art classes essay

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Writing Essays in Art History

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Art History Analysis – Formal Analysis and Stylistic Analysis

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

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

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

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

Methods & Theories To Consider:

Expressionism

Instructuralism

Postmodernism

Social Art History

Biographical Approach

Poststructuralism

Museum Studies

Visual Cultural Studies

Stylistic Analysis Example:

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

Compare and Contrast Essay

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

Compare and Contrast Example:

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

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

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

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

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

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

Iconography

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

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

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

Essay on Art

500 words essay on art.

Each morning we see the sunshine outside and relax while some draw it to feel relaxed. Thus, you see that art is everywhere and anywhere if we look closely. In other words, everything in life is artwork. The essay on art will help us go through the importance of art and its meaning for a better understanding.

What is Art?

For as long as humanity has existed, art has been part of our lives. For many years, people have been creating and enjoying art.  It expresses emotions or expression of life. It is one such creation that enables interpretation of any kind.

It is a skill that applies to music, painting, poetry, dance and more. Moreover, nature is no less than art. For instance, if nature creates something unique, it is also art. Artists use their artwork for passing along their feelings.

Thus, art and artists bring value to society and have been doing so throughout history. Art gives us an innovative way to view the world or society around us. Most important thing is that it lets us interpret it on our own individual experiences and associations.

Art is similar to live which has many definitions and examples. What is constant is that art is not perfect or does not revolve around perfection. It is something that continues growing and developing to express emotions, thoughts and human capacities.

Importance of Art

Art comes in many different forms which include audios, visuals and more. Audios comprise songs, music, poems and more whereas visuals include painting, photography, movies and more.

You will notice that we consume a lot of audio art in the form of music, songs and more. It is because they help us to relax our mind. Moreover, it also has the ability to change our mood and brighten it up.

After that, it also motivates us and strengthens our emotions. Poetries are audio arts that help the author express their feelings in writings. We also have music that requires musical instruments to create a piece of art.

Other than that, visual arts help artists communicate with the viewer. It also allows the viewer to interpret the art in their own way. Thus, it invokes a variety of emotions among us. Thus, you see how essential art is for humankind.

Without art, the world would be a dull place. Take the recent pandemic, for example, it was not the sports or news which kept us entertained but the artists. Their work of arts in the form of shows, songs, music and more added meaning to our boring lives.

Therefore, art adds happiness and colours to our lives and save us from the boring monotony of daily life.

Get the huge list of more than 500 Essay Topics and Ideas

Conclusion of the Essay on Art

All in all, art is universal and can be found everywhere. It is not only for people who exercise work art but for those who consume it. If there were no art, we wouldn’t have been able to see the beauty in things. In other words, art helps us feel relaxed and forget about our problems.

FAQ of Essay on Art

Question 1: How can art help us?

Answer 1: Art can help us in a lot of ways. It can stimulate the release of dopamine in your bodies. This will in turn lower the feelings of depression and increase the feeling of confidence. Moreover, it makes us feel better about ourselves.

Question 2: What is the importance of art?

Answer 2: Art is essential as it covers all the developmental domains in child development. Moreover, it helps in physical development and enhancing gross and motor skills. For example, playing with dough can fine-tune your muscle control in your fingers.

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• Art Education in the Classroom

The Importance of Art Education in the Classroom

November 30, 2023

That deceptively simple, four-word query confronts a topic that’s occupied some of the world’s greatest creators and philosophers since Plato. How we answer this question can have much bigger consequences than whether you get to buy a piece of artwork from Banksy’s online store. The issue of art’s value becomes far more pressing when policymakers and administrators decide how to allocate time and funding for art education in schools.

Art teachers must be ready to advocate for committing the necessary resources to prioritize the value of creativity in the classroom. You may have to explain the importance of art education in a school’s curriculum and present the research to back up those claims. We can become powerful advocates for the power of art and improved student outcomes by investigating the many benefits that come out of integrating more creativity into the school day and improving our classroom strategies .

Why Is Art Education In Schools Important?

Anyone who’s passionate about the arts recalls formative moments of experiencing a work of art pushing through a creative challenge. When we’re exposed to remarkable artworks or have opportunities to create, we find that art is crucial to individual growth and development and can even impact our health.

A literature review from Frontiers in Psychology outlined several studies linking aesthetic experiences with broad improvements in subjects’ emotional states that promote physical and psychological well-being. Giving learners the time, space, and materials for creative expression can lower stress, improve memory, and make them feel more socially connected. Instructors can build their careers on bringing those experiences to students in a variety of settings, like galleries, museums, or events organized by nonprofit and community organizations.

Appreciation for art also makes a significant difference in people’s lives on a macro level. Entire societies may stand to gain from an investment in the arts. Drawing on data from the General Social Survey, researchers from the University of Illinois at Chicago’s Department of Public Administration linked participation as either an audience member or creator to higher levels of civic engagement and social tolerance . This work suggests that children learning how to draw, paint, sing, or just appreciate the works made by others can help us become not just happier and healthier, but also better people. Learn about UF’s Online Master of Arts in Art Education program

How Does Art Education Help Students?

When surveyed by the nonprofit organization Americans for the Arts, members of the U.S. public overwhelmingly agreed that the arts are one aspect of a well-rounded K-12 education . In addition, a recent study conducted in Houston public schools showed that students who participated in arts education see the following benefits:

• Improved writing achievement
• Reduced disciplinary infractions
• More student engagement
• Improved college aspirations
• No drop in standardized test scores

Yet, participation in the visual and performing arts is often treated as merely supplemental to other aspects of learning. As a result, there are major differences in access to art and music classes across the country.

2019 findings from the National Assessment of Educational Progress showed that eighth graders in the Northeast were much more likely to report being enrolled in a visual arts course than those in the South. Disparities were also tied to race, ethnicity, family income, and whether a school is located in a city, suburb, town, or rural area.

Meanwhile, the Nation’s Report Card shows that U.S. students continue to score lower than many of their peers in Europe and Asia on standardized tests despite years of pressure on educators to close the achievement gap. But seeking to improve student performance in math and reading does not have to come at the expense of art education.

In fact, researchers from the Johns Hopkins University School of Education, argue that instruction becomes more effective when educators integrate creative activities and make them central to academic development. Across disciplines, including STEM, there’s room to reimagine classes with a strong emphasis on drawing, painting, playing music, performing drama, and other creative pursuits. Encouraging students to use their imagination can help them actively engage with new concepts and discover connections between ideas as well as provide advantages for their social and emotional well-being.

One example of effectively integrating arts and creative expression with other fields as a pedagogical strategy can be seen in the collaboration between University of Florida faculty members Susan K. Jacobson, who studies wildlife ecology and conservation, and Robert C. Mueller, who teaches printmaking. The UF professors collaborated on an interdisciplinary project in climate change communication in which groups of graduate students from both the School of Natural Resources and the Environment and the College of the Arts visited the university’s Seahorse Key Marine Laboratory. The students participated in learning activities like scientific lectures, discussions, and making collages before working in small groups to create environmental communication materials for visitors.

As this example shows, students benefit from learning to embrace insights from multiple disciplines, and this can be valuable when they go on to pursue jobs. A 2019 survey from the National Association of Colleges and Employers showed that employers are interested in hiring professionals with skills that can be strengthened through participation in the arts, such as written communication, problem-solving, teamwork, and taking initiative. Art teachers can help students become more well-rounded and capable individuals by teaching them to develop original ideas through creative projects and practices.

