Formal analysis is a specific type of visual description. Nonetheless, he set out to make his case with words. One notes how few the forms are. Although organized in a different formal analysis essay example from Fry’s analysis of Cézanne’s still-life, her discussion defines the painting in similar terms.
This leftward direction and placement is brought into a precarious and exciting but beautifully controlled balance by the mirror on the right which . The glowing landscape takes on added sparkle by contrast with the muted interior . Thus, while the distance of the landscape is firmly stated, it is just as firmly denied . Lonely but composed, withdrawn from but related to her environment, the woman reminds one of the self-contained, quiet and melancholy figures on Greek funerary reliefs.
An allusion must work perfectly to be useful, however. This space becomes an active part of the composition. Gestalt psychology, which he studied in Berlin during the 1920s. All formal analysis identifies specific visual elements and discusses how they work together. When the similarities seem strong enough to set a group of objects apart from others, they can be said to define a “style. Stylistic analysis can be applied to everything from works made during a single period by a single individual to a survey of objects made over centuries.
All art historians use it. Unsourced material may be challenged and removed. Essays have traditionally been sub-classified as formal and informal. The concept of an “essay” has been extended to other mediums beyond writing. An essay has been defined in a variety of ways.
One definition is a “prose composition with a focused subject of discussion” or a “long, systematic discourse”. It is difficult to define the genre into which essays fall. He notes that “the essay is a literary device for saying almost everything about almost anything”, and adds that “by tradition, almost by definition, the essay is a short piece”. Furthermore, Huxley argues that “essays belong to a literary species whose extreme variability can be studied most effectively within a three-poled frame of reference”. The personal and the autobiographical: The essayists that feel most comfortable in this pole “write fragments of reflective autobiography and look at the world through the keyhole of anecdote and description”.
The objective, the factual, and the concrete particular: The essayists that write from this pole “do not speak directly of themselves, but turn their attention outward to some literary or scientific or political theme. Their art consists of setting forth, passing judgment upon, and drawing general conclusions from the relevant data”. The abstract-universal: In this pole “we find those essayists who do their work in the world of high abstractions”, who are never personal and who seldom mention the particular facts of experience. Huxley adds that the most satisfying essays “make the best not of one, not of two, but of all the three worlds in which it is possible for the essay to exist. For the rest of his life, he continued revising previously published essays and composing new ones.
1500s contain over 100 examples widely regarded as the predecessor of the modern essay. Zuihitsu have existed since almost the beginnings of Japanese literature. Many of the most noted early works of Japanese literature are in this genre. Kenkō described his short writings similarly to Montaigne, referring to them as “nonsensical thoughts” written in “idle hours”. Another noteworthy difference from Europe is that women have traditionally written in Japan, though the more formal, Chinese-influenced writings of male writers were more prized at the time. This section describes the different forms and styles of essay writing.