ts to guide you, written by an art history professor who has graded thousands of these papers ranging from the superlative to the good, the bad and the phenomenally ugly.

Choose a Topic You Love

• Look through an art history book, slowly and leisurely.
• Look through our list of art history topics for ideas. Good starting points are our lists of movements , artists' bios, and image galleries .
• Pick a topic based on eye appeal and compelling personal interest.

Fill Your Brain with Information

• Remember: a car works on gas, a brain works on info. Empty brain, empty writing.
• Research your topic using websites, books, and articles.
• Read the footnotes in the books and articles - they can lead to creative thinking.

Be an Active Reader

• Ask yourself questions while you read and look up what you can't find or don't understand on the page.
• Take notes.
• Search the internet with the words, names, titles you learn.
• Write down interesting facts and thoughts that come to mind while you read.

Writing Your Introduction

• Compose a thesis statement. Declare that you have noticed something about the art, building, artist, architect, critic, patron, or whatever your focus is for your analysis.
• Then, "frame" your thesis. Tell your reader about discovering information that can help us understand the work of art/building better. (For example, the French artist Paul Gauguin moved to Tahiti late in life. Your thesis analyzes his late paintings in terms of his Tahiti lifestyle. You've read his biography, Noa, Noa and other sources for ideas to support your thesis.)
• If you are focusing on artworks, remember to put the artist's name/artists' names, the title(s) of the work(s) and the date (s) in the first paragraph. You can refer to the title(s) alone thereafter.

Describe and Point Out What You Want the Reader to Notice

• If you are going to include the artist's/architect's biography, begin with a short summary. Unless your paper is a biography of the person, most of your paper should be about art, not life.
• Make sure your arguments are constructed in a parallel fashion: Establish a sequence of information.
• Consider the paragraph a unit of information. Each paragraph should discuss one topic within the quantity of information you plan to cover.
• Ideas for units of information or topics: appearance, medium and technique, narrative, iconography, history, artist's biography, patronage, etc. - whatever will help you support your thesis.
• Iconography might require more than one paragraph, especially if your whole paper is about analyzing the iconography of a work of art.
• Write about the connections between what you described in these analyses and what you declared in the thesis statement
• Follow the same sequence of ideas for the second artwork, building, artist, architect, critic, patron, etc.
• Follow the same sequence for the third artwork, building, artist, architect, etc.
• When you have analyzed all the examples, synthesize: compare and contrast .
• Comparison: Dedicate one paragraph to discussing what is the same about the artworks, the building, the architects, the artists, the critics, the patrons, etc.
• Contrast: Dedicate one paragraph to discussing what is different about the artworks, the building, the architects, the artists, the critics, the patrons, etc.

What Do You Want Your Reader to Learn from Your Essay?

• Reiterate the thesis.
• Remind your reader about your findings in a summary sentence or two.
• Persuade the reader that you have demonstrated that your thesis is soundly based on your findings.
• Optional: state that your analysis is important in terms of understanding a larger picture (but not too large). For examples, the artist's other work from that period, the artist's work all together, the artwork's relationship to the movement or the artwork's relationship to that moment in history. The connection should not open a new topic, but simply offer the reader food for thought and then declare this investigation is beyond the scope of your paper. (It demonstrates that you thought of it, but you're not going to go there.)
• DO NOT write that art history is wonderful and you've learned a lot. You are writing to your teacher, and s/he is tired of reading that sentence for the umpteenth time. Leave a good impression and avoid being trite.
• Be sure to footnote/cite your sources in the body of the paper when you use information or an opinion from a book, article, website, etc.
• Make a list of your sources at the end of the paper. Follow your teacher's instructions and/or visit a website on citation style or bibliography style. Ask the teacher which citation style s/he prefers.
• Titles for works of art should be in italics: The Birth of Venus
• First and last names begin with a capital letter. Exceptions include place and familial indicators including "da," "del," "de," "den" and "van," among others, unless the last name begins the sentence. ("Van Gogh lived in Paris.")
• Months and days of the week begin with a capital letter.
• Language, nationalities and country names begin with a capital letter.
• Leonardo is not called da Vinci .
• Do not wait until the last minute to begin your essay.
• Start your research after midterms.
• Start to write at least one week before the paper is due.
• Take the time to EDIT, EDIT, EDIT - be concise and clear.
• Ask your professor for help and advice as you write your paper - s/he will enjoy discussing the topic with you.
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Cubism: a sample art history research paper.

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This sample art history essay explores cubism. This art form is an abstract modern art that was pioneered in the early part of the 20th century by Spanish painter Pablo Picasso. The style is distinguished by its representation of people and objects in multidimensional form. In a typical Cubist work, the dimensions of the face and head are rendered as clusters of odd, angular shapes with multiple vanishing points.

Spearheaded by Picasso's innovative 1907 canvas, Les Demoiselles d'Avignon , Cubism quickly grew into a movement that encompassed a new wave of French and Spanish painters like Georges Braque, Fernand Léger, and Juan Gris. Cubism ultimately spread across Europe and influenced a succession of avant-garde art movements, including Surrealism, Dada, and De Stijl.

Stylistic origins of cubism

At the turn of the 1900s, interest in tribal art from around the globe had grown considerably in the European art community. The influence of works imported from African, Polynesian, and Native American tribes was making its mark on a wave of young French painters, including Paul Gauguin and Henri Matisse. The latter befriended Picasso in 1906, and the two inspired one another with ideas drawn from the bold, simple ethnic works that had captured their fascination. By the following year, Picasso's work entered a phase that is often described as proto–Cubism.

Starting around 1905, artists throughout Western Europe and Russia were in competition to develop new modes of painting unlike anything seen before. Late 19th century innovations such as Impressionism and Symbolism had radically altered the manner in which images were portrayed on canvas. Techniques such as double viewpoint and angular subject matter — respectively drawn from the two movements — would prove influential on Cubism.

Exerting perhaps the biggest influence on Cubism was the work of French Post–Impressionist, Paul Cézanne (1839—1906), whose later paintings like Mont Sainte-Victoire and Château Noir (1904—05) and The Bathers (1898—1905) depict body parts and object details in circular, rectangular, and triangular forms. Cubists would take this aesthetic several steps further by reducing all contents to angular and circular shapes across flattened planes in which the fronts, sides, tops, and bottoms of subjects are viewed simultaneously.

