artist research gcse art

The Art Teacher

Art Lesson Ideas, Plans, Free Resources, Project Plans, and Schemes of Work. An 'outstanding' art teacher in Greater Manchester. Teaching KS3 and KS4 art and design.

GCSE Artist Research Guide

Creating research about artists is a creative and exciting part of a GCSE course. It will allow you to discover new artworks and learn about how artists think and work.

This GCSE artist research guide will help you find an appropriate artist, analyse their work and present your research to a GCSE standard. The purpose of research in GCSE Art is to help you understand the artist’s style , techniques / processes and themes . You will use this knowledge to inform your own artwork.

Researching artists / art exhibitions / photographers / designers is an important aspect of your GCSE Art course and can help you improve your own work and generate new ideas.

Successful GCSE artist research pages are produced by collecting information and images about an artist you are studying or want to study. Your research should include:

• A brief biography of the artist
• Pictures of their artwork
• Analysis of their artwork(s)
• The inspiration behind their pieces
• Your own response

A guide to creating high quality artist research:

• It is important to choose a relevant artist. If your project is about portraits , you shouldn’t really be looking at artists who specialise in landscapes !
• You should also choose an artist that you like . It’s no good choosing an artist if you think their work is boring.
• Use an artist who has similar skills to you. Do you prefer drawing? Avoid painters!
• This will show that you understand the context of their work.
• This will make your research look more professional.
• Artists often use social media to show their processes. Online museums and galleries also share information about the artist’s work or techniques.

How to present your artist research:

Once you have found an artist that you’re interested in and you have started to research them, you need to present what you have found. Use these tips to help show off your research:

• Plan your layout
• Include colours related to the artist
• Have a clear title
• Write neatly, checking spellings and grammar
• Type up annotations if it will help you
• Create a response using the same materials as the artist (eg. acrylic paint)
• Create your research on a computer if it will help you

DON’T:

• Spend hours on a fancy title
• Spend hours on a fancy background
• Feel like you need to write lots and lots
• Copy a full piece of the artist’s work – a colour study, or a section of their work is enough to learn from them

Let’s look at a good example of GCSE artist research :

• The layout is simple and clear; the background lines link to the artworks.
• The student has stuck to black and white, just like the artist.
• The title is clear and reflects the ‘glitch’ style of the art
• The writing is neat, along straight lines
• The drawing is high quality and uses appropriate materials (pencil and white pen). The student has clearly studied the artist’s work carefully.

How to analyse artwork:

You should choose a piece of artwork by the artist to analyse . Writing an image analysis about art can seem strange because there are no absolutely ‘correct’ answers. However, if you’re not sure how to analyse artwork, this guide to analysing art can help.

You don’t need to answer every question, but aim for at least 2 or 3 from each section:

Artist: Janet Fish Title: “Untitled (Two Packages of Pears)” Date: (1969) Medium: oil on canvas Size: 52 1/4″ x 42″

Let’s analyse an artwork using some questions from the “Content, Form, Process, Mood” Guide:

What can you see in the picture? Think about objects, colours, shapes and textures. The painting shows two packets of green pears, there are six in total. They are still in the wrapper and there are a lot of reflections painted to show the plastic covering them. What is the composition (layout) of the work? The pears fill the whole canvas and we can’t see much of the background. There is some symmetry with three pears on each side. Is there a colour scheme? Why or why not? There is a limited, harmonious colour palette of calm greens, blues and yellows. The colours are quite realistic and natural to reflect the subject matter. Is it realistic, or surreal, or both? Why? Overall the piece has realistic and surreal elements due to the sharp shapes of the light reflections that add contrast to the soft natural shapes. The shape of the reflections stand out against the soft round edges of the pears. How was the artwork made? The artist has used oil paints which enhances the glossy, plastic effect. Do you think the artist made any other versions or sketches? I think they would have sketched different layouts and mixed tester colours to match the fruit carefully.

