visual imagery essay

Visual Imagery

Visual Imagery is the mental representation or recreation of something that is not physically present. It involves the mind’s ‘eye’ forming images, enabling us to ‘see’ a concept, idea, or physical object even when it is not before our eyes. This cognitive process can significantly impact our thought processes, memory recall, and even physiological responses.

Types of Visual Imagery

Visual Imagery is not restricted to a single form. It may take various shapes and formats, each with its unique benefits and uses.

Static Imagery

Static Imagery involves the mental visualization of still images . This can include anything from remembering a picture you saw in a book, envisioning the face of a loved one, or even recalling a scene from a movie.

Dynamic Imagery

Dynamic Imagery, on the other hand, involves the creation of moving images in the mind. This could include imagining a horse galloping across a field, visualizing the flow of a river, or picturing a car driving down a street.

Interactive Imagery

Interactive Imagery is a step beyond static and dynamic imagery, wherein you visualize yourself interacting with the visualized scene or object. Athletes often use this type of imagery, imagining themselves performing their sport to prepare mentally for the actual event.

Examples of Visual Imagery

Visual imagery is often used in literature to create vivid mental pictures that immerse readers in the story. Consider the following excerpt from “The Great Gatsby” by F. Scott Fitzgerald:

“In his blue gardens men and girls came and went like moths among the whisperings and the champagne and the stars.”

In this sentence, Fitzgerald uses visual imagery to describe Gatsby’s lavish parties. The readers can picture the men and girls moving around the blue gardens, sipping champagne under the starlit sky, much like moths fluttering around.

Everyday Life

Everyday life presents numerous instances of visual imagery. For example, when planning a trip, you might visualize the sights you’ll see, the hotel room you’ll stay in, or the food you’ll eat. Similarly, if you’re cooking a new recipe, you might imagine each step, visualizing how to chop the vegetables, stir the ingredients in the pan, or present the dish on a plate.

Visual artists use imagery as a crucial component of their work. For instance, painters visualize the final product before even touching the brush to the canvas. This mental image guides their hand movements and choice of colors as they bring their vision to life.

In sports, athletes often employ visual imagery to improve their performance. A basketball player might visualize making a successful free throw, picturing the trajectory of the ball, its arc towards the hoop, and the satisfying swish of the net. This mental practice can boost their confidence and improve their actual performance in the game.

In psychology, guided imagery therapy involves therapists directing patients to imagine a particular scene or scenario. For example, a person dealing with stress might be guided to picture a peaceful beach, feeling the warmth of the sun on their skin, hearing the gentle waves lapping at the shore, and smelling the salty sea air. Such visual imagery can promote relaxation and stress relief.

Visual Imagery is an innate capability that not only enables us to revisit the past and anticipate the future but also empowers us to conceptualize, learn, and even heal. Understanding its various forms and applications can provide us with an essential tool for enhancing various aspects of our lives.

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Your chance of acceptance, your chancing factors, extracurriculars, using imagery in college essays: tips and importance.

As I start drafting my essays for college applications, how crucial is it to include imagery, and does anyone have strategies for incorporating it effectively without overdoing it?

Imagery can be a powerful tool in your essays, creating an immersive experience for the reader and showcasing your writing abilities. It's important to use it to bring your story to life, painting a vivid picture of experiences, settings, emotions, or actions. However, the key is balance. You want to enhance your narrative without detracting from your message or making the prose feel forced.

One strategy is to choose moments where detailed descriptions will add value, perhaps when setting the scene or emphasizing a pivotal moment in your story. It's often more impactful to illustrate one memorable instance in detail than to use flowery language throughout.

For example, instead of describing a general passion for nature, you could describe the intricate patterns of frost on leaves during an early morning hike. This paints a picture while telling something meaningful about your appreciation for detail and beauty. Keep it natural, and let your own voice shine through. Best of luck with your applications!

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What Is Imagery? A Complete Guide

General Education

A literary device is a technique a writer uses to convey ideas and messages to their readers. That means that as readers, we need to understand and use literary devices to fully understand a work’s major themes!