Pioneers of cubism

Pablo picasso: father of cubism.

The development of Picasso's Cubist style was an outgrowth of his African–influenced phase of 1907—09. It was during this time that his fascination with African sculpture and masks inspired an increased use of simplistic linear shapes in his depiction of subjects and backgrounds. Whereas the people portrayed in paintings of his Blue and Rose periods consisted of Modernist but recognizably human bodies and faces, newer works like Dryad and Trois Femmes (both 1908) presented subjects — seemingly etched on wood or stone — with mask–like facial features and simple extremities that often lack fingers or toes. However, the painting that historians often cite as the world's first Cubist work of art is Picasso's 1907 canvas, Les Demoiselles d'Avignon.

In Demoiselles, five naked prostitutes writhe amidst a backdrop of white drapery. Unlike classical Byzantine art with its rounded soft edges, he bodies are depicted with pointed, angular shapes along the breasts, limbs, and facial features. Though widely cited as the first Cubist painting:

Art critic and historian Douglas Cooper (1911—1984) challenged this notion, stating that the "disruptive, expressionist element [in Demoiselles is] contrary to the spirit of Cubism, which looked at the world in a detached, realistic spirit."

However, the critic did acknowledge that the 1907 canvas marked "the birth of a new pictorial idiom, because in it Picasso violently overturned established conventions and because all that followed grew out of it" (Cooper).

Following Demoiselles, Picasso entered his period of analytic Cubism, as exemplified in the following works:

• 1909—10, Figure dans un Fauteuil (Seated Nude, Femme Nue assise)
• 1910, Girl with a Mandolin (Fanny Tellier)
• 1910, Portrait of Daniel-Henry Kahnweiler
• 1911, Still Life with a Bottle of Rum
• 1911, The Poet (Le poète)

Georges Braque: Picasso's protege

Previously a purveyor of Fauvism, Braque's turn toward Cubism grew from his interest in geometric forms and the variable effects of light–enhancement on dimension: an approach that first took shape in his 1908 canvas Houses at l'Estaque. In 1909, he formed a working relationship with Picasso, whereupon the two developed a style that utilized polygons and simultaneous perspective to render subjects in an angular, abstract manner that marked a radical break from Post–Impressionism and nearly a polar opposite of the religious and mythological themes of the Renaissance period . Famous canvasses from this period include the following:

• 1909, Still Life with Metronome (Still Life with Mandola and Metronome)
• 1909, La Roche-Guyon, le château (The Castle at Roche-Guyon)
• 1909—10, Pitcher and Violin
• 1909—10, La guitare (Mandora, La Mandore)
• 1911, Nature Morte (The Pedestal Table)

Fernand Léger: Adding a new touch to cubism

As with most early Cubists, Léger developed an interest in geometry as a painterly device at the 1907 Salon d'Automne, where he was struck by the Cézanne works on display in a retrospective exhibit. This prompted him to eschew Claude Monet's impressionism style for the intricately shaped mélanges of the following canvases:

• 1910, Nudes in the forest (Nus dans la forêt)
• 1911—12, Les Fumeurs (The Smokers)
• 1912, La Femme en Bleu (Woman in Blue)
• 1912—13, Nude Model in the Studio (Le modèle nu dans l'atelier)
• 1916, Soldier with a pipe (Le Soldat à la Pipe)

Jean Metzinger: Combining mosaic with cubism

Known already for his colorful, mosaic–like divisionist paintings, Metzinger began experimenting with fractured forms after his exposure to Cézanne's work. Ensconced in the burgeoning Cubist movement by 1910, Metzinger provoked some of the sharpest reactions at the following year's Salon des Indépendants and d'Automne exhibits with his deconstruction of the human form into multiple, jagged perspectives on the canvases, Deux Nus (Two Nudes) and Le goûter (Tea Time). Further contributions to the Cubist canon include the following:

• 1911—12, Nature morte (Compotier et cruche décorée de cerfs)
• 1912, Femme à l'Éventail (Woman with a Fan)
• 1912—13, L'Oiseau bleu, (The Blue Bird)
• 1913, La Femme à l'Éventail (Woman with a Fan)
• 1913, Le Fumeur (Man with Pipe)

Albert Gleizes: Cubist academic

With feet planted simultaneously in the fields of art and theory, Gleizes published the first significant book on Cubism with the 1912 Du "Cubisme."The year prior, he soared to infamy at the Salon des Indépendants with one of the genre's most arresting early works: Le Chemin, Paysage à Meudon. Noted for his jumbled, panoramic panoplies, Gleizes' other canvases in the Cubist vein include the following:

• 1911, Portrait de Jacques Nayral — Premiered at the Salon d'Automne, the artist described the subject's face as "clearly demarcated surfaces that made up a passionate interplay of facets" (Gleizes).
• 1912, Les Baigneuses (The Bathers)
• 1913, L'Homme au Hamac (Man in a Hammock)
• 1914, Paysage Cubiste (Cubist Landscape)
• 1914—15, Portrait of an Army Doctor (Portrait d'un médecin militaire)

Robert Delaunay: The heretic of cubism

Working closely with Metzinger in the years immediately prior to Cubism, Delaunay produced a similar array of mosaic–like Divisionist works before switching to a busier, geometric style in 1910. Emphasizing the impact of light and color on perspective, and hinting at the influence of Neoclassical and Realist styles , many of his works are deconstructed montages of the Parisian cityscape, in which the Eiffel Tower often serves as the focal point. Acknowledging his preference for color within an often dark–hued genre, the artist referred to himself as "the heretic of Cubism" (Delaunay). His famous works within the style include the following:

• 1910—12, La Ville de Paris
• 1911—12, Window on the City No. 3
• 1913, L'Équipe de Cardiff (two)

Henri Le Fauconnier: Community artist

With a longstanding interest in thickened lines and simplified forms, Le Fauconnier was essentially a proto–Cubist before finding himself swept up in the movement's first wave. His studio served as a meeting ground for likeminded artists, including Delaunay, Gleizes, Léger, and Metzinger. Nonetheless, his preference for softer edges — as displayed in the following two paintings — set him apart from the jagged work of his contemporaries.