Creating your own artist response:

Your response to an artist or artwork should use the same (or similar) materials to the artist. You might choose to focus on their use of colour or composition for example.

You should always include your opinion about an artist’s work in your research, explaining why you like/dislike their work.

You should also explain how it will inspire you or influence your own work.

In this artist research example the student has studied the artwork of Tjalf Sparnaay. Their response is a good quality drawing of a fried egg, copied from one of the artist’s paintings. The artist is a hyperrealist painter, but the student has responded with coloured pencils, showing skill in the accuracy of their drawing and managing to show some realism in their work through natural colours and a range of tones.

In this example, the student has researched the ceramic artist Mechelle Bounpraseuth . Their response doesn’t use clay like the artist, but the student has used the same idea as Bounpraseuth and chosen to draw a food object that reminds them of their family / friends. The drawing is highly skilled, showing a range of tones and highlights with exceptional attention to detail.

GCSE Artist Research examples:

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Artist research page checklist:

Now that you’re got an idea of what good artist research looks like, download the checklist below to use and help make sure you have included everything you need.

This artist research page checklist is simple to use and will make sure you / your students have included everything they need to make a successful, GCSE standard artist research page!

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• Gcse Art Final Piece Resource

GCSE art final piece – Examples, guidance & advice

Word docs and PowerPoint

These five art GCSE final piece resources will support students to create an impressive project.

• FINE ART – Guidance on how to write effective contextual studies and critical responses to examples of fine art.
• ANALYSIS – A PowerPoint of good and excellent examples of AO1 critical understanding / artist analysis pages.
• GRAPHICS – Advice on how to present successful contextual studies and critical responses to examples of illustration and graphic design.
• PHOTOGRAPHY – Suggestions on what’s required to produce contextual studies and critical responses to photography, in a way that satisfies the GCSE art assessment criteria.
• BETTER WORDS – A list of suggested alternative words that will get students more points (eg ‘create/develop/produce’ instead of ‘do/doing’

GCSE art final piece advice for teachers

As art teachers, we’re all familiar with the arc of a project. More often than not, we start with artist research and finish with an artwork, or collection of pieces that show the student’s journey from initial investigation to a personal conclusion.

With these two elements regularly bookending a project, then, the pressure on them to hold the work together is paramount. Here are some ideas to make sure they do just that.

First, let’s get rid of the idea that students always need to look at ‘artists’. Yes, they normally do (it makes sense), but I prefer to use the term ‘influences’. For us, this switch in language led to a new openness in seeing how varied artistic traditions, not at first obviously related, could inform one another.

British artist Polly Morgan points out the need to not ‘restrict yourself to your own medium’. It’s just as possible to be inspired by a filmmaker, fashion designer, writer or friend than another artist.”

Her contemporary, Isaac Julien, has much the same idea: “I have a magpie attitude to inspiration. It’s about taking all the little everyday things and observing them with a critical eye; building up a scrapbook which you can draw on.”

To help our students develop an understanding of breadth, we have a 10-point independent learning list, into which we encourage them to dip each week. This may or may not feed back directly into their work, but helps them develop a much more rounded understanding of the arts.

GCSE art form and structure

Next, let’s consider structure. It’s important to understand that we’re not here to create historical documents. Biographical information is useful only if it informs our understanding.

For example, we don’t need to know how many children a person had, but we may want to know what their relationships were like if their work is directly related to the experience of family life. Added to that, the cost of artwork is irrelevant.

The fact that someone may have paid several millions for a piece is not an indicator of its value – not in artistic or cultural terms, anyway.

Each artist has a range of interests, experiences and perspectives. From this, we want to know the aim of their art practice. Let’s take for example Käthe Kollwitz, a German, born in Kaliningrad, who lived from 1867 to 1945. These are useful facts. They tell us she lived in a place and time when the world was at war.

Her city of birth was a strange geographical example of detachment; a part of Russia, separated from its motherland by Poland and Lithuania. As such, we can guess she was interested in the effects of war and in belonging. But can we find evidence?