Today, we’re going to take a closer look at how to use imagery to analyze a text. We’ll start by giving you the imagery definition before talking about why it’s an important tool for analyzing a text. Then we’ll walk you through some imagery examples in poetry and fiction and show you exactly how to analyze the imagery in each.

By the end of this article, you’ll be able to talk about imagery in literature like a pro, so let’s get started.

What Is Imagery? Definition and Explanation

Have you ever read a book that makes you feel like you’re seeing, feeling, smelling, or tasting the same thing as the character you’re reading about? (We had that experience the first time Harry Potter tries butterbeer in Hogsmeade .) If you have, you can thank imagery for that experience!

Imagery is the act of using language to create images in the reader’s mind . Writers use descriptive words and phrases to help the reader feel like they’re...well, wherever the writer wants them to be! Basically, the writer is trying to create a “mental image” for the reader through the words they choose. Here’s how one of the greatest horror writers of all time, Stephen King , describes imagery :

Imagery does not occur on the writer’s page; it occurs in the reader’s mind. To describe everything is to supply a photograph in words; to indicate the points which seem the most vivid and important to you, the writer, is to allow the reader to flesh out your sketch into a portrait.

In other words: you can think of imagery as painting with words in order to fuel the reader’s imagination!

An easy way to spot imagery in a text is to pay attention to words, phrases, and sentences that connect with your five senses (sight, smell, taste, touch, and sound). That’s because writers know that in order to capture a reader’s attention, they need to engage with them mentally, physically, and emotionally.

Since imagery is designed to connect a reader to a text, it’s one of the most powerful tools a writer has to communicate their themes and messages.

The 2 Types of Imagery

Any time a writer engages a reader’s senses, they’re using imagery...which means imagery is a really broad literary device. In general, however , imagery fits into two big categories: literal and figurative.

Literal Imagery: Examples and Explanation

With literal imagery, a writer is literally describing things to the reader. (Pretty straightforward, huh?)

Writers often use literal imagery to describe the setting, characters, and situation for a reader. Literal imagery helps the reader picture where characters are, understand what characters are doing, and even foreshadow what might happen next. (For example, if the character is in a dark, dirty alley, they’re probably in a more dangerous situation than if the character is skipping through a field of daisies.)

Let’s take a look at an example of literal imagery from Michael Crichton's Jurassic Park so you can see what we mean. In this scene, Dr. Alan Grant, Lex Murphy, and Tim Murphy are trying to hide from a tyrannosaurus rex:

The tyrannosaur was still looking downstream, its back turned to them. They hurried along the path to the waterfall, and had almost moved behind the sheet of falling water when Grant saw the tyrannosaur turn. Then they were completely behind the waterfall, and Grant was unable to see out through the silver sheet.

Now that you’ve read this passage, close your eyes and picture the scene. You’re probably picturing a giant waterfall, a hungry tyrannosaurus rex, and a lot of danger, right? That’s because the literal imagery in this passage paints a very specific, literal picture that helps you imagine what’s happening in this moment!

Magic, right? Not quite. Imagery works because the writer uses descriptive words and phrases to help paint a picture. Let’s take a look at the first few lines again and pick out some of the descriptive language that helps shape the scene:  

They were closer to the waterfall now, the roar much louder. The rocks became slippery, the path muddy. There was a constant hanging mist. It was like moving through a cloud.

These lines are almost exclusively description, and Crichton uses phrases like “rocks became slippery” and “constant hanging mist” to help you imagine exactly what’s happening. A good way to pick out literal imagery is to look for nouns, then see how they’re described. For example, the noun “waterfall” is described as having a “roar” that gets “louder” the closer the characters get!

From an analysis perspective, these literal images all work together to help build the mood , or tone , of the scene. In this case, the imagery of the scene contributes to its tense and suspenseful tone. The environment is treacherous--not only are the rocks slick, but the characters have trouble seeing through the mist and water. One false move, and they’ll be a tasty snack for a hungry dinosaur!