• 1910—11, L'Abondance (Abundance)
• 1912, Les Montagnards attaqués par des ours (Mountaineers Attacked by Bears)

Juan Gris: Influence on modern photography

A relative latecomer to the movement, Gris' arrival coincided with a stylistic shift dubbed "Crystal Cubism," which steered away from the mistier, more convoluted elements of the genre's earlier works and placed greater emphasis on flat planes, jagged shapes, and bright colors. Gris' influence is apparent in much of modern art and photography .

• 1912, Portrait of Picasso
• 1913, Violin and Checkerboard
• 1915, Nature morte à la nappe à carreaux (Still Life with Checkered Tablecloth)
• 1916, Newspaper and Fruit Dish
• 1919, Still Life with Fruit Dish and Mandolin

Cubism and the 1911 Salon des Indépendants

The term "Cubism" was first used at the 1911 Salon des Indépendants, where the movement made its inaugural show of strength. The exhibit featured paintings by Delaunay, Gleizes, Le Fauconnier, Léger, and Metzinger, as well as newcomer Marie Laurencin, all of whose works were exploring unprecedented levels of abstractness and angularity. Unrepresented at the exhibit were the works of Picasso and Braque, both of whom had achieved individual renown by this time. The term was used derogatorily among attendees, who were mostly taken aback by the jagged, geometric forms depicted in the artwork on display at the March 18—May 1 exhibit.

Of the works featured, Gleizes' Le Chemin, Paysage à Meudon (1911) was one of the most bewildering to the naked eye. Though the painting's mélange of polygons are hard at first to identify as anything more than random shapes, closer inspection reveals a man walking along a path just to the left of the lower center. He's dwarfed by the jumble of tall trees, hill dimensions, and building eaves that surround him from a distance; all of which are jaggedly rendered with assortments of gray, green, and brownish hues.

Shocking works of art

Also making its debut in Room 41 was Metzinger's 1910—11 canvas Deux Nus, in which two naked women stand face to face in an undetermined setting. The subjects are rendered through an assortment of long, short, and wide polygons that blend at certain edges with the background. The curvature of the feminine form is abstracted with the use of jagged, flat surfaces tiled at various angles; this effect serves to emphasize the definition of shoulders, calves, and breasts. This was the most shocking display of art since Donatello's portrayal of a nude David .

Despite the frosty reception of these and similar works presented, the movement found a champion in art critic Guillaume Apollinaire, who began using the term "Cubism" in a positive light. The show of strength at the five–week exhibit was orchestrated by the five artists, who snuck onto the Indépendants committee in order to secure a collective display in the same room. In prior exhibits, artists had simply been grouped alphabetically.

1911 Salon d'Automne's continued controversy

Further controversies ensued at the 1911 Salon d'Automne, which took place at the Grand Palais in Paris between October 1 and November 8 of that year. This exhibit featured further works by Delaunay, Gleizes, Le Fauconnier, Léger, and Metzinger. The paintings of these five were spread across several rooms alongside the art of contemporaries André Lhote, Francis Picabia, and sculptor Alexander Archipenko, all of whom were now exploring Cubist themes and motifs.

Causing a major stir at the Palais was Metzinger's Le goûter (1911), which depicts a seated woman holding up a spoon over a cup of coffee. The subject is rendered as a jumble of spheres, rectangles, and cones, each of which compose various body parts. The cup and saucer are split in half to reveal two angles: a side view on the left and a 45–degree overhead view on the right. The woman's face consists of back–tilted blocks that frame her eyebrows and punctuate her forehead. The sphere that forms her revealed left breast is brought to the fore with a rested triangle, the outer point of which is used to signify the nipple. Most confusing are the square shapes of the chair, which cut into the spheres that represent her left shoulder.

According to Arthur I. Miller:

Le goûter was intended "as a representation of the fourth dimension," which the art historian describes as "straight forward multiple viewing, as if the artist were moving around his subject" (Miller).

As with Indépendants, the critics who attended the exhibit had a field day in the press. Over a decade later:

Gleizes noted the irony of how "critics would begin by saying: there is no need to devote much space to the Cubists, who are utterly without importance," but then devote the majority of d'Automne–related column space to the five artists who represented the movement (Gleizes).

However, following the 1912 Salon des Indépendants, the movement found another prominent champion in critic Olivier–Hourcade, who credited the likes of Metzinger, Delaunay, and Gleizes for:

"The creation of a school of painting," which the critic described as "'French' and absolutely independent," (Joyeux–Prunel).

Legacy and Influence of Cubism

Cubism became more popular after 1912 as the style entered its Crystal Cubist phase, which was typified by the bolder, simpler, more colorful 1913—16 works of Picasso and Gris. The style would influence many prominent artists of the 1920s, 30s, and 40s, including the Spanish Surrealist Joan Miró and American Modernist Stuart Davis. As stated by art historian John Berger, one cannot "exaggerate the importance of Cubism," because the style marked "a revolution in the visual arts as great as that which took place in the early Renaissance" (Berger).

Works Cited

Berger, John. The Success and Failure of Picasso. Penguin Books, Ltd: London, 1965. 73. Print.

Cooper, Douglas. The Cubist Epoch. 1971. Phaidon Press: London, 1995. 24. Print.

Delaunay, Robert. "First Notebook of 1939."The New Art of Color: The Writings of Robert and Sonia Delaunay. Viking Press: New York, 1978. Print.

Gleizes, Albert. Souvenirs: le Cubisme, 1908-1914. 1957. Association des Amis d'Albert Gleizes: Ampuis, 1997. Print.

Gleizes, Albert. The Epic, From Immobile Form to Mobile Form. 1925. Trans. Peter Brooke. Association des Amis d'Albert Gleizes: Ampuis, 1995. Print.

Joyeux–Prunel, Béatrice. "The Art of Measure: The Salon d'Automne Exhibition (1903-1914), the Avant-Garde, its Foreigners and the French Nation." Histoire & Mesure (Vol. XXII). Éditions de l'EHESS: Paris, 2007. 145—182. Print.

Miller, Arthur I. Einstein, Picasso: Space, Time and the Beauty that Causes Havoc. Basic Books: New York, 2001. 167—168. Print.

Stamberg, Susan. "In 1913, A New York Armory Filled With Art Stunned The Nation." 2013. Fine Art. NPR. 7 July, 2016. Web. http://www.npr.org/2013/11/11/243732924/in-1913-a-new-york-armory-filled-with-art-stunned-the-nation.