Here is where quotes from the artist can be helpful. The MoMA website starts its section on Kollwitz with her quote “I felt that I have no right to withdraw from the responsibility of being an advocate. It is my duty to voice the sufferings of men.”

So now we know where and when she lived. We know what was happening socially and politically at the time, and that her aim for her work was to make clear the suffering experienced.

GCSE art themes

Research undertaken, let’s now start to observe. Here is where the formal elements come in.

Look at her colours, use of line, compositions. Do they, as she lays out they should, tell of man’s suffering? Do students believe she has achieved what she set out to do? Why? Is it through her use of visual isolation, the individual surrounded by the white space of the paper?

Perhaps the fracturedness with which she used a pencil; the intense focus on the human face?

Linking facts, quotes and observations steeped in an understanding of the formal elements is needed to ensure a written piece has the depth required to show true engagement with the work.

This understanding becomes the diving board for the student’s own work. Once they know ‘what’, ‘how’ and ‘why’, they can apply this to their own piece.

What causes them anguish? What do they want to portray so others can see? Have they thought about what marks they will make to convey the urgency they feel?

This is why we research: not to copy, but to give ourselves an understanding and language for our own artwork’s aims.

In fact, the assessment objectives do not state that all research must be written. Any real investigation of an influence must be deeply practical, too. In order for students to develop ideas through investigation or show an understanding of critical sources, their creative response is central.

Sketchbook ideas

Yes, AO1 focuses on research, but this research should permeate all the way through to A04.

A GCSE art final piece on its own is worth nothing. It might feel like the Big Daddy; but we all know that the bulk of the marks come from AO1-3, and that unless the outcome sits firmly within the preceding investigations, it has little value.

The assessment criteria asks for a ‘purposeful and meaningful response’. In order for any pieces that come at the end to achieve this, they must be a response to the work in the sketchbook, showing development from initial ideas, and a refinement of both thought and practice.

One of the challenges I face is when students propose a GCSE art final piece, rather than an area of investigation right from the start. So, in order to keep projects open – to ensure experimentation and exploration is genuine – we remove any specific final piece planning.

Instead, we focus on an arena of interest, laying down specifics only when initial investigative and experimental work is complete.

In reality, the only difference between the GCSE art final piece and the rest of the submission is how it consolidates the journey. The body of work that precedes it is there to help students find interesting connections and surprising new pathways that can then be narrowed down. Any particular approaches used in a final piece need to be evidenced in that preceding work.

I will end with this: that while I believe, as do those I have spoken to, that exam boards and moderators have favourite styles or types of outcomes, the student’s strengths and interests must win out.

When I was once asked at interview to name a favourite artist, my answer was simple – that it didn’t matter. It was finding the creative influences that were right for the students that should be my aim.

I stand by that, and hope that all art teachers would, too.

Writing checklist

Five pointers for better-written analysis…

• Remove any biographical information that’s not relevant.
• Watch out for commonly used weak words and provide students with alternatives. The ‘Better Words’ sheet at the top of this page can help you get started.
• Find quotes from respected art critics. Include them and explain what they mean. Many media outlines charge for their online content, but The Guardian and the BBC’s arts coverage can be accessed for free.
• Make sure students explain any tricky terminology they use and any key ideas for art movements they mention.
• Consider adjusting writing guides for different art practices. Some points of focus will vary according to the medium.

Hannah Day is head of art, media and film at  Ludlow College . Lucy Wilding is head of art at Lacon Child School, Shropshire .

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COURSEWORK GUIDES

You have art coursework and need to research artworks for it. Where do you start? How do you find relevant inspiration? How have other artists approached the themes?Our thematic coursework guides provide ideas and inspiration to get you started. Try our 'Have A Go!' section at the bottom of our guides for activities to keep you motivated!

2023 Coursework Guides

Past coursework guides, we recommend, closeness and simplicity to nature coursework guide.

