| Art historians employ a number of methods in their research into the ontology and history of objects. |
Art historians employ various methods in their research into the ontology and history of objects. |
| Art historians often examine work in the context of its time. |
Art historians generally examine work in the context of its time. |
| At best, this is done in a manner which respects its creator's motivations and imperatives; with consideration of the desires and prejudices of its patrons and sponsors; with a comparative analysis of themes and approaches of the creator's colleagues and teachers; and with consideration of iconography and symbolism. |
At best, this is done in a way that respects its creator's motivations and imperatives; considering the wishes and prejudices of its patrons and sponsors; with comparative analysis of themes and approaches of the creator's colleagues and teachers; and with consideration of iconography and symbolism. |
| In short, this approach examines the work of art in the context of the world within which it was created. |
In short, this approach examines the work of art in the context of the world in which it was created. |
| Art historians also often examine work through an analysis of form; that is, the creator's use of line, shape, color, texture, and composition. |
Art historians also often examine work through an analysis of form; that is, the creator's use of line, form, color, texture, and composition. |
| This approach examines how the artist uses a two-dimensional picture plane or the three dimensions of sculptural or architectural space to create his or her art. |
This approach examines how the artist uses a two-dimensional picture plane or the three dimensions of sculptural or architectural space to create his art. |
| The way these individual elements are employed results in representational or non-representational art. |
How these individual elements are employed results in representational or non-representational art. |
| Is the artist imitating an object or image found in nature? |
Is the artist imitating an object or image found in nature? |
| If so, it is representational. |
If so, it is representational. |
| The closer the art hews to perfect imitation, the more the art is realistic. |
The more art approaches perfect imitation, the more realistic art is. |
| Is the artist not imitating, but instead relying on symbolism, or in an important way striving to capture nature's essence, rather than copy it directly? |
Is the artist not imitating but relying on symbolism, or in an important way striving to capture the essence of nature rather than copying it directly? |
| If so the art is non-representational—also called abstract. |
If so, the art is non-representational – also called abstract. |
| Realism and abstraction exist on a continuum. |
Realism and abstraction exist on a continuum. |
| Impressionism is an example of a representational style that was not directly imitative, but strove to create an "impression" of nature. |
Impressionism is an example of a representational style that was not directly imitative, but strove to create an "impression" of nature. |
| If the work is not representational and is an expression of the artist's feelings, longings and aspirations, or is a search for ideals of beauty and form, the work is non-representational or a work of expressionism. |
If the work is not representational and is an expression of the artist's feelings, desires and aspirations, or is a search for ideals of beauty and form, the work is not representative or is a work of expressionism. |
| An iconographical analysis is one which focuses on particular design elements of an object. |
An iconographic analysis is one that focuses on specific design elements of an object. |
| Through a close reading of such elements, it is possible to trace their lineage, and with it draw conclusions regarding the origins and trajectory of these motifs. |
Through a careful reading of such elements, it is possible to trace its lineage, and with it draw conclusions about the origin and trajectory of these motifs. |
| In turn, it is possible to make any number of observations regarding the social, cultural, economic, and aesthetic values of those responsible for producing the object. |
In turn, it is possible to make numerous observations about the social, cultural, economic and aesthetic values of those responsible for the production of the object. |