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Guidelines for Art History Comps Proposals

There are two primary goals for writing a research proposal.

• To provide the reader with a concrete sense of what you are proposing to investigate, why your topic is relevant or important, and how you propose to follow the project through to completion.
• To give yourself a good “road map” for your research and writing. No one simply sits down and writes a 30-page research paper. Your proposal, therefore, serves as a useful guide as you work your way through both the research and the writing phases. It can lend a sense of perspective, and reminds you what is most important and why.

Your research proposal should contain the following elements:

• A working title for your project
• A detailed description of your topic, in which you pay special attention to its scope and feasibility. Are you considering representations of the biblical figure Judith? That is a good start, but this topic would cover a lot of ground and may be too broad. You might narrow your topic to depictions of Judith beheading Holofernes in Southern Europe in the early modern period. In your description of this topic, you should provide some sense of the richness of the material. You want the reader to wish to learn more about it.
• A statement detailing your research questions. These are different than your topic. For instance, you may be considering the paintings of Judith mentioned above, but these are simply the objects you you are considering, and now is the time to explain what you want to learn about them. What do the changes in depictions of Judith tell us about the shifting status of women in the early modern period? How do the depictions of Judith differ from contemporaneous portrayals of Salome, and what do these differences tell us about shifting attitudes toward the Other? These are some examples of questions you may want to pose. Keep in mind, though, that the question you pose should be something you can actually answer given the visual and textual evidence available to you.
• A statement of your working hypothesis. In short, what is your current hunch in terms of how you would answer your research question? This can be provisional. After all, you haven’t yet done all your research.
• A brief discussion of the importance of this project for the field of Art History. How does your project contribute to our understanding of the topic you are studying? Why is your approach important to other scholars who study this material? And how does your approach relate to others who have looked at this material? In short, you should provide the reader with the “lay of the land” in terms of the ongoing critical conversation around your topic. 
• A discussion of your research methods and theories that will guide your analysis. What kinds of historical evidence might you use? Are there art historical theories that are guiding you? And if so, why are these particular methodologies important?
• A brief discussion of what challenges you might anticipate as you work through your research and writing. Are you worried that you may not have access to the proper materials to complete your research? Do you have the language skills necessary to translate any texts not in your first language? Is there sufficient scholarly work already done on your topic?
• A bibliography of at least ten sources that will contribute substantively to your understanding of your topic. You should provide annotations for at least ten sources in which you demonstrate how the source will aid in your understanding of your research question.

All proposals should be 5–7 pages, double-spaced (except for the bibliography, which should be single-spaced), using a 12-point font. Please use one-inch margins around the page. Footnotes and bibliographic entries should follow the Chicago Manual of Style.

Home — Essay Samples — Arts & Culture — Art History

Essays on Art History

Art history research essay topics and outline examples, essay title 1: renaissance art: the evolution of perspective, technique, and cultural significance.

Thesis Statement: This research essay delves into the Renaissance period, highlighting the transformation of artistic perspective, techniques, and the profound cultural impact of Renaissance art on the Western world.

• Introduction
• The Renaissance Era: Historical and Cultural Context
• Artistic Perspective: Transition from Medieval to Humanistic
• Techniques and Innovations: Advances in Painting, Sculpture, and Architecture
• The Influence of Patronage: Medici Family and Papal Support
• The Cultural Impact: Shaping Modern Western Art and Ideals
• Conclusion: Legacy and Ongoing Influence of Renaissance Art

Essay Title 2: Impressionism and Its Pioneers: A Study of Revolutionary Artistic Expression in the Late 19th Century

Thesis Statement: This research essay focuses on the Impressionist movement, its key artists, and the innovative approaches to light, color, and perception that transformed the art world in the late 19th century.

• The Birth of Impressionism: Historical and Social Context
• Impressionist Techniques: Capturing Light and Atmosphere
• Key Artists: Monet, Renoir, Degas, and Their Distinct Styles
• Public Reaction and Criticism: Shifting Artistic Paradigms
• Legacy of Impressionism: Influence on Modern and Contemporary Art
• Conclusion: The Enduring Appeal of Impressionist Masterpieces

Essay Title 3: Art and Revolution: The Role of Political Movements and Social Change in 20th-Century Artistic Expression

Thesis Statement: This research essay examines the intersection of art and political movements in the 20th century, highlighting how artists responded to and reflected social change through their work.

• Political Context: Major 20th-Century Movements and Their Influence
• Artistic Responses: Art as a Means of Social Commentary
• Key Artists and Works: Picasso, Frida Kahlo, and Political Expression
• The Role of Surrealism: Unconscious Minds and Political Allegory
• Artistic Freedom and Censorship: Challenges Faced by Artists
• Conclusion: Art's Impact on Shaping Political and Social Discourse

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Censorship of Art and Freedom of Expression

Cubism art movement, and its analytical and synthetical forms, the influence of world war ii on art, art as a subject of the elite, art from the middle ages to the renaissance, how arts influenced christianity in middle age, my visist to the casemate museum at fort monroe virginia, about alebrijes art form, the scottish national gallery of modern art, the necessity of art for humans: positive influence, reflection on my visit to the akron art museum, definition & types of museums, the role of performance art and transitionalism in african art, analysis of an artifact: statuette of a striding figure, roman mosaics, overview of cubism, its analytical and synthetic phases, freedom from enlightenment and connecting to modern day , the evolution and supremacy of gothic architecture in france, art and friendship: the role of art in bringing people together, the new york metropolitan museum of art, relevant topics.

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• Frida Kahlo

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Art History Research Paper Topics

Dive into the vibrant world of art history research paper topics through this meticulously curated guide, tailored for students immersed in studying history and tasked with crafting a research paper. The guide commences with a comprehensive list of 100 intriguing topics, segmented into ten well-defined categories, serving as an invaluable source of inspiration. Further guidance on how to select an art history research paper topic is provided, along with practical insights into the crafting of an exceptional art history research paper. The guide transitions into presenting the specialized writing services offered by iResearchNet, enabling students to commission custom art history research papers on any chosen topic.

100 Art History Research Paper Topics

Art history, as a field of study, covers thousands of years and countless cultures, offering an expansive array of topics for research papers. When embarking on an art history project, you can focus on certain eras, explore individual artists or art movements, investigate the role of art in specific cultures, or delve into the meanings behind specific pieces or collections. Below, we present a comprehensive list of art history research paper topics divided into ten major categories. Each topic is an invitation to dive into a unique aspect of art history and explore its significance in the global artistic landscape.