From the gardens and paradise to land art, discover the artworks in our collection that explore the themes of closeness and proximity to nature

Complex and simple movement coursework guide

From machines to humans, discover the artworks in our collection that explore the themes of simple and complex movement

Simple processes, complex outcomes coursework guide

From optical illusions and repeating forms to instructions, discover the artworks in our collection that explore the theme of simple processes, complex outcomes

Details and the uncanny coursework guide

From photoreal to dreams, discover the artworks in our collection that explore the themes of details and the uncanny

Layers Coursework Guide

From stacking and painting to collage and hidden layers, discover the artworks in our collection that explores the techniques of layering

Objects Coursework Guide

From the uncanny and personal to advertisement and politics, discover the artworks in our collection that explores the themes of object

Senses Coursework Guide

From touch and taste to sight and smell, discover the artworks in our collection that explores the themes of the senses

Reflection Coursework Guide

From mirror and glass to water and fractals, discover the artworks in our collection that explores the themes and techniques of reflection

Weather Coursework Guide

From sun worshipers, cloud gazers and storm chasers to artists who use the weather to explore broader themes and ideas

Materials Coursework Guide

From 'usual' to unlikely art materials: explore textures, qualities, techniques and symbolism of things artists use to make their work

Still Life Coursework Guide

Not just fruit and flowers, explore still lifes from realistic to abstract and familiar to unexpected

Dynamism and Movement Coursework Guide

Explore how artists use marks and colour to suggest motion or make kinetic, performance and video art to explore movement

Landmarks Coursework Guide

From art about landmarks to art that is itself a landmark: get some inspiration on the theme of landmarks

Diary Coursework Guide

From sketchbooks to video diaries and the everyday to big life events, explore how artists use diaries to record the world around them

Mark Making Coursework Guide

Explore the different ways artists use marks and expressive qualities

Outline Coursework Guide

Discover surprising ways artists use outlines in art from graphic to graffiti or abstract and animated

Clothing Coursework Guide

Explore art and fashion, from clothes and identity to shapes, patterns and textures of clothing inspired by art

Masks Coursework Guide

Explore how artists have used masks in their work, to protect, disguise, hide and amuse

Trees Coursework Guide

From atmosphere and symbolism to textures and abstract shapes, explore how trees have inspired artists

Memory Coursework Guide

Explore memories of the past, memories of people and fading memories to see how artists recall and reminisce in art

Food Coursework Guide

Can a humble bag of chips or slice of pizza become a masterpiece? Explore some tasty art about food

Colour Coursework Guide

Explore how different artists have used colour in their work and sketches

Form Coursework Guide

What exactly is form? And how can you explore it in your sketchbook?

Play Coursework Guide

What does play mean for you? Is it sports, or music? Perhaps it’s drifting into a personal imaginary world, or maybe it’s social – board games, card games, or just meeting others

Underwater Coursework Guide

About 70 percent of the Earth is covered in water. It’s probably the least-explored part of our planet - we’ve explored more of space than the oceans. But maybe because of that, for artists, water has been a theme, a subject and even a medium to work with

Line Coursework Guide

See how artists use the power of a line and try some ideas in your sketchbook

Tone Coursework Guide

Learn how you can use tone in your sketchbook

Transmission Coursework Guide

Discover works in which artists explore the complex ways humans spread thoughts and ideas

Isolation Coursework Guide

Recently we have all had to deal with long and short periods of isolation. How have artists explored the ideas of isolation in their work, and what can you learn from those experiences?

