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    Three Levels of Content in Art

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    Arlue Garcia
    This document outlines four levels of analyzing art: 1) The semiotic plane examines individual elements and their potential meanings. 2) The iconic plane analyzes the presentation and positioning of figures and their implications. 3) The contextual/thematic plane considers the historical context and themes, as well as the artist's background. 4) The evaluative plane looks at the relationship between form and content, and analyzes the full meaning and message conveyed.

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    Three Levels of Content in Art

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    Arlue Garcia
    2K views16 pages
    This document outlines four levels of analyzing art: 1) The semiotic plane examines individual elements and their potential meanings. 2) The iconic plane analyzes the presentation and positioning of figures and their implications. 3) The contextual/thematic plane considers the historical context and themes, as well as the artist's background. 4) The evaluative plane looks at the relationship between form and content, and analyzes the full meaning and message conveyed.

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    This document outlines four levels of analyzing art: 1) The semiotic plane examines individual elements and their potential meanings. 2) The iconic plane analyzes the presentation and positioning of figures and their implications. 3) The contextual/thematic plane considers the historical context and themes, as well as the artist's background. 4) The evaluative plane looks at the relationship between form and content, and analyzes the full meaning and message conveyed.

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    2K views16 pages

    Three Levels of Content in Art

    Uploaded by

    Arlue Garcia
    This document outlines four levels of analyzing art: 1) The semiotic plane examines individual elements and their potential meanings. 2) The iconic plane analyzes the presentation and positioning of figures and their implications. 3) The contextual/thematic plane considers the historical context and themes, as well as the artist's background. 4) The evaluative plane looks at the relationship between form and content, and analyzes the full meaning and message conveyed.

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    of 16

    FOUR Levels of Art

    Analysis
    Prepared by R-lou C. Garcia
    SEMIOTIC PLANE
    ▪ This is the plane wherein the viewer considers the elements
    of the work.
    ▪ It considers the aspects of the work such as elements, media,
    and technique as signifiers.
    ▪ This plane considered that every part of the work carries a
    potential meaning. (rock on a sand, or the color of the clouds)
    ▪ Line must not been as merely horizontal or vertical; its
    density, porosity, stoke, and the like must be also observed.
    ICONIC PLANE
    ▪ The term ICON pertains to as single image with a unique
    meaning.
    ▪ This plane includes the presentation of the figure relative to
    the viewer – its positioning, whether frontal profile, among
    others – and what meaning these orientation conveys.
    ▪ It usually answers the following questions: what would be the
    difference if the figure was centered or crammed on one
    side? What does the direction of the character’s gaze imply?
    Why is the figure cropped?
    ICONIC PLANE
    ▪ Signifier-signified Relationship ( Particular
    features, aspects, and qualities of the image. It
    also includes the choice of the subject – socio
    political implications)
    ▪ Position of Figures (presentation of the image)
    ▪ Style of figuration (deals with the image itself)
    CONTEXTUAL or THEMATIC PLANE
    ▪ This plane requires the knowledge of the time and space
    aspect of the work being evaluated. Every piece has its own
    history, social, economic and political influences.
    ▪ It also demands the viewer to know the artist’s background
    ▪ Themes or context may derived from the significant
    circumstances of the artist that will contribute to the
    understanding of the meaning of the work.
    CONTEXTUAL or THEMATIC PLANE

    ▪Full meaning of a work (human and


    social implication)
    ▪Relation of art and society (concepts,
    values, emotions, attitude, atmosphere,
    sensory experiences)
    EVALUATIVE PLANE

    ▪Form and content


    ▪Evaluation of the material
    ▪Full meaning of the work
    ▪Real life and the real world
    ▪Analysis
    The Third of May 1808 by
    Francisco De Goya.
    Oil in Canvas, 266 x 345 cm
    (1814) Museo Del Prado,
    Madrid, Spain
    BASIC SEMIOTIC

    ▪ Description: two masses of men: 1. one poised


    firing squad, 2. disorganized group of captives
    pointed by guns.
    ▪ How: Executioners and victims face each other
    across a narrow space.
    ▪ Condemned figures stand next in line to be shot. His
    arms flung wide in either appeal or defiance. Yellow
    and white clothing repeats the color of the lantern
    and the plain white shirt and sun burnt face show he
    is simpler laborer
    ICONIC

    ▪The man with raised arms –


    compare to Christ crucifixion
    ▪Center of the canvas - traditional
    attribute of the Roman soldiers
    who arrested Christ in the garden
    CONTEXTUAL

    ▪ Death presents a conclusion episode


    imbued with the virtue of heroism.
    ▪ It presents a mechanical formalization of
    murder. The corpse of a man splayed on the
    ground in the lower left portion of the work.
    ▪ The art work cannot be described as
    pleasing because the color is restricted to
    black and earthly tones and because the
    artist presents brutality.
    EVALUATIVE

    ▪ It depicts an execution which called


    Peninsular War between French and
    Spain.
    ▪ It shows mass killing of ordinary people
    by the French soldiers
    ▪ No sense that the sacrifice of life will lead
    to salvation.
    ▪ Intend to arouse anger and hatred
    EVALUATIVE

    ▪It shows how scared and terrified the


    people upon facing a firing squad
    ▪Ordinary people will face the same
    fate
    ART ANALYSIS…
    The Death of Socrates
    Jacques-Louis David
    Oil on Canvas, 1.3m x 1.96m
    (1777 – 1787)
    The Metropolitan Museum of Art

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