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Ancient Art

• The Impact of Geography on Ancient Egyptian Art
• Materials and Techniques in Ancient Greek Sculpture
• Roman Architecture: Principles and Examples
• Understanding the Art of the Ancient Maya Civilization
• Development of Buddhist Art in Ancient India
• Influence of Ancient Chinese Art on Later Dynasties
• Ancient Persian Art and Its Impact on the Middle East
• Representation of Deities in Ancient Egyptian Art
• The Use of Color in Ancient Roman Frescoes
• Comparative Analysis of Ancient Greek and Roman Sculpture

Medieval Art

• Role of Art in Christian Worship in the Middle Ages
• Gothic Architecture: Characteristics and Examples
• The Influence of Islam on Medieval Art in Spain
• The Evolution of Iconography in Medieval Paintings
• Art as Propaganda in the Middle Ages
• The Role of Women in Medieval Art and Society
• Transition from Romanesque to Gothic Architecture
• Analysis of Illuminated Manuscripts in the Medieval Period
• The Influence of Byzantine Art on the Western Medieval Art
• Representation of the Divine and Demonic in Medieval Art

Renaissance Art

• Humanism and Its Impact on Renaissance Art
• The Techniques of Leonardo da Vinci
• The Role of Patronage in the Italian Renaissance
• The Evolution of Self-Portraiture in the Renaissance
• Comparison of Italian and Northern Renaissance Art
• Michelangelo’s Influence on Art and Artists
• Analysis of Female Figures in Renaissance Paintings
• Use of Perspective in Renaissance Art
• Interpretation of Mythology in Renaissance Art
• Influence of Classical Antiquity on Renaissance Artists

Baroque and Rococo Art

• Impact of the Counter-Reformation on Baroque Art in Italy
• The Evolution of Landscape Painting in the Baroque Period
• Use of Light in Caravaggio’s Paintings
• Analysis of Rembrandt’s Portraiture
• Comparison of French and Spanish Baroque Art
• Women Artists of the Baroque Period
• The Transition from Baroque to Rococo Art
• Impact of Louis XIV’s Reign on French Art and Architecture
• Rococo Art as a Reflection of Aristocratic Society
• The Cultural and Artistic Influence of Versailles

Neoclassicism and Romanticism

• Influence of Archaeological Discoveries on Neoclassical Art
• Comparison of Neoclassicism and Romanticism
• Exploration of the Sublime in Romantic Landscape Paintings
• Impact of the French Revolution on Art
• Analysis of David’s Oath of the Horatii
• Romanticism and the Depiction of National Identity
• Romantic Artists’ Fascination with the Exotic and the Orient
• The Role of Women Artists in the Romantic Period
• Neoclassical Architecture in Europe and America
• Depiction of Mythology in Romantic Art

Modern Art Movements

• Impressionism and the Art of Life
• The Influence of Japanese Art on Vincent Van Gogh
• Symbolism in Edvard Munch’s The Scream
• Pablo Picasso and the Evolution of Cubism
• The Impact of WWI on the Artistic Movements of the 1920s
• Surrealism: Dreams and the Unconscious
• Political Messages in Diego Rivera’s Murals
• Abstract Expressionism and the Sublime
• Pop Art as a Reflection of Consumer Culture
• Minimalism and the Idea of Less is More

Contemporary Art

• Conceptual Art and the Importance of Ideas
• The Role of Art in Critiquing Contemporary Society
• Environmental Messages in Contemporary Art
• Representation of Identity in Contemporary Art
• Feminism and Contemporary Art
• The Use of New Media in Contemporary Art
• Installation Art and Audience Participation
• Street Art and Its Role in Urban Spaces
• The Influence of Globalization on Contemporary Art
• Impact of Digital Technologies on Contemporary Art Practices

Non-Western Art

• The Influence of African Art on Modernist Artists
• Understanding Islamic Calligraphy
• The Role of Art in Traditional African Societies
• Traditional Japanese Ukiyo-e Prints
• The Development of Indian Mughal Painting
• The Role of Ancestors in Oceanic Art
• Comparison of Traditional and Contemporary Native American Art
• Indigenous Australian Art and Its Connection to the Land
• Artistic Traditions of the Inuit
• Symbolism in Persian Miniature Painting

Women in Art

• Female Representation in Ancient Greek Art
• Depictions of Women in Baroque Art
• Women Artists of the Renaissance and Their Struggles
• The Influence of Feminism on Contemporary Art
• Exploration of Gender Roles through Art
• Mary Cassatt and Her Influence on Impressionism
• Frida Kahlo: An Icon of Feminism and Mexican Heritage
• The Evolution of Female Nude in Art History
• The Guerrilla Girls and Their Fight for Equality in the Art World
• The Impact of Postmodernism on Feminist Art

Art Theory and Criticism

• The Role of the Art Critic: From Clement Greenberg to Jerry Saltz
• Postmodernism and the Death of the Author
• Formal Analysis: Its Role and Importance
• The Semiotics of Art: Signs and Symbols
• Influence of Psychoanalytic Theory on Art Criticism
• Iconology and the Hidden Meanings in Visual Art
• Deconstruction and the Analysis of Art
• Feminist Approaches to Art Criticism
• Influence of Marxism on Art Theory and Criticism
• The Impact of Postcolonial Theory on Art Criticism

Each category in this comprehensive list of art history research paper topics provides a wide range of subjects to explore. These diverse topics cater to various interests and offer a rich field for academic exploration. They each represent an invitation to delve deeper into the fascinating world of art history, offering you the opportunity to develop your understanding and share your unique perspective with others.

Art History and the Range of Research Paper Topics it Offers

Art history is an exceptionally broad field that spans thousands of years, multiple continents, countless cultures, and myriad forms of artistic expression. From the earliest cave paintings to contemporary digital art, the study of art history allows us to explore human history through the lens of visual culture. This piece explores the expanse of art history and the wide range of research paper topics it offers to students.

Art history is often compartmentalized into periods and styles, such as Ancient, Medieval, Renaissance, Baroque, Rococo, Neoclassical, Romantic, Modern, and Contemporary art. Each era has its distinct characteristics, historical context, and notable artists, providing a myriad of potential research topics. For instance, one could study the impact of the Counter-Reformation on Baroque art in Italy or analyze the evolution of self-portraiture during the Renaissance.