  Use this picture as inspiration for finding connotation! (This will all make sense in a second.)

Figurative Imagery: Examples and Explanation  

Unlike literal imagery, figurative imagery uses on the non-literal--or metaphorical--meaning of words to paint a picture for the reader. Almost all words have two meanings: their denotation and connotation. The denotation of a word is its literal, dictionary definition. Figurative imagery, on the other hand, relies on the connotation —or implied meaning—of words and phrases to help shape a text’s themes and ideas.

To see how figurative imagery works, let’s look at the first line of Shakespeare’s “Sonnet 130,” where the speaker is describing his lady love:  

My mistress’ eyes are nothing like the sun;

Okay. Let’s zero in on the word “sun” here. According to Merriam-Webster, the literal definition of the word “sun” is “the luminous celestial body around which the earth and other planets revolve, from which they receive heat and light, which is composed mainly of hydrogen and helium.” But the speaker doesn’t literally mean that his mistress’ eyes aren’t like a ball of gas!

So what does he mean? To figure this out, let’s look at the figurative imagery here. Take a minute and think of some of the implied or metaphorical meanings of the word “sun.” The word might make you think of warmth and happiness. It also might make you think of other images like burning, blazing, or fiery brightness.

With this figurative imagery in mind, this line is better read as “my mistress’s eyes aren’t bright, warm, or happy.” Not only does figurative imagery help this line make more sense, it also clues readers into the message of the poem: that you can recognize someone’s faults and still love them and find them beautiful.

One more quick note: because you’re a savvy reader , you’ve probably realized that this line from Shakespeare is also a metaphor , which is a comparison between two seemingly unrelated objects (in this case, “eyes” and “sun”). Writers often use other literary devices like metaphor, simile, and personification to help create vivid imagery for the reader. So don’t be surprised if you see imagery overlapping with other literary techniques!

Can an Example of Imagery be Both Literal and Figurative at the Same Time?

Absolutely! In fact, it’s quite common to see writers use literal and figurative imagery simultaneously. Take the first stanza of William Wordsworth’s poem, “Daffodils” :

That floats on high o’er vales and hills, When all at once I saw a crowd, A host, of golden daffodils; Beside the lake, beneath the trees, Fluttering and dancing in the breeze.

This stanza combines literal and figurative imagery. Literally, the images in this stanza help us see the speaker wandering around alone until he stumbles upon a patch of daffodils that are growing by a lake. This imagery is important to understanding Wordsworth’s poetry, which often explores the relationship between nature and man.  

The figurative imagery helps us learn a little more about the speaker, who’s an outsider. We can infer this because of the imagery he gives us; he imagines himself as a cloud floating over everything, able to see what’s going on but unable to participate. The daffodils, on the other hand, represent society. The imagery here is happy (the daffodils are “golden” and “dancing”), which is how the speaker views society as someone on the outside looking in.

 Imagery in Poetry: “Hope is the thing with feathers” by Emily Dickinson

Now that you know more about imagery, let’s look at a poem that uses imagery to portray its major themes:

That perches in the soul - And sings the tune without the words - And never stops - at all -

And sweetest - in the Gale - is heard - And sore must be the storm - That could abash the little Bird That kept so many warm -

I’ve heard it in the chillest land - And on the strangest Sea - Yet - never - in Extremity, It asked a crumb - of me.

Imagery can make something abstract, like an emotion or theory, seem more concrete and tangible to the reader. By using imagery, writers can evoke the feeling they want to talk about in their readers...and by making their readers feel, writers can also help readers connect to the messages in their work.

In this example, Emily Dickinson takes the abstract idea of “hope” and compares it to a bird. Dickinson paints images of hope doing all the same things a bird does: it “perches,” “sings,” and keeps “so many warm” with its feathers. And despite all these gifts, hope never “asked a crumb” of anything in return. By using imagery to take an abstract idea (hope) and make it concrete (a bird), Dickinson helps readers understand the nature of hope. For Dickinson, hope is something that costs little to have and yet offers us comfort in all of life’s toughest situations.