Mother and Child Coursework Guide

Discover tender images of new mums and babies and artists' in-depth explorations of mother and child relationships

Journeys Coursework Guide

From physical journeys and migration to journeys of self-discovery, get ideas and inspiration about journeys in art

Relationship Coursework Guide

Exploring relationships in art, as a connection or association between people, things or ideas

Letters and Words Coursework Guide

Discover how artists use letters and words in their art

Force Coursework Guide

From forces of nature and forceful feelings to force as a method, explore how artists have used force in art

Ritual Coursework Guide

What is a ritual? Discover how ritual has been used as a theme in art

Self-Image Coursework Guide

Explore how artists have represented themselves, and others, using portraiture

Transformation Coursework Guide

Explore how artists have transformed objects and ideas through their work

Details Coursework Guide

Explore the theme of details through works in our collection

Human Figure Coursework Guide

Explore people drawn, painted or sculpted from life and art that explores abstract ideas about being human

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News and Event Coursework Guide

Look at artists responses to news, from headline-grabbing events and social or political issues, to stories of the extraordinary everyday

Light and Dark Coursework Guide

Look at artworks made from light and shadow to the symbolic use of light and dark to make powerful statements

Interwoven Coursework Guide

Explore art that interweaves materials, ideas, experiences and histories

Perspective Coursework Guide

From vanishing points to points of view, explore perspective in art

Spaces Coursework Guide

Busy crowded streets, eerie empty rooms, explore spaces in art

Habitats Coursework Guide

From art about home life to art that highlights the impact of climate change and pollution on natural habitats

Texture Coursework Guide

Explore textures in art from woven textures and textured fabrics and materials to gestural marks and patterns

Toys Coursework Research

From pop art to gender politics, see toys in a new light and get some inspiration for your coursework

Myths and Legends Coursework Guide

Be inspired by myths and legends – or create your own!

Changed Identity Coursework Guide

From changing their own identities to changing the identity of objects, how have artists explored the theme of changed identity?

Space Coursework Guide

From the space race to heavenly bodies, find some coursework inspiration

Plastics Coursework Guide

Explore plastic in art for some research inspiration

Old and New Coursework Guide

Uncover ways of thinking of Old and New in art

Circus Coursework Guide

Uncover ways of exploring the theme of Circus for coursework inspiration

Rhythm Coursework Guide

Explore artworks with rhythm for some coursework inspiration

Geometric Coursework Guide

Maths meets art to inspire your coursework

Moments in Time Coursework Guide

See how artists respond to moments in time to inspire your coursework

Crowded Coursework Guide

Pack in tightly for some inspiration for your coursework

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Artist Research Page Do’s and Don’ts

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Artist Research Page Do’s and Don’ts!  If you get your students to create artist research pages, you will want them to avoid some common pitfalls.  All my students have this ‘Artists Research Page Do’s and Don’ts’ stuck in the back of their sketchbook.  It really does raise attainment!  This one-page resources is a simple list of do’s and don’ts.  For example, don’t refer to an artist by their first name only, don’t use pictures the size of stamps, do create an even spread of images and text.  There are 16 do’s and don’ts and as this is an editable Word document you can edit and update this to suit your own needs.

Tip:  The first time you get students to do a research page, get them to read this as a class.

Assessment:  Use this list as your assessment criteria.  I have printed this on coloured paper and stapled it to their sketchbook page (as their pages are too beautiful to write on!) and ticked or underlined points.  What a time-saver!

The Arty Teacher

Sarah Crowther is The Arty Teacher. She is a high school art teacher in the North West of England. She strives to share her enthusiasm for art by providing art teachers around the globe with high-quality resources and by sharing her expertise through this blog.

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Sarah Crowther – The Arty Teacher

I set up The Arty Teacher because I have a passion for my subject that I want to share with other art teachers around the world.

I have been a high school art teacher for over 20 years, so I understand what it’s like to be in front of a class of students, often with very different abilities and attitudes.

I wanted to develop resources that would help teachers to bring out the best in every student in every class. I also wanted to free-up staff from time-consuming lesson preparation to let them focus instead on delivering exciting, motivating, dynamic lessons, supported by excellent resources.

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'UK school art curriculum should reflect diversity efforts in our institutions'

Research by the runnymede trust found that only 2.3% of artists named in gcse art papers over the last five years were black or asian.