A profound understanding of these periods and styles can also pave the way to comparative studies, allowing for interesting contrasts and parallels to be drawn between different epochs or artistic movements. For example, contrasting the logical, reason-based approach of Neoclassicism with the emotion and individualism of Romanticism can lead to a rich analysis of cultural shifts during these times.

Moreover, art history offers ample scope for studying non-Western art. Researching non-Western artistic traditions—such as African art, Islamic calligraphy, Japanese Ukiyo-e prints, or Indigenous Australian art—provides not only aesthetic appreciation but also deeper insights into these cultures’ philosophies, social structures, and spiritual beliefs.

Art history is not just the study of “high art” or the art of the elite and educated classes. Folk art, outsider art, street art, and other forms of “low art” are equally valuable subjects of study. These genres often give voice to marginalized groups and offer valuable insights into popular culture and the concerns of the everyday people.

Another compelling avenue of research is the exploration of thematic elements in art history. These themes could range from the representation of women, the interpretation of mythology, the depiction of national identity, to the portrayal of the sublime in nature. Thematic studies often transcend the boundaries of period and style, making them an exciting approach for those interested in cross-cultural and transhistorical comparisons.

The study of individual artists and their oeuvre is yet another rich area of research in art history. Focusing on a single artist’s work can provide a microcosmic view of broader artistic, cultural, and social trends. A deep dive into the works of influential artists like Michelangelo, Caravaggio, Rembrandt, or Frida Kahlo can reveal much about the time, place, and context in which they created their art.

Art history also encompasses the study of art theory and criticism, which could lead to engaging research on topics like the role of the art critic, the influence of psychoanalytic theory on art criticism, or the impact of postcolonial theory on art criticism.

Moreover, with the rise of new media and digital technologies, contemporary art offers a plethora of unique research areas. From conceptual art and installation art to digital art and virtual reality, these new forms of art reflect the changing world and often challenge traditional notions of what art can be.

Choosing a research topic in art history is a process of personal exploration. It involves identifying your interests, asking questions, and being willing to follow a path of inquiry wherever it may lead. It requires an openness to learning and discovery, a willingness to engage with different cultures and times, and an ability to appreciate different forms of artistic expression.

In conclusion, art history, as a field of study, offers an almost infinite range of potential research topics. Whether your interest lies in specific periods or styles, individual artists or movements, thematic elements or theoretical concerns, art history has something for everyone. Through studying art history and engaging in research, you can deepen your understanding of the world and your place in it, gaining insights that are both personally enriching and academically rewarding.

Choosing Art History Research Paper Topics

Choosing the right research paper topic is crucial in art history. It allows you to explore your interests, showcase your knowledge, and contribute to the field. This section provides expert advice on selecting art history research paper topics that are engaging, significant, and conducive to in-depth analysis.

• Understand the Scope and Context : To choose an art history research paper topic, start by understanding the scope and context of the subject. Familiarize yourself with different art movements, periods, and regions. Consider the specific time period, artistic styles, cultural influences, and socio-political contexts that interest you.
• Follow Your Passion : Passion is key when selecting a research paper topic. Identify aspects of art history that genuinely excite you. Whether it’s Renaissance art, modern sculpture, or ancient Egyptian paintings, selecting a topic that aligns with your interests will make the research process more enjoyable and rewarding.
• Narrow Down the Focus : Art history is a vast field, so it’s important to narrow down your focus. Instead of choosing broad topics like “Renaissance art,” consider specific themes, artists, or art movements within that era. For example, you could explore the influence of Leonardo da Vinci’s techniques on Renaissance portraiture.
• Conduct Preliminary Research : Before finalizing your topic, conduct preliminary research to ensure sufficient resources are available. Look for scholarly articles, books, museum catalogs, and online databases that provide relevant information and analysis. This step will help you determine if your chosen topic has enough material for a comprehensive research paper.
• Analyze Existing Scholarship : Reviewing existing scholarship is crucial for identifying gaps in knowledge and potential research avenues. Read scholarly articles, dissertations, and books on art history topics related to your interests. This will help you develop a unique research question and contribute to the academic discourse.
• Incorporate Interdisciplinary Approaches : Art history is an interdisciplinary field, so consider incorporating perspectives from other disciplines. Explore connections between art and politics, society, philosophy, or gender studies. This interdisciplinary approach will add depth and richness to your research paper.
• Consult with Professors and Experts : Seek guidance from your professors or art history experts. They can provide valuable insights, suggest potential topics, and recommend relevant sources. Engage in discussions, attend lectures, and take advantage of their expertise to refine your research paper topic.
• Brainstorm and Create a Shortlist : Brainstorm a list of potential art history research paper topics based on your interests, preliminary research, and consultations. Write down keywords, themes, and specific ideas that capture your attention. Then, narrow down the list to create a shortlist of the most compelling topics.
• Consider Significance and Originality : Choose a topic that is both significant and original. Consider the broader implications of your research and how it contributes to the field of art history. Aim to uncover lesser-known artists, analyze understudied artworks, or challenge prevailing interpretations.
• Refine and Finalize Your Topic : Refine your research topic based on the above considerations. Craft a clear and concise research question or thesis statement that guides your exploration. Ensure your topic is specific, manageable within the scope of your research paper, and aligned with the requirements of your assignment.

Selecting an art history research paper topic requires careful consideration and a balance between personal interest and academic significance. By understanding the scope, conducting preliminary research, and seeking expert guidance, you can choose a topic that allows you to delve into the fascinating world of art history and make a meaningful contribution to the field.

How to Write an Art History Research Paper

Writing an art history research paper requires a combination of critical analysis, research skills, and effective writing techniques. This section provides a comprehensive guide on how to write an art history research paper, from selecting a topic to organizing your findings and presenting a compelling argument.