Imagery in Fiction: Dracula by Bram Stoker

Imagery can be an equally powerful tool for fiction writers, too. In Dracula, Bram Stoker uses imagery to drive home the horror of the novel. Let’s take a look at one particularly stand-out scene, where Arthur Holmwood has to kill his former fiancee, Lucy Westenra, who has been turned into a vampire:

Remember how we talked about how imagery can set a tone or mood? That’s certainly the case here. Lucy is visually described not as a woman but as a “thing,” and the “blood-curdling screech” she lets out is a great example of how auditory imagery--or the sound of a scene--can contribute to its overall effect. (In this case, it amps up the horror of a once-delicate Englishwoman being transformed into a bloodthirsty beast.) It's the imagery associated with Lucy that shows readers how vicious and animalistic she’s become, which is no surprise: she’s joined Dracula’s army of the undead.

Now, take a look at the imagery surrounding Arthur, Lucy’s former fiancee, and see how it compares to Lucy’s description. Even as he’s killing Lucy, Arthur is described as “a figure of Thor”--meaning he’s strong, heroic, and good with a hammer. Stoker specifically says Arthur is “untrembling” in his task; despite its grisly nature, his steadiness showcases his commitment to protecting his country from the vampire threat...even when it means driving a stake in his lover’s heart. Additionally, his face has the “shine” of duty, which is a nod to the glowing, angelic halos of angels. Arthur’s bravery and light stands in contrast to Lucy’s dark, demonic nature, and Stoker specifically uses imagery to show readers how good can triumph over evil.

3 Questions to Ask When Analyzing Imagery

These examples have shown you how to find and analyze imagery, but you’ll have to do this all by yourself when you take the AP Literature exam. But don’t worry--now that you’re an expert, finding and analyzing imagery will be a breeze! But just in case you get stuck, here are three questions you can ask yourself to help you better analyze imagery in literature and poetry.

Question 1: What Did I Imagine While I Was Reading?  

The hardest part about analyzing imagery is finding it in the first place. Like we mentioned earlier, a good way to do this is to look for nouns and search for words that describe them. Then you can start asking yourself if those descriptions are figurative imagery (i.e., do those words have any implied or metaphorical meaning).

But when you’re crunched for time, you can go back to the tried-and-true method of using your imagination. Which parts of the text made you picture something in your mind? Since imagery is designed to spark your imagination, there’s a great chance that section contains some sort of imagery!

Question 2: What Does the Imagery Reveal About the Situation?

This question helps you get to the meat-and-potatoes of your analysis really quickly. Once you find a piece of imagery, ask yourself what it’s showing you . It could be describing an important setting, plot point, or character. Make sure you’re asking yourself if there’s figurative imagery at work, too.

If you’re struggling here, you can always go back to the “mental picture” we talked about with the first question. What do you see in that image? There’s a good chance that whatever you’re imagining matters in some way. Once you have that image in your mind, you can start to ask yourself why that particular image is important.

Here’s what we mean: think about the Jurassic Park example we talked about earlier. The imagery there tells us some literal things about what’s happening in the scene, but it also adds to the danger and suspense of the main characters’ predicament. The same can be said for the excerpt from “Daffodils,” only instead of revealing a plot point, the imagery gives readers important insight into the narrator of the poem.

Question 3: How Does the Imagery Affect the Mood of the Text?

Once you find a good piece of imagery, ask yourself how it makes you feel. Is it hopeful? Scary? Depressed? Angry? The feelings associated with the imagery in a work can often reveal the theme of a text.

Take Emily Dickinson’s poem. What feelings are associated with the imagery surrounding “hope”? Well, birds are tame and delicate, and the bird Dickinson describes sings sweetly through life’s fierce storms. Hope is clearly a reassuring, gentle, uplifting thing. By asking yourself why Dickinson thinks hope is good, you can start to figure out some of the messages of the poem!

What's Next?

Test out your new-found imagery chops by analyzing a poem on your own! We think that Dylan Thomas’