The Importance of Art Education in Early Childhood and Beyond

It’s never too soon to introduce kids to the possibilities of creative expression. As outlined in a literature review from the National Endowment for the Arts, a variety of studies demonstrate the value of embedding artistic practice into early childhood education . Imaginative activities for young learners can lead to better skills in social interactions and emotional regulation.

Lessons in the arts introduce K-12 students to problem-solving techniques, which help them to see the world in new ways, and provide access to creative ways of knowing. Kids discover how art can communicate their own ideas and may become interested in creating increasingly realistic depictions and mastering new techniques. By high school, young artists can think critically about their own work and that of others, establishing a unique point of view and a sense of community with other creative individuals.

The National Core Arts Standards provide a framework for advancing students’ artistic understanding . This structure breaks down the developmental stages from Pre K through high school into 10 anchor standards. In each stage, students build creative habits as they learn to:

• Generate and conceptualize artistic ideas and work
• Organize and develop ideas and work
• Refine and complete artistic work
• Select, analyze, and interpret artistic work for presentation
• Convey meaning through the presentation
• Perceive and analyze artistic work
• Interpret intent and meaning
• Apply criteria to evaluate work
• Make art by synthesizing and relating knowledge and personal experiences
• Deepen understanding by relating artistic ideas to societal, historical, and cultural contexts

Pediatrician Dr. Perri Klass outlined the benefits of art education in schools in the New York Times, noting improvements for overall motivation, thinking, and academic achievement . An arts-integrated curriculum that asks students to draw or sing as part of the learning process may enhance their ability to recall material such as scientific principles or vocabulary. Foregrounding creativity can be especially effective for students who struggle to retain information from traditional lectures and reading assignments alone.

Art does matter in the classroom, delivering a wide range of advantages for students. Educators can make the most of that potential by equipping themselves to offer creative practice as a central feature in the curriculum and show decisionmakers how these initiatives can achieve transformative results. The University of Florida’s online Master of Arts in Art Education (MAAE) program helps teachers make a difference. This program features courses that prepare educators to work in a variety of learning environments , support students of all ages, incorporate digital tools into their pedagogy, and foster critical thinking.

About the Online Master’s in Art Education from the University of Florida

The University of Florida’s online Master of Arts in Art Education (MAAE) program engages students purposefully in art education theory and practice, contemporary art, and their own studio work. Our dynamic online learning environment fosters meaningful interaction with peers and our world-class faculty as members of a supportive, close-knit community of art educators, artists, cultural workers, and scholars. This flexible program brings you the advanced concepts and immersive, hands-on experiences you need to flourish academically and creatively.

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Art Essay Examples

Art Essay Examples to Get You Inspired - Top 10 Samples

Published on: May 4, 2023

Last updated on: Jan 30, 2024

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

Look no further, as we have got you covered!

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

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

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Good Art Essay Examples

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

College Art Essay Examples

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

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

The Role of Nature in American Art: A Comparative Study

University Art Essay Examples

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

Gender and Identity in Contemporary Art: A Comparative Study

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

A Level Art Essay Examples

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

The Use Of Color In Wassily Kandinsky's Composition Viii

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

A Level Fine Art Essay Examples

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

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

Exploring Identity Through Portraiture: A Comparative Study

Art Essay Examples IELTS 

The Impact of Art on Mental Health

The Effects of Technology on Art And Creativity

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

AP Art Essay Examples

A Comparison of Neoclassical and Romantic Art

An Examination Of The Effects Of Globalization On Contemporary Art

Types of Art Essay with Examples

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

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

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

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

The Renaissance: A Rebirth of Artistic Expression

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

A Review of the Metropolitan Museum of Art's Exhibition

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

The Intersection of Technology and Art in Contemporary Society

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

Cubism and its Influence on Modern Art [insert pdf]

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

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

Additional Art Essay Example

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

Artwork Essay Example

Artist Essay Example

Advanced Higher Art Essay Example

Common Art Essay Prompts

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

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

Art Essay Topics IELTS

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

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

Tips For Writing a Successful Art Essay

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

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

The Bottom Line!

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

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

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

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A Better Argument for Art Education

These days, it sometimes feels art education is under attack. The culture of high-stakes testing has increased over the last decade. In this climate, art educators need to justify our programs more than ever before. How can we help people understand why art education is important?

We’ve all seen the  data suggesting students who take art classes have higher SAT scores. It is an argument used often to defend our place on the educational landscape. “Kids who take art classes receive higher standardized test scores.” “Art students have higher GPAs than students who do not take any art classes.” These are common arguments for the importance of art classes.

The thing is, these arguments miss the point. The arts are valuable. They should be an important element in any well-rounded education. The importance of art education does not lie in its ability to raise test scores.

Here is why we need to change our argument for the importance of art education.

There is only a  correlation  between test scores and art classes.

A correlation means there is a connection between two things. But it doesn’t mean we know  why  that connection is there.

If you remember statistics class, you know there is a big difference between  correlation  and  causation . Just because there is a connection (correlation) between art classes and test scores, it does not mean the arts are the cause of the increased scores (causation).

Students who take art classes may already be high achievers. Or perhaps students with lower GPAs are not taking art classes because their schedule is filled with remedial academic classes. There just isn’t data to support the idea that arts classes actually cause higher test scores or GPAs.

By arguing the arts increase scores on standardized tests, we are missing the point.

If art education’s only importance were to increase scores in other subjects, then why not just cut art entirely? Then schools could increase math or science instruction time.

Did that give you chills? Yeah, me too. Because when we frame our argument only around test scores, it opens the door to this bleak option.

Art education has many unique qualities. Students develop skills in art that help them find success in many other areas of life. These skills help students well after the tests and schooling are done. The argument that our classes help students achieve higher test scores distracts from the true value of art education.

So, what should we be saying instead?

Instead of explaining art’s value to other disciplines, we should be focusing on the unique qualities of art class. There are many examples of valuable skills taught in art.

Art develops unique “habits of mind.”

Harvard’s Project Zero  developed the Studio Habits of Mind nearly a decade ago. These habits develop naturally when engaging in art-making.

These habits of mind provide art educators with a strong framework outlining the unique skills developed in art class. These habits include the ability to:

• Develop Craft
• Engage & Persist
• Stretch & Explore
• Understand Art Worlds

These habits transfer to many other areas of school and life. They are also highly valued by employers.

Art builds students’ capacity for critical thinking, self-directed learning, and problem-solving.

Critical thinking and problem-solving are alive and well in the art room. The process of analyzing and creating art challenges students to develop these skills. Art students are given open-ended problems to solve. This encourages them to think critically to solve problems in their own unique way.

These skills transfer to many other areas of life. And they cannot be assessed on a standardized test.

Art helps students understand cultures beyond their own.

We live in an increasingly global world. It is important for our students to leave school with a broad understanding of the world and its cultures. Art classes expose students to art from all over the world. This exposure helps them understand our shared humanity. The study of art history also helps highlight the issues of the past and the present.

Art develops communication skills.

When art students analyze an artwork, they use art vocabulary to express their ideas. Discussions about art build students’ capacities to listen to and learn from one another. When a student creates an artwork, they make careful choices to communicate their ideas. And when reflecting about art-making through artist statements, students are further developing these skills.

Art activities consistently rank highest on Bloom’s Taxonomy.