• Understand the Assignment : Start by understanding the requirements of your research paper assignment. Pay attention to the guidelines, word count, formatting style (e.g., MLA, APA), and any specific research questions or prompts provided by your instructor. This will help you structure your paper accordingly.
• Choose a Compelling Topic : Select a research topic that aligns with your interests and offers ample opportunities for exploration. Refer to the expert advice section on choosing art history research paper topics for guidance. Ensure your topic is specific, manageable, and allows for in-depth analysis.
• Conduct In-Depth Research : Gather relevant sources and conduct in-depth research on your chosen topic. Explore scholarly articles, books, museum catalogs, primary sources, and online databases. Take detailed notes, citing the sources properly, and keep track of key findings, arguments, and interpretations.
• Develop a Thesis Statement : Craft a clear and concise thesis statement that presents the main argument or focus of your research paper. Your thesis should be debatable, supported by evidence, and guide the direction of your analysis. It is the foundation upon which your entire paper will be built.
• Create an Outline : Outline your research paper to provide structure and organization. Divide your paper into sections, including an introduction, body paragraphs, and conclusion. Each section should address a specific aspect of your research, supporting your thesis statement and providing a logical flow of ideas.
• Write a Compelling Introduction : Begin your research paper with an engaging introduction that grabs the reader’s attention and provides necessary background information. Clearly state your thesis statement and provide a brief overview of your research objectives, setting the tone for the rest of the paper.
• Present Well-Structured Body Paragraphs : The body paragraphs of your research paper should present your analysis, evidence, and supporting arguments. Each paragraph should focus on a specific point, providing clear topic sentences and supporting evidence from your research. Use proper citations to credit your sources.
• Analyze Artworks and Interpretations : Engage in critical analysis of artworks, considering their formal elements, stylistic features, cultural context, and historical significance. Compare and contrast different interpretations, theories, or scholarly viewpoints to develop a well-rounded analysis of your chosen topic.
• Incorporate Visual Evidence : Include visual evidence in your research paper to enhance your analysis. Include high-quality images of artworks, architectural structures, or artifacts relevant to your topic. Label and refer to them in the text, providing insightful descriptions and analysis.
• Craft a Strong Conclusion : End your research paper with a strong conclusion that summarizes your main arguments and restates your thesis statement. Reflect on the significance of your research findings, discuss any limitations or unanswered questions, and suggest avenues for further exploration.
• Revise and Edit : After completing the initial draft, revise and edit your research paper for clarity, coherence, and adherence to academic standards. Check for grammatical errors, ensure proper citations, and refine your arguments for precision and conciseness.
• Seek Feedback : Share your research paper with peers, professors, or mentors for feedback. Consider their suggestions and critique to improve the quality of your paper. Pay attention to clarity of expression, logical organization, and the strength of your argument.
• Proofread and Format : Before submitting your research paper, thoroughly proofread it to eliminate any spelling, punctuation, or formatting errors. Ensure that your paper adheres to the required formatting style, including proper citations and a bibliography or works cited page.

Writing an art history research paper requires a combination of research skills, critical thinking, and effective writing techniques. By following these steps, you can create a well-structured and compelling research paper that showcases your understanding of art history, engages with scholarly discourse, and contributes to the field.

iResearchNet’s Writing Services

At iResearchNet, we understand the challenges faced by students when it comes to writing art history research papers. With our dedicated team of expert writers and comprehensive writing services, we are here to assist you throughout the research and writing process. Whether you need help selecting a topic, conducting in-depth research, or crafting a compelling argument, our services are designed to support your academic success. In this section, we will highlight the key features of iResearchNet’s writing services and demonstrate how we can be your trusted partner in art history research papers.

• Expert Degree-Holding Writers : We take pride in our team of expert writers, who hold advanced degrees in art history and related disciplines. They have a deep understanding of the subject matter and possess the knowledge and expertise to handle a wide range of art history topics. Our writers are committed to delivering high-quality and well-researched papers that meet your academic requirements.
• Custom Written Works : Every research paper we deliver is custom written to your specific needs and instructions. We understand that each project is unique, and we tailor our approach accordingly. Our writers conduct thorough research, analyze relevant sources, and develop original arguments and insights to ensure that your paper stands out.
• In-Depth Research : Our writers are skilled in conducting in-depth research on art history topics. They have access to a wide range of scholarly databases, art catalogs, and reliable online resources. They meticulously gather relevant sources, critically analyze them, and integrate the most up-to-date and authoritative information into your research paper.
• Custom Formatting : We are well-versed in various formatting styles, including APA, MLA, Chicago/Turabian, and Harvard. Our writers adhere to the specific guidelines of your institution and ensure that your paper is formatted correctly, including in-text citations, references, footnotes, and bibliography.
• Top Quality : At iResearchNet, we prioritize quality in every aspect of our services. Our writers are dedicated to delivering research papers that demonstrate depth of analysis, clarity of expression, and adherence to academic standards. We have a rigorous quality assurance process in place to ensure that every paper meets the highest standards of excellence.
• Customized Solutions : We understand that each student has unique requirements and preferences. That’s why we offer customized solutions tailored to your specific needs. Whether you need assistance with topic selection, literature review, data analysis, or any other aspect of your research paper, we are here to provide personalized support.
• Flexible Pricing : We offer flexible pricing options to accommodate your budget. We understand that students have different financial constraints, and we strive to provide affordable services without compromising on quality. Our pricing structure is transparent, and we offer various packages to suit your specific requirements.
• Short Deadlines : We recognize that time constraints can be a significant challenge for students. That’s why we offer short deadlines for urgent research paper requests. If you have a tight deadline, our writers can work efficiently to deliver a high-quality paper within as little as 3 hours.
• Timely Delivery : Meeting deadlines is a top priority for us. We understand the importance of submitting your research paper on time to ensure academic success. Our writers are committed to delivering your paper within the agreed-upon timeframe, allowing you ample time for review and revision.
• 24/7 Support : We provide round-the-clock customer support to address any queries or concerns you may have. Our friendly and knowledgeable support team is available 24/7 to assist you with any aspect of our services, from placing an order to tracking your project’s progress.
• Absolute Privacy : We prioritize the confidentiality of your personal information and the work we do for you. At iResearchNet, we have strict privacy policies in place to safeguard your identity and ensure that your research paper remains confidential. You can trust us to handle your project with utmost confidentiality.
• Easy Order Tracking : We provide a user-friendly platform that allows you to track the progress of your research paper. You can stay updated on the status of your project, communicate with your assigned writer, and easily access your completed paper when it is ready.
• Money Back Guarantee : We are committed to your satisfaction. If, for any reason, you are not completely satisfied with the final product, we offer a money-back guarantee. We believe in the quality of our services and strive to ensure your utmost satisfaction with the research paper we deliver.