In the UK, we have recently enjoyed a wealth of long-overdue solo and group exhibitions celebrating the rich and varied practices of minority ethnic artists at the heart of our shared visual culture. However, our research with Runnymede Trust exposed that the picture of this visual culture presented in schools looks like a different universe. Only 2.3% of artists named in GCSE art papers over the last five years were Black or Asian, and some exams did not reference a single non-white artist. Over three years, we spoke to teachers, students and artists across England to understand what and how young people are taught in art lessons, and why this narrow curriculum is so disconnected from the ideas and practices flourishing in the sector.

Addressing the class

Beyond the stark absences in GCSE papers, we met art teachers preparing students for these exams whilst themselves desperately lacking in confidence and support. Only four out of ten surveyed felt sure of the correct language to use when discussing minority ethnic artists and their work, and a third had never encountered the practices of any minority ethnic artists in their own education and training. Suffocated and beleaguered by years of underfunding, mismanagement, devaluing of their subject and risk-averse cultures, art teachers are leaving the profession in record numbers. Those who remain discussed with us the struggle to realise the broad, inspiring curriculum to which they aspired.

Black and Asian students in particular facing parental pressure to ‘focus on other subjects’ at four times the rate of their white peers.

Art as luxury

Equally, our research uncovered the bleak reality of a generation of young people educated to see visual art as an archaic luxury with no currency in the real world. Only 6% of students surveyed felt they could relate to artists introduced in the classroom, and less than 10% that art helped them understand their own lives. This preconception extended beyond students to families unable to see a value to studying Art & Design, with Black and Asian students in particular facing parental pressure to ‘focus on other subjects’ at four times the rate of their white peers. Against this desolate landscape, the voices of contemporary artists reflecting on the impact of their own art education illuminated the transformative potential of the subject, and how far current experiences are falling short. In the "artist's voices" section of the report, alongside Simeon Barclay, Rana Begum, Chila Burman, Hardeep Pandhal, Rene Matic and Keith Piper, Harold Offeh spoke of a state school art education that “was relevant and vital, equipping me with tools to reflect on my place in the world, communicate and contribute to it. I was empowered to make, think, play and do.”

Role of the art world

The message from both students and teachers was clear: today’s art education is unfit for purpose. Everyone suffers the consequence of a woefully narrow and uninspiring curriculum, and minority ethnic students experience an intersectional impact of these failings. 66% of students across all ethnicities (80% of Black students) asked for more diverse artists in their lessons, and 90% of teachers would welcome additional support to deliver this. We as a cultural sector have a responsibility to act now to support them in this change.

The message from both students and teachers was clear: today’s art education is unfit for purpose.

Runnymede Trust has set out clear practical recommendations toward enacting this much-needed shift in art education. Some, such as redressing the diversity of exams, are already underway, with two providers (Pearsons and Eduqas) having committed to a target of at least 25% minority ethnic artists in all papers from 2025. Some will be less immediate, working toward structural change in how art education is taught, and its value understood across society; but they are nonetheless urgent and, I believe, achievable. The art sector has a vital role also, in connecting teachers and schools with the full breadth of practices and ideas through meaningful, innovative programmes that go beyond formulaic museum visits. Freelands Foundation hopes to work with partners across the field to move this change forward: artists come from, and represent, an increasingly diverse society and we must all play our part to ensure that art education reflects this.

• Henry Ward is the director of Freelands Foundation

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GCSE Art Artist Research Guide, Knowledge Organiser

Subject: Art and design

Age range: 14-16

Resource type: Assessment and revision

Last updated

24 January 2024

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An useful guide for GCSE Art students. Artist Research Guide. GCSE Knowledge Organiser.

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GCSE Art Knowledge Organisers, Display Posters

GCSE Art Knowledge Organisers, Classroom Display Posters - GCSE Art - Response to a Theme - Step-by-step Overview - GCSE Art - Statement of Intent Guide - GCSE Art - Artist Research Guide - GCSE Art - Artwork Analysis Guide

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