Visual Analysis

Every artist expresses his or her personal world views and values through their work.

The art critic, on the other hand, is not the artist's promoter, but is the arbitrator who
facilitates healthy debate between art and its audience.

For any critic to accomplish this, he/she must master evaluating with the use of the
three main planes of analysis in the study of art.

Semiotic Plane
Iconic Plane
Thematic Plane
Semiotic Plane

On this level, the viewer is working specifically with the art as a language.

This is the plane wherein the viewer considers the elements of the work.

Every part of the work is to be considered as a potential meaning conveyor.

This simply means that each aspect, whether it is as trivial as a rock on sand or the color of
clouds, contributes to the overall impact of the work.

The mere presence of an object or material is already an evidence of its significance.

An analysis of the semiotic level, considers the aspects of the work, such as elements, media, and
technique, as signifiers (coined by Ferdinand Saussure in Signs, Cours de la Linguistique
Generale)
.
When evaluating a work, one must have a more sensitive perception of the elements – a line must
not been as merely horizontal or vertical; its density, porosity, stroke, and the like must also be
observed.

Also, the elements must not be studied sequentially but rather interactively.

It should be noted that the materials, technique, and other elements of the work, go hand in hand
with the meanings they signify and likewise with the other elements in the work.
In art criticism, it is important to be conscious of what the basic elements signify.
Iconic Plane

The term icon pertains to a single image with a unique meaning.

It involves the symbolism in Art. (A sign is universally comprehended).

Although this plane is concerned with the image, and may be confused as being part of the
semiotic plane, an analysis in the iconic level mainly fits with representational or figurative art, as
opposed to the semiotic plane that deals more with abstract art.

This plane includes the presentation of the figure relative to the viewer – its positioning, whether
frontal, profile, among others – and what meaning these orientations convey.

Familiar questions to be asked when observing in this plane are: “what would be the difference if
the figure was centered or all crowded on one side?”, or “What does the direction of the
character’s gaze imply?”, or “Why is the figure cropped?”, and the like.

The figurative style has been around for centuries, constantly evolving and multiplying. Some of
the most renowned arise from the classical, realist, impressionist, and expressionist figuration. But
it must be noted that the critic must not unwisely “brand” a work if a certain element fits one style.
Thematic Plane

Art always has a historical and cultural influence.

This plane requires the informatory knowledge of the time and space aspect of the work being
evaluated.

Every piece has its own bit of history, and certain social, economic, and political influences
inseparable with it.

A good analysis within this plane demands that the viewer knows the artist’s background. Themes
may be derived from the significant circumstances of the artist and hence this information
contributes to understanding the meaning of the work.

In this plane, art is viewed in relation to its time, and the ideologies and concerns of that period.
Works may considered as allusions or references to popular events of certain eras.
Viewer’s Role
Art, as diverse as its meaning is and whatever shape it may take, is best interpreted by utilizing the
three planes of analysis. The essential role of the art critic is to give the viewer a sum of this
meaning but at the same time, allow enough space for this audience to widen this horizon of
perception. After all, “art is an experience.”

Reference: Guillermo, Alice. "Art Criticism." Humanities II: Art, M