At iResearchNet, we are dedicated to providing comprehensive writing services to support students in their art history research papers. Our team of expert writers, customized solutions, in-depth research, and commitment to quality make us your trusted partner in academic success. Whether you need assistance with topic selection, research, writing, or any other aspect of your research paper, we are here to help. Unleash your potential with iResearchNet’s writing services and experience the convenience and excellence we offer. Place your order today and let us assist you in achieving your academic goals.

Unleash Your Potential with iResearchNet

Are you a student of art history struggling with your research papers? Don’t let the complexities of art history topics hinder your academic progress. iResearchNet is here to unleash your potential and provide you with exceptional art history writing services. Our team of expert writers, extensive resources, and commitment to excellence make us the perfect partner to help you excel in your art history studies. Let us guide you through the intricate world of art history research papers and pave the way to your academic success.

Don’t let the challenges of art history research papers hold you back. Unleash your potential and achieve academic success with iResearchNet’s art history writing services. Our team of expert writers, customized solutions, extensive research, and commitment to excellence are designed to support you in your art history journey. Place your order today and experience the convenience, quality, and expertise that iResearchNet has to offer. Unlock the doors to academic success and embark on a rewarding path in art history.

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How to Write an Art History Research Paper

All arts students study history of arts as this makes it possible better understand art concepts, analyze masterpieces and art trends. History of arts is rich in events and bright personalities, so there is no lack of materials and topics here. That is why art students are often asked to write art history essays. As a rule, professors give student complete liberty in choosing topics. However, sometimes students have to analyze a certain period of art history that gave birth to a new art trend or even epoch.

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Art history research paper sample.

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Art history research paper writing, art history resources, choosing topic for art history research paper.

If you have got little or no experience in essay writing and you have been assigned with an essay on history of arts, you should definitely look for art history research paper sample . This is an example paper that will guide you through the process of writing. By having a look at a sample paper of art history you will get an idea of how to make essay outline, write introduction, body and conclusion, choose a topic for your essay etc. It is also very important to write art history essay that will comply with norms and requirements to high school or college essays. A research paper is a very serious type of academic writing, so no mistakes (even minor) are allowed in case you want to get A+ for it. Art history research paper sample can be only used as an example. Never copy and paste text you find online. If you experience problems with your research, ask professionals to help you.

An art history research paper can be written in two forms either critical analysis essay or narrative essay type. The two types of essays can be tactfully used to either make a thorough analysis of the whole thing or else can be simple narrated as a description essay depicting all issues. Though for an effective write a writer must choose over the first one as an analysis drags more eyes in comparison to the other. Expert writers at ProfEssays.com scroll the best possible solutions and understanding the readership develop the most appropriate custom essays .

Points to remember while writing art history research paper

1. Organize: a research paper as mentioned above should always be organized in a standard form of five paragraph essay including introduction, body and conclusion.

2. Cite references: always while writing an art history paper one requires borrowing information from varied sources. Following the standard art bulletin format these can be easily sorted out either in form of intra textual references, footnote, or endnotes. Though most prefer to use footnotes or endnotes as intra textual references are distracting as placed immediately after a reference use.

3. Illustrations: an art paper on which the entire write is based should be placed within the write; a photocopy of the image is enough to complete the paper. Assign a figure number to the art piece with the author’s name and original publication.

4. Bibliography: this element is the last to come, mentioning of all the works referred or consulted to prepare, these will also include on references that may have been missed on earlier.

Art History Paper Format An art history research paper in itself is very challenging and demanding but an experienced writer is the one who includes all expectations of the client with professional touch and writing guidelines plus all relevant information on the subject.

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It is impossible to understand modern art trends without knowing history of arts. Fashion industry shows us that old trends tend to come back. So, do art trends. By studying history of arts, you can better understand meaning and concepts of various masterpieces created by icons in the arts world. History of arts can explain how art was connected to historic events, social trends, inventions of mankind.  As a rule, students love history of art, as it is never boring.  Besides, having completed the course of history of arts, you will learn so much interesting information and see so many paintings, sculptures, graphic, music etc.  Very often students are asked to write essays on history of art .  As a rule, a certain period of arts history is chosen.  One of the possible topics may be “The Renaissance arts” or “Baroque arts.” Every epoch of arts history is thoroughly studied, so you’ll never lack materials to write art history essay .

Every art student has to write a research paper on arts history .  A research paper differs from an essay .  It should contain a deeper analysis and show student’s of knowledge on selected topic.  Art history research paper writing is a very complex process.  You should start with gathering materials for your research paper .  After that it is advisable to make a research paper outline .  At that you have to check requirements to your research paper, preferable reference style , requirements as to form and contents.  These are very important factors to consider before starting research paper writing.  Choice of a topic is another important factor to be considered.  Choose something interesting and something you have competence in.  Experience shows that an interesting topic can create a positive image of a student who has chosen such a topic.

Of course, it is impossible to write a research paper on art history without having reliable and informative art history resources .  Just checking out Wikipedia is not enough, at least for a serious research paper.  That’s why you should spend a certain amount of time looking for necessary materials.  Even if most of your essay or research paper will contain your thoughts, you have to support them with researches performed by prominent scholars.  Look for online sources of information, as well as printed books, magazines and scientific publications.  You need to pay attention to reliability of art history resources.  Do not trust websites having a free hosting.  Use only trusted sources of information.

This is perhaps the most important stage in research paper writing.   Choosing topic for art history research paper can be a daunting task.  Indeed, some students get lost when they are given freedom in choosing a topic.  As a result they choose something completely uninteresting for a reader.  Your art history research paper topic must be intriguing and interesting both for you and your professor.  If you have got no interest in the topic you have chosen you have very few chances of writing a persuasive essay.  If you have any questions or concerns in regard to art history research paper topic , feel free to contact Professays.com .  Our writers will be happy to help you and are sure to come up with a dozen of creative topic ideas.

Looking for an exceptional company to do some custom writing for you? Look no further than ProfEssays.com! You simply place an order with the writing instructions you have been given, and before you know it, your essay or term paper, completely finished and unique, will be completed and sent back to you. At ProfEssays.com, we have over 500 highly educated, professional writers standing by waiting to help you with any writing needs you may have! We understand students have plenty on their plates, which is why we love to help them out. Let us do the work for you, so you have time to do what you want to do!

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