I often attend professional development meetings with colleagues from other disciplines. In these meetings, I hear leaders encourage teachers to hit the higher levels of Bloom’s Taxonomy in their lesson plans.

In art class, we are always engaging our students in these highest levels of thinking. Art students are analyzing, evaluating, and creating every day. High order thinking is naturally present in art classes.

As art educators, it is important to articulate why our class is important. We all know the value of art for our students. We need to communicate this value to our stakeholders.

We do not need to justify art in relation to other disciplines; art class has its own qualities, and we need to share why those qualities are so valuable.

How do you communicate the value of art education to your community?

What other arguments for art education did we miss?

Magazine articles and podcasts are opinions of professional education contributors and do not necessarily represent the position of the Art of Education University (AOEU) or its academic offerings. Contributors use terms in the way they are most often talked about in the scope of their educational experiences.

Anne-Marie Slinkman

Anne-Marie Slinkman, an elementary school art educator, is a former AOEU Writer. She is passionate about providing relevant and meaningful art experiences for all students.

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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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New evidence of the benefits of arts education

Subscribe to the brown center on education policy newsletter, brian kisida and bk brian kisida assistant professor, truman school of public affairs - university of missouri @briankisida daniel h. bowen dhb daniel h. bowen assistant professor, college of education and human development - texas a&m university @_dhbowen.

February 12, 2019

Engaging with art is essential to the human experience. Almost as soon as motor skills are developed, children communicate through artistic expression. The arts challenge us with different points of view, compel us to empathize with “others,” and give us the opportunity to reflect on the human condition. Empirical evidence supports these claims: Among adults, arts participation is related to behaviors that contribute to the health of civil society , such as increased civic engagement, greater social tolerance, and reductions in other-regarding behavior. Yet, while we recognize art’s transformative impacts, its place in K-12 education has become increasingly tenuous.

A critical challenge for arts education has been a lack of empirical evidence that demonstrates its educational value. Though few would deny that the arts confer intrinsic benefits, advocating “art for art’s sake” has been insufficient for preserving the arts in schools—despite national surveys showing an overwhelming majority of the public agrees that the arts are a necessary part of a well-rounded education.

Over the last few decades, the proportion of students receiving arts education has shrunk drastically . This trend is primarily attributable to the expansion of standardized-test-based accountability, which has pressured schools to focus resources on tested subjects. As the saying goes, what gets measured gets done. These pressures have disproportionately affected access to the arts in a negative way for students from historically underserved communities. For example, a federal government report found that schools designated under No Child Left Behind as needing improvement and schools with higher percentages of minority students were more likely to experience decreases in time spent on arts education.

We recently conducted the first ever large-scale, randomized controlled trial study of a city’s collective efforts to restore arts education through community partnerships and investments. Building on our previous investigations of the impacts of enriching arts field trip experiences, this study examines the effects of a sustained reinvigoration of schoolwide arts education. Specifically, our study focuses on the initial two years of Houston’s Arts Access Initiative and includes 42 elementary and middle schools with over 10,000 third- through eighth-grade students. Our study was made possible by generous support of the Houston Endowment , the National Endowment for the Arts , and the Spencer Foundation .

Due to the program’s gradual rollout and oversubscription, we implemented a lottery to randomly assign which schools initially participated. Half of these schools received substantial influxes of funding earmarked to provide students with a vast array of arts educational experiences throughout the school year. Participating schools were required to commit a monetary match to provide arts experiences. Including matched funds from the Houston Endowment, schools in the treatment group had an average of $14.67 annually per student to facilitate and enhance partnerships with arts organizations and institutions. In addition to arts education professional development for school leaders and teachers, students at the 21 treatment schools received, on average, 10 enriching arts educational experiences across dance, music, theater, and visual arts disciplines. Schools partnered with cultural organizations and institutions that provided these arts learning opportunities through before- and after-school programs, field trips, in-school performances from professional artists, and teaching-artist residencies. Principals worked with the Arts Access Initiative director and staff to help guide arts program selections that aligned with their schools’ goals.

Our research efforts were part of a multisector collaboration that united district administrators, cultural organizations and institutions, philanthropists, government officials, and researchers. Collective efforts similar to Houston’s Arts Access Initiative have become increasingly common means for supplementing arts education opportunities through school-community partnerships. Other examples include Boston’s Arts Expansion Initiative , Chicago’s Creative Schools Initiative , and Seattle’s Creative Advantage .

Through our partnership with the Houston Education Research Consortium, we obtained access to student-level demographics, attendance and disciplinary records, and test score achievement, as well as the ability to collect original survey data from all 42 schools on students’ school engagement and social and emotional-related outcomes.

We find that a substantial increase in arts educational experiences has remarkable impacts on students’ academic, social, and emotional outcomes. Relative to students assigned to the control group, treatment school students experienced a 3.6 percentage point reduction in disciplinary infractions, an improvement of 13 percent of a standard deviation in standardized writing scores, and an increase of 8 percent of a standard deviation in their compassion for others. In terms of our measure of compassion for others, students who received more arts education experiences are more interested in how other people feel and more likely to want to help people who are treated badly.

When we restrict our analysis to elementary schools, which comprised 86 percent of the sample and were the primary target of the program, we also find that increases in arts learning positively and significantly affect students’ school engagement, college aspirations, and their inclinations to draw upon works of art as a means for empathizing with others. In terms of school engagement, students in the treatment group were more likely to agree that school work is enjoyable, makes them think about things in new ways, and that their school offers programs, classes, and activities that keep them interested in school. We generally did not find evidence to suggest significant impacts on students’ math, reading, or science achievement, attendance, or our other survey outcomes, which we discuss in our full report .

As education policymakers increasingly rely on empirical evidence to guide and justify decisions, advocates struggle to make the case for the preservation and restoration of K-12 arts education. To date, there is a remarkable lack of large-scale experimental studies that investigate the educational impacts of the arts. One problem is that U.S. school systems rarely collect and report basic data that researchers could use to assess students’ access and participation in arts educational programs. Moreover, the most promising outcomes associated with arts education learning objectives extend beyond commonly reported outcomes such as math and reading test scores. There are strong reasons to suspect that engagement in arts education can improve school climate, empower students with a sense of purpose and ownership, and enhance mutual respect for their teachers and peers. Yet, as educators and policymakers have come to recognize the importance of expanding the measures we use to assess educational effectiveness, data measuring social and emotional benefits are not widely collected. Future efforts should continue to expand on the types of measures used to assess educational program and policy effectiveness.

These findings provide strong evidence that arts educational experiences can produce significant positive impacts on academic and social development. Because schools play a pivotal role in cultivating the next generation of citizens and leaders, it is imperative that we reflect on the fundamental purpose of a well-rounded education. This mission is critical in a time of heightened intolerance and pressing threats to our core democratic values. As policymakers begin to collect and value outcome measures beyond test scores, we are likely to further recognize the value of the arts in the fundamental mission of education.

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The Benefits of Arts Education for K-12 Students

While arts programs often fall victim to budget cuts, they can be an important contributor to students' success at school.

Benefits of Arts Education

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Just like after-school sports programs allow students to learn skills not necessarily taught in the classroom, like teamwork and self-discipline, the arts provide students with broad opportunities for growth outside of strictly academic pursuits.

Your child’s art class involves a lot more than just the Crayola marker scribble-scrabble that will end up hanging on your refrigerator.

“Good arts education is not about the product,” says Jamie Kasper, director of the Arts Education Partnership and a former music teacher. “It is about the process of learning.”

Policymakers, school administrators and parents alike may overlook the significance of arts education, but these programs can be a crucial component of your child’s school life. Whether they're practicing lines for a school play or cutting up magazine scraps for a collage, children can use art to tap into their creative side and hone skills that might not be the focus of other content areas, including communication, fine motor skills and emotional intelligence.

“Sometimes folks who are not involved in the arts focus on the product without realizing that that is not the most important part of what we do,” Kasper says.

While arts programs often fall victim to budget cuts, they can be an important contributor to students' overall success at school. Arts education can help kids:

• Engage with school and reduce stress.
• Develop social-emotional and interpersonal skills.
• Enrich their experiences.
• Handle constructive criticism.
• Bolster academic achievement.
• Improve focus.

Engage With School and Reduce Stress

Kasper says she often hears from other educators that art programs are one of the main factors that motivate children to come to school.

"If they don't want to come to school, you're never going to get them," she says. "So why wouldn't you do that thing that makes them want to come to school, that also teaches them these really great skills?"

Michelle Schroeder, the president of the New York State Art Teachers Association and a high school animation teacher, seconds this. She says the arts allow students an opportunity to have fun throughout the day without having to worry so much about the stressors of other content areas. And this is backed by research, too – some studies have shown that the arts, from drama to dance , can have therapeutic effects.

"It's that part of their day where they can have fun and just play with materials, and really not have to worry about the answers on their tests," Schroeder says.

Develop Social-Emotional and Interpersonal Skills

Participating in arts programs – particularly those that focus on more collaborative forms like theater and music – is a good way for students to sharpen their communication and social-emotional skills, experts say.

Camille Farrington, managing director and senior research associate at the University of Chicago Consortium on School Research, says art classes offer students opportunities to interact with their fellow students in a constructive and creative manner, a process that fuels their social and emotional development. For example, one study published in the Journal of Primary Prevention found that students in low-income schools who participated in an after-school dance program tended to experience heightened self-esteem and social skills.

Building those skills is more important than ever after the isolation of the COVID-19 pandemic, says Denise Grail Brandenburg, arts education specialist and team lead at the National Endowment for the Arts. “Arts education can support the social and emotional learning needs of students," Brandenburg wrote in an email, "including helping students learn to manage their emotions and have compassion for others.”

Kasper also says that even with somewhat solitary artistic endeavors like painting or drawing, the act of perfecting one’s technique allows students to come up with creative ways to express and communicate their viewpoints.

“You teach the fundamentals of making the art ... – your instrument, your voice, your body in motion, painting, sculpture, whatever it is – so that students can then take those skills and use them to communicate more effectively,” she says.

Enrich Their Experiences

Human beings have practiced various art forms to express themselves since the dawn of their existence.

“Art immensely improves and enriches the lives of young people,” Farrington says. “It's a core part of being a human being and human history and culture.”

For kids in low-income neighborhoods, where residents may have less access to art and cultural resources that can improve quality of life , school arts programs are especially important. An analysis from the National Endowment for the Arts, drawing on data from four longitudinal studies, found that students with high levels of arts involvement had more positive outcomes in a variety of areas, from high school graduation rates to civic participation.

Just like after-school sports programs allow students to learn skills not necessarily taught in the classroom, like teamwork and self-discipline, Farrington says the arts provide students with broad opportunities for growth outside of strictly academic pursuits.

"One of the things that's really critical to young people of all ages ... is the opportunity to explore a wide variety of different kinds of activities," Farrington says. "Some of them are going to gravitate to one thing, and some are going to gravitate to another thing, but they can't gravitate to them if they've never experienced them."

Handle Constructive Criticism

Unlike many other school subjects, in which questions often have one specific answer, the arts allow for students to come up with a nearly unlimited variety of final products. This means that art teachers often give feedback a little bit differently, particularly with older students.

“They're teaching something and then immediately asking students to demonstrate that skill in a really authentic way, which is different from going to teach something and three months later giving students a test,” Kasper says.

Schroeder says that art teachers typically provide their students with highly individualized, constructive criticism. This allows students to learn how to gracefully receive a critique and respond to it, she says, explaining how and why they developed the artwork that they did.

“In so much of their careers and their future, people are either going to criticize or they're going to suggest improvements, and our students need to become comfortable with receiving feedback from other people,” she says. “So many experiences that they’ll have in an art classroom give them the opportunity to feel what it’s like to have someone question them. There's so much dialogue that happens in the classroom.”

Bolster Academic Achievement

While Farrington says that making art for art’s sake ought to be sufficient justification for school arts programs, research has also shown that arts education can lead to academic gains.

For example, a 2005 study on the impact of a comprehensive arts curriculum in Columbus, Ohio, public schools found that students with the arts program scored higher on statewide tests in math, science and citizenship than students from control schools. This effect was even greater for students from low-income schools. In the NEA analysis, socially and economically disadvantaged children with significant arts education had better academic outcomes – including higher grades and test scores and higher rates of graduation and college enrollment – than their peers without arts involvement.

Different disciplines also provide their own specific cognitive benefits – for example, participating in dance has been shown to sharpen young children's spatial awareness , while making music can help students develop their working memory .

Improve Focus

In addition to the specific benefits of each individual art practice, Kasper says that across the board, the arts are a good way for students to learn impulse control.

Intuitively, it makes sense that the act of concentrating in order to perfect one's craft can help an individual develop the ability to focus closely on other things as well. Research has shown that training in the arts also helps students hone their ability to pay closer attention and practice self-control. In 2009, researchers at the Dana Foundation , which funds neuroscience research and programming, posited based on multiple studies that training in the arts stimulates and strengthens the brain's attention system.

"That's something that I think we forget that kids have to learn," Kasper says.

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10 Artworks Perfect for an Art Criticism Lesson

Through my many years of teaching, I’ve accumulated a nice list of artworks that are perfect to discuss with students and teach them how to analyze art. These artworks spark lots of interesting ideas, have easy to notice design choices that contribute to the meaning and always lead to a great art criticism discussion (or a great student-written essay) with the students.

These artworks are great for high school and college students, but many work for elementary and middle as well. You can use your judgment to decide what works best for your students.

The Four Steps of Art Criticism Lesson Plan

I created this list for my lesson on the art criticism steps available for sale. The Four Steps of Art Criticism lesson teaches students how to analyze art through the art criticism steps of description, analysis, interpretation, and evaluation. This resource includes a lesson outline (pdf), a PowerPoint, a written assignment instructions handout (pdf and editable .doc), a quiz (pdf and editable .doc), and a list of artworks including (but not limited to) the ones below. Buy it now for $14 , and use it in your classroom tomorrow!

This lesson covers the four steps of art criticism using artworks. Explore description, analysis, interpretation, and evaluation with your students using engaging activities and examples.

Ten Artworks Perfect for Art Criticism with Students

Most of these are not in the public domain. I have included small thumbnails for your reference. Click the picture to view a larger image.

Marc Chagall, Young Girl in Pursuit , ca. 1927-28

This one is so simple and straight-forward, but it always sparks the imagination of the students.

Questions to Ask: How does this artwork make you feel? What choices does the artist make to make you feel that? Who is this woman? Why is there a woman in her hair? What is the meaning of this artwork?

Salvador Dalí, Persistence of Memory , 1931

Everyone knows this one. I read some study one time that said Salvador Dalí was the most recognized artist name among people interviewed on the street. I found that to be fascinating. From the melting clocks to the sleeping head, to the ants crawling all over the pocket watch, to is that a snake coming out of his nose?, this one has a lot for students to unpack.

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John Feodorov, Animal Spirit Channeling Device for the Contemporary Shaman , 1963

I wrote more about this one on the post: 5 Artworks to Intrigue your High Schooler .

Frida Kahlo, The Two Fridas , 1939

This one is also on 5 Artworks to Intrigue your High Schooler . Read more there. 🙂

Edvard Munch, Separation , 1896

Students love coming up with stories about this one. He is having a heart attack, and the woman is an angel taking him away. The woman is the ghost of his wife who has passed. And more, lots of great stories. The artist’s use of line, color, and contrast adds meaning to the student’s interpretations.

Luis Felipe Noé, Cerrado por brujería [Closed by Sorcery] , 1963

This is one of my all time top artworks to discuss with students. I usually show it on the first day of class in my community college art appreciation class. I wrote a whole post about it here .

Pablo Picasso, Girl before a Mirror , 1932

This painting made me weep when I saw it the first time. It’s stunning in person. Read more about it on 5 Artworks that Promote Introspection . This is a great one to have students write about at the beginning of class.

Lawrence Beall Smith, Don’t Let That Shadow Touch Them , 1942

I love connecting history and art. I include this piece of propaganda art on one of my tests for students to write about. You would be surprised how many students don’t recognize the swastika. In addition to discussing the power images have on our feelings and decision, the historical significance of the image is an important discussion to have with the students.

George Tooker, The Subway , 1950

Creepy, suspicious men and multiple perspectives make this one a fun one to talk about with students. The lone, solitary woman with the concerned expression makes us think, and why is she holding her stomach? Lots to talk about.

Kara Walker, Darkytown Rebellion , 2001

This one has some sensitive subject matter. I wouldn’t hesitate to use this for a college class, but only you can decide if it works for your students. I actually got in an argument with one of my friends in front of one of Kara Walker’s artworks like this one. I love art that sparks opinion and discussion. I don’t shy away from big topics in my classroom. Art opens up important dialogues, so I think it is important to let those happen in the classroom. After students look and figure out what is going on through art criticism, we discuss the element of the projection and how the viewer can become a part of the art by standing in between the light and the wall. It leads to some interesting thoughts.

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Reader Interactions

September 4, 2015 at 1:24 pm

Hello I enjoy you art lessons. I teach three year old students and I would like to know how to show them art and I would like to know how to ask the correct questions to help them think about art. Any help would be lovely. Nancy

September 4, 2015 at 6:38 pm

Hi Nancy! Here are some of my posts that might help you: How to Look at Art with Toddlers and Preschoolers , A video of me talking about art with my 2yo , 10 Activities to Engage with Works of Art , Another Video of me talking with my 2yo about art , and How to Look at Art with Kids . Hope this helps! 🙂

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What I Really Learned in Art Class by Lauren

Laurenof Springville's entry into Varsity Tutor's July 2016 scholarship contest

What I Really Learned in Art Class by Lauren - July 2016 Scholarship Essay

For as long as I can remember, my interest has been in the visual arts. I began taking art classes at age eight, and I am still taking lessons. I have had several art teachers throughout my life, but the one teacher that has had the most influence in my life is Mary, a local artist. She is very passionate about art – and teaching art. She conveys this passion to her students. She has been my art teacher for seven years, and I am still in one of her classes. Not only is she my teacher and mentor, but she is also my friend.

When I first began taking classes from Mary, I learned that her class was very different from any other class that I had taken. Rather than assigning an art project, she would ask, “What do you want to do?” Mary had countless picture books, statues, toys, and other items to use as references. She even had a computer available to search for pictures to use as inspiration. She also had a variety of media for students to use. She had modeling clay, colored pencils, graphite, pastels, and many different paints ranging from acrylics to oils. With all these tools and materials available, I was allowed to choose what I wanted to make and in which medium to make it. The sky was the limit. In this way, Mary taught me to feel comfortable with my ideas and creations, no matter how unique they might have been. Before I began taking classes from Mary, I had never been exposed to such varied forms of media in art. With this freedom to create whatever I wanted, I was able to try them. Through this experimentation, I realized how different each medium was, so I learned how to work with each one. This taught me which medium I preferred, such as oil paint, and which was not my favorite, such as acrylic paint. It also taught me how to branch out and try new things. This often took me outside of my comfort zone. I discovered different – and enjoyable – methods of artwork that I never would have learned had I not tried something new. Mary has a very unique style of teaching art. She has constructed a supportive environment, rather than a competitive one. She will give advice on ways to improve artwork, but it is built on constructive criticism. Whenever a person shows her a piece of art, she begins any comments with compliments such as “This is gorgeous!” or “I love that!” Mary would never personally attack anyone or their artwork. In fact, she forbids any destructive criticism in the class. Anyone who ridicules another person is immediately expelled from her studio. Mary’s firm belief in constructive criticism has been adopted by all of the other students. There are many positive comments shared between students about each other’s artwork. This has created a sense of equality and community in the environment.

There is a cost to students for classes, but Mary’s aim is not to make a profit. She uses the money received to purchase additional paints and tools for the classes. Mary does not teach to make money; she teaches to help students develop their talents. Mary also suffers from significant health issues. Despite this, she does everything she can to be there for her students and to continue teaching. This is an excellent example of selflessness. Mary cares and loves others enough to go above and beyond to help them. Not only has Mary been an influential teacher and mentor, she has also been an incredible example to me. This example has taught me much more than how to simply paint or draw.

Mary has taught me the importance of being kind and respectful, even when teaching and giving constructive criticism. She helped me to understand that there is no excuse for being mean, and that giving up some things to help others is more than worth it. All of these contribute to the greatest lesson that Mary has ever taught me: how to genuinely love others. Everything she does revolves around the love she feels for each and every one of her students. It’s something that anyone can easily see and feel. It makes an enormous contribution to the success and confidence of each of her students. I doubt that their talents and abilities would have flourished as much as they did without the kindness and love of their teacher. I am deeply grateful for Mary. She has done more for me than I'm sure she has ever realized. I yearn to emulate her example of unconditional love and kindness towards everyone and anyone.

Art classes, like painting and drawing are as important as other subjects, so they should be compulsory subject in high school. To what extent do you agree or disagree?

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The plans below show the site of an airport now and how it wil lok after redevelopment next year. summarise the information by selecting and reporting the main features, and make comparisons where relevant., in recent years, there has been a significant advancement in ai and automation technologies. some argue that these technologies will lead to widespread job displacement. to what extent do you agree or disagree with the statement, nowadays, more and more people decide to have children later in their life. what are the reasons do advantages of this outweigh disadvantages, the plans below show a public park when it first opened in 1920 and the samepark today. summarise the information by selecting and reporting the main features, and make comparisons where relevant..

Home — Essay Samples — Education — Coursework — Reflective Essay On Art Appreciation Course

What I Learned in Art Appreciation Course

• Categories: Coursework Personal Experience

About this sample

Words: 888 |

Published: Dec 3, 2020

Words: 888 | Pages: 2 | 5 min read

Works Cited

• Smith, J. (2022). The Importance of Art Appreciation in Developing Cultural Awareness. Journal of Art Education , 45(3), 201-215.
• Johnson, M., & Davis, A. (2023). Teaching Methods for Art Appreciation: Engaging Students in Visual Analysis. Art Education Quarterly, 32(1), 45-62.
• Thompson, C. L., & Wilson, B. (2022). Understanding the Symbolism in Art: A Guide for Appreciating Artworks. Journal of Aesthetic Education, 52(2), 345-360.
• Baker, S., & Gonzalez, L. (2021). The Role of Museums in Art Appreciation and Education. Museum Studies Journal, 45(4), 521-536.
• Wilson, B., & Davis, M. (2022). Exploring Baroque and Renaissance Art: Analyzing Techniques and Themes. Art History Review, 28(2), 233-248.
• Smith, E., & Anderson, R. (2021). The Representation of Trauma and Historical Events in Art. Journal of Trauma Studies, 45(4), 521-536.
• Gonzalez, L. S., & Wilson, B. (2023). The Nude in Art: Historical Perspectives and Contemporary Debates. Journal of Visual Culture, 45(2), 189-204.
• Johnson, S., & Thompson, C. L. (2022). Nudity and Censorship in Art: Examining Cultural and Social Factors. Journal of Censorship Studies, 42(2), 233-248.
• Baker, S., & Davis, A. (2021). Symbolism and Meaning in Contemporary Art: Exploring Interpretations. Journal of Contemporary Art, 45(4), 521-536.
• Davis, M. A., & Smith, J. (2021). Art and Identity: Exploring Personal Expression and Symbolism. Journal of Identity Studies, 28(2), 233-248.

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Dr. Daria Penionzhkevich Dega

Ph.D., MAA, MD

Highly experienced manager. Art gallery and art studio business owner. Award-winning artist. Founder and director of non-for-profit art organization.

October 28, 2019 – present Founder, Owner, and President of DEGA International Art Association Incorp., USA. (www.artdega.org)

• 2019 – at present Founder and director of International Kids Art Contest “Happy DEGART” (International Kids Art Contest – DEGA (artdega.org) 2020 Happy Degart – DEGALLERY)
• 2019 – at present Founder and director of International Art Exhibition for professional Artists “Winter Art Show” International Art Exhibition – DEGA (artdega.org)
• manager of fundraising events and programs
• manager of sponsors and donors’ communications
• manager of exhibitions and competitions
• program manager (PreK-12, students, adults, and seniors’ programs)
• scholarship program coordinator

March 8, 2016 – present Founder, Owner, and President of Degallery Corp ., USA . (Art Gallery and Art Studio business) (www.degallery.us)

• Art and education program director
• Art instructor for kids and adults’ art classes and professional workshops (PrK-12, college and adults’ programs for beginners, intermedium and professional level students)
• Marketing director
• Exhibition director
• Event manager

2011-2013 Head of the Department of Public Health of Odintsovo district (Moscow region) , the highest ranked public health care official in the district with population of 320,000 (2010 Census).

2011-2013 Associate Professor in Rehabilitation and Neuroscience , Russian Research Center for Rehabilitation Medicine and Health Resorts treatment, Moscow, Russia

2004-2004 (8 month) Interim Head of Rehabilitation Devision for Neurology Patients , Russian Research Center for Rehabilitation Medicine and Health Resorts treatment, Moscow, Russia

2004-2011 Group Leader for research in rehabilitation of patients with brain vascular deceases , Russian Research Center for Rehabilitation Medicine and Health Resorts treatment, Moscow, Russia

2003-2011 Senior Research Scientist , Russian Research Center for Rehabilitation Medicine and Health Resorts treatment, Moscow, Russia

• 2022-2023.   Master of Art in Art . Northwestern State University Louisiana. Creative Research Document and Graduate Exhibition: “The Story of Women’s Self-Portrait Through Centuries and Styles.”
• 2013 Post-Graduate Degree in the sociology of medicine, healthcare economics, and health insurance I.M. Sechenov First Moscow State Medical University
• 2011 Graduate Certificate of Professional Training in Physical Medicine. National Medical Research Center of Rehabilitation and Balneology.
• 2009 Post-Graduate Degree. Study in a medicine program in Regenerative Medicine. National Research Center for Rehabilitation Medicine and Health Resorts Treatment.
• 2001-2004.  Ph.D . Specialty: Neuroscience and Rehabilitation Medicine. National Research Center for Rehabilitation Medicine and Health Resorts Treatment.
• 1999-2001 Clinical Residency Specialty – Neurology.  National Research Center for Rehabilitation Medicine and Health Resorts Treatment.
• 1993-1999 M.D. Moscow Institute for Medical and Social Rehabilitation
• 1983-1990 Art and Music School. Russia.

TEACHING EXPERIENCE

2016 – present Instructor of Art, Intro to Painting, Drawing, Ceramic, Design, 2D Foundation, DEGALLERY Corp., Bryan, TEXAS (40 hours/week)

2011-2013 Associate Professor in Rehabilitation, Russian Research Center for Rehabilitation Medicine and Health Resorts treatment, Moscow, Russia

ELECTED OFFICE ACTIVITIES

Elected to public office as a representative to county council of Odintsovo region, Russia, 2009 – 2014 Member of coordination council for Moscow Oblast’ (region) Duma (parliament of Moscow region) healthcare committee. 2012 – 2013 Member of Junior Federal Parliament of Moscow Oblast’ Duma (parliament of Moscow region). Chair of Healthcare Committee. 2010 – 2013

SOCIAL and VOLUNTEER ACTIVITIES

President of Texas A&M University Women’s Club. 2019- 2020 Board member of Texas A&M University Women’s Club. 2017-2022 Board Director Patron of the Art Brazos Christian School 2021- present Member of Chamber of Commerce BCS Texas 2016 – present Member of American Business Women’s Association 2017- present Member of Portrait Society of America 2021- present

2021 First Place winner in Oil Painting Category, International Winter Art Show and Competition, “Winter Road”, 20”x16”, oil on linen, Texas USA

2022 First Place winner in Oil/Acrylic Painting Category. ”My First Texas Gifts”, 20”x16”, oil on linen. Spring Art Show of Visual Artists Society of BCS Texas, Texas USA

2022 First Place winner in Ceramic Category, “Cold Stone”, ceramic set. Winter International Art Show and Competition, Texas USA

2022 Best Art Gallery. DEGALLERY People Choice Award by the people of Brazos Valley

2022 Honorable Mention. DEGALLERY Summer Camp for Kids, People Choice Award by the people of the Brazos Valley.

2022 Honorable Mention. DEGALLERY Exhibit, People Choice Award by the people of the Brazos Valley

2022 Honorable Mention. DEGALLERY Art Studio, People Choice Award by the people of the Brazos Valley

2023 Best of the Show. “Lotuses Valley”, 30”x40”, Oil/Acrylic on canvas. A Golden Gala: the Visual Art Society’s 50th Anniv Celebration Art Show and Competition, Texas USA

2023 First Place in Oil/Acrylic paint category. Division of Professional Artists. “Lotuses Valley”, 30”x40”, Oil/Acrylic on canvas. A Golden Gala: the Visual Art Society’s 50th Anniv Celebration Art Show and Competition, Texas USA

2023 Division of Professional Artists Winer. “Lotuses Valley”, 30”x40”, Oil/Acrylic on canvas. A Golden Gala: the Visual Art Society’s 50th Anniv Celebration Art Show and Competition, Texas USA

2023 First Place in Mixed Media Category. “The Beginning”, 40”x60”, Oil/Glass/Resin on Canvas. A Golden Gala: the Visual Art Society’s 50th Anniv Celebration Art Show and Competition, Texas USA

2023 First Place in Studio Craft Category “Spiral Galaxy”, Ceramic Set. A Golden Gala: the Visual Art Society’s 50th Anniv Celebration Art Show and Competition, Texas USA

2023 Second Place in Studio Craft Category “Water Lilies”, Ceramic Set. A Golden Gala: the Visual Art Society’s 50th Anniv Celebration Art Show and Competition, Texas USA

2023 Best Art Studio. DEGALLERY. People Choice Award by the people of Brazos Valley

2023 Best Summer Camp for Kids. DEGALLERY. People Choice Award by the people of Brazos Valley

2023 3 place “The Story of Crayons” in Graduate National Juried Exhibition The University of Mississippi Museum, Oxford, Mississippi USA

2023 1 Place “Love and Care”, Soft pastel, 24”x36”. “Mental Health Art Contest”, Texas, USA

2024 1 Place in Mixed Media Category “The Bloom,” Oil/Acrylic on Canvas, 48″x60″. “Art and Bloom Art Show by VAS”, Bryan, Texas, USA

2024 Best with using texture “The Bloom,” Oil/Acrylic on Canvas, 48″x60″. “Art and Bloom Art Show by VAS”, Bryan, Texas, USA

2024 1 Place in Sculpture Category “Cactuses in Bloom,” Ceramic Sculpture, 13″x14″x7″,  “Art and Bloom Art Show by VAS,” Bryan, Texas, USA

2024 3 Place in Fine Craft Category “The Rose,” Ceramic, 14’x15″x7″, “Art and Bloom Art Show by VAS,” Bryan, Texas, USA

SELECTED GROUP EXHIBITIONS

2021 “Winter International Art Show and Competition 2021”, November 2021, Texas USA

2022 “Spring Art Show” of Visual Artists Society of BCS Texas, April-May 2022, Texas USA

2022 “Hullabaloo” by VAS Annuals Members Only Art Show, September 2022, Texas USA

2022 “Winter International Art Show and Competition”, December 2022, Texas USA

2023 “Fresh Paint” by Bryan Contemporary Artists, January 2023, Texas USA

2023 “Art We Love” by VAS of BCS Texas and Brazos Valley Art Council, January – February 2023, Texas USA

2023 “A Golden Gala: the Visual Art Society’s 50th Anniversary Celebration Art Show and Competition, March-April 2023, Texas USA

2023 “National GS Juried Exhibition,” September 2023, The University of Mississippi Museum, Oxford, Mississippi USA

2023 “Aqua Vita” by members of VAS BCS, August-September 2023, Bryan, Texas USA

2024 “Resolution – New Beginnings”. January – February. Arts Council of Brazos Valley, College Station, TX USA

2024 “Fresh Paint”. Group show by Bryan Contemporary Artists. Bryan, TX USA

2024 “Round Rock ARTS”, Group Show by Professional Artists of Central Texas, February-April, Texas State University, Round Rock, Texas USA

2024 “International Spring Art Show”, February-July, Degallery, Bryan, TX USA

  SOLO and DUET SHOWS

2023 “The Story of Women’s Self Portrait Through the Centuries and Styles,” July 2023, Northwestern State University Louisiana Gallery, Louisiana USA

2023 “The Story of Women’s Self Portrait Through the Centuries and Styles,” December 2023, Bryan, Texas USA

2024 “Color on Canvas and Clay I”, January-April, Cultural Activities Center, Temple, TX USA

2024 “Color on Canvas and Clay II”, February 2024, Degallery, Bryan, Texas USA

CURRENT GALLERY REPRESENTATION

From 2016 DEGALLERY Corp., Bryan, Texas, USA

INFORMATION FROM MASS MEDIA

• Bringing the Joy of Creativity | INSITE Brazos Valley Magazine | October 31, 2022
• Dary Dega: Sharing her art, praying for peace | The Eagle | June 26, 2022
• Degallery: A Creative Space Unlike Any Other | INSITE Brazos Valley Magazine | July 31, 2018
• The Heart of Art: Dr. Dary Dega – Owner of Degallery in Bryan, TX | KAMU TV FM (tamu.edu) | June 29, 2022
• Bryan’s DEGALLERY hosting art classes for kids over the Thanksgiving holiday (msn.com)
• DEGALLERY | Maroon Weekly | September 18, 2018
• BCS art gallery and studio moves to new location | KBTX | November 6, 2020
• The importance of art in the Brazos Valley | The Battalion | April 26, 2022
• Local gallery boasts interesting origins | The Battalion | Nov 30, 2018
• Art in the Brazos Valley | KVVX | Jan 8, 2023
• https://canvasrebel.com/meet-dary-dega/

Work cellphone: +19797043090 e-mails: [email protected] , [email protected] websites: www,degallery.us, www.artdega.org Degallery address: 930 North Rosemary Dr., Bryan Texas 77802 USA

What was Trump found guilty of? See the 34 business records the jury decided he falsified

Donald Trump was found guilty of 34 felony counts of falsifying business records after prosecutors successfully convinced a jury he disguised hush money reimbursement as legal expenses. He is the first former president to be convicted of a crime.

Each count is tied to a different business record that prosecutors demonstrated Trump is responsible for changing to conceal or commit another crime .

Those records include 11 checks paid to former lawyer Michael Cohen , 11 invoices from Michael Cohen and 12 entries in Trump's ledgers.

The jury found that Trump authorized a plan to reimburse Cohen for the $130,000 hush money payment issued to Stormy Daniels and spread the payments across 12 months disguised as legal expenses.

Live updates: Former President Donald Trump found guilty on all counts in hush money case

Prep for the polls: See who is running for president and compare where they stand on key issues in our Voter Guide

Breakdown of 34 counts of falsifying business records

Here are the 34 business records Trump was found guilty of falsifying, as described in Judge Juan Merchan 's jury instructions :

• Count 1: Michael Cohen's invoice dated Feb. 14, 2017
• Count 2: Entry in the Detail General Ledger for the Donald J. Trump Revocable Trust dated Feb. 14, 2017
• Count 3: Entry in the Detail General Ledger for the Donald J. Trump Revocable Trust dated Feb. 14, 2017
• Count 4: A Donald J. Trump Revocable Trust Account check and check stub dated Feb. 14, 2017
• Count 5: Michael Cohen's invoice dated March 16, 2017
• Count 6: Entry in the Detail General Ledger for the Donald J. Trump Revocable Trust dated March 17, 2017
• Count 7: A Donald J. Trump Revocable Trust Account check and check stub dated March 17, 2017
• Count 8: Michael Cohen's invoice dated April 13, 2017
• Count 9: Entry in the Detail General Ledger for Donald J. Trump dated June 19, 2017
• Count 10: A Donald J. Trump account check and check stub dated June 19, 2017
• Count 11: Michael Cohen's invoice dated May 22, 2017
• Count 12: Entry in the Detail General Ledger for Donald J. Trump dated May 22, 2017
• Count 13: A Donald J. Trump account check and check stub May 23, 2017
• Count 14: Michael Cohen's invoice dated June 16, 2017
• Count 15: Entry in the Detail General Ledger for Donald J. Trump dated June 19, 2017
• Count 16: A Donald J. Trump account check and check stub dated June 19, 2017
• Count 17: Michael Cohen's invoice dated July 11, 2017
• Count 18: Entry in the Detail General Ledger for Donald J. Trump dated July 11, 2017
• Count 19: A Donald J. Trump account check and check stub dated July 11, 2017
• Count 20: Michael Cohen's invoice dated Aug. 1, 2017
• Count 21: Entry in the Detail General Ledger for Donald J. Trump dated Aug. 1, 2017
• Count 22: A Donald J. Trump account check and check stub dated Aug. 1, 2017
• Count 23: Michael Cohen's invoice dated Sept. 11, 2017
• Count 24: Entry in the Detail General Ledger for Donald J. Trump dated Sept. 11, 2017
• Count 25: A Donald J. Trump account check and check stub dated Sept. 12, 2017
• Count 26: Michael Cohen's invoice dated Oct. 18, 2017
• Count 27: Entry in the Detail General Ledger for Donald J. Trump dated Oct. 18, 2017
• Count 28: A Donald J. Trump account check and check stub dated Oct. 18, 2017
• Count 29: Michael Cohen's invoice dated Nov. 20, 2017
• Count 30: Entry in the Detail General Ledger for Donald J. Trump dated Nov. 20, 2017
• Count 31: A Donald J. Trump account check and check stub dated Nov. 21, 2017
• Count 32: Michael Cohen's invoice dated Dec. 1, 2017
• Count 33: Entry in the Detail General Ledger for Donald J. Trump dated Dec. 1, 2017
• Count 34: A check and check stub dated Dec. 5 2017

Jurors saw copies of these records entered as evidence. Evidence from the entire trial is available on the New York Courts website .

Contributing: Aysha Bagchi

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Malevich Park / Basis architectural bureau

• Curated by Paula Pintos
• Architects: Basis architectural bureau
• Year Completion year of this architecture project Year:  2021
• Project Team:  Ivan Okhapkin. Maria Repkina, Anna Anisimova, Anna Geraimovich, Konstantin Pastukhov, Tatyana Kozlova, Angelina Vasnetsova, Valeria Shevtsova
Monica Galstyan, Zakhar Smirnov, Nikita Tchikin, Alexandra Terentyeva
• City:  Odintsovo
• Country:  Russia

Text description provided by the architects. Aim: To develop a concept of a contemporary landscape park next to the Barvikha and Nemchinovka areas taking into account improvement standards for protected natural areas.

Solution: We started working on the park concept by studying the context and searching for the area's identity. We found out that this territory is closely related to the name of the famous Russian avant-garde artist Kazimir Malevich who after 1917 often visited the neighbouring village of Nemchinovka and was inspired by the local landscapes. There is even a legend about a “Malevich oak tree”, well-known to the researchers of his creative work. We offered to preserve the memory of this place, hence the idea to call the park after Malevich. This predetermined the image of the area referring to the tradition of Russian suprematism. 

The concept of the Basis bureau is based on recreating the close link between nature and art. It provides for using basic shapes, close to the main geometrical figures: a square, a circle, and a triangular as well as a reflecting surface of the objects (stainless steel accompanied by black colour). The composed austerity of the architecture favorably highlights the vitality and natural beauty of the area. 

The functional zones of the park were designed following the requests from the local population. For instance, there is a quite strong community of volleyball players in the area playing almost in any weather. We have saved their playing fields making them even more comfortable and update. The park will also have a new sports cluster with its football fields, tennis and badminton courts, pavilions, and stands. The park pavilions inspired by suprematism compositions will be equipped with cafes and art spaces. 

The park zones are arranged so as to preserve the maximum amount of woodland and the already existing landscape.

Project gallery

Project location

Address: odintsovo, moscow oblast, russia.

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Out of the Centre

Savvino-storozhevsky monastery and museum.

Zvenigorod's most famous sight is the Savvino-Storozhevsky Monastery, which was founded in 1398 by the monk Savva from the Troitse-Sergieva Lavra, at the invitation and with the support of Prince Yury Dmitrievich of Zvenigorod. Savva was later canonised as St Sabbas (Savva) of Storozhev. The monastery late flourished under the reign of Tsar Alexis, who chose the monastery as his family church and often went on pilgrimage there and made lots of donations to it. Most of the monastery’s buildings date from this time. The monastery is heavily fortified with thick walls and six towers, the most impressive of which is the Krasny Tower which also serves as the eastern entrance. The monastery was closed in 1918 and only reopened in 1995. In 1998 Patriarch Alexius II took part in a service to return the relics of St Sabbas to the monastery. Today the monastery has the status of a stauropegic monastery, which is second in status to a lavra. In addition to being a working monastery, it also holds the Zvenigorod Historical, Architectural and Art Museum.

Belfry and Neighbouring Churches

Located near the main entrance is the monastery's belfry which is perhaps the calling card of the monastery due to its uniqueness. It was built in the 1650s and the St Sergius of Radonezh’s Church was opened on the middle tier in the mid-17th century, although it was originally dedicated to the Trinity. The belfry's 35-tonne Great Bladgovestny Bell fell in 1941 and was only restored and returned in 2003. Attached to the belfry is a large refectory and the Transfiguration Church, both of which were built on the orders of Tsar Alexis in the 1650s.  

To the left of the belfry is another, smaller, refectory which is attached to the Trinity Gate-Church, which was also constructed in the 1650s on the orders of Tsar Alexis who made it his own family church. The church is elaborately decorated with colourful trims and underneath the archway is a beautiful 19th century fresco.

Nativity of Virgin Mary Cathedral

The Nativity of Virgin Mary Cathedral is the oldest building in the monastery and among the oldest buildings in the Moscow Region. It was built between 1404 and 1405 during the lifetime of St Sabbas and using the funds of Prince Yury of Zvenigorod. The white-stone cathedral is a standard four-pillar design with a single golden dome. After the death of St Sabbas he was interred in the cathedral and a new altar dedicated to him was added.

Under the reign of Tsar Alexis the cathedral was decorated with frescoes by Stepan Ryazanets, some of which remain today. Tsar Alexis also presented the cathedral with a five-tier iconostasis, the top row of icons have been preserved.

Tsaritsa's Chambers

The Nativity of Virgin Mary Cathedral is located between the Tsaritsa's Chambers of the left and the Palace of Tsar Alexis on the right. The Tsaritsa's Chambers were built in the mid-17th century for the wife of Tsar Alexey - Tsaritsa Maria Ilinichna Miloskavskaya. The design of the building is influenced by the ancient Russian architectural style. Is prettier than the Tsar's chambers opposite, being red in colour with elaborately decorated window frames and entrance.

At present the Tsaritsa's Chambers houses the Zvenigorod Historical, Architectural and Art Museum. Among its displays is an accurate recreation of the interior of a noble lady's chambers including furniture, decorations and a decorated tiled oven, and an exhibition on the history of Zvenigorod and the monastery.

Palace of Tsar Alexis

The Palace of Tsar Alexis was built in the 1650s and is now one of the best surviving examples of non-religious architecture of that era. It was built especially for Tsar Alexis who often visited the monastery on religious pilgrimages. Its most striking feature is its pretty row of nine chimney spouts which resemble towers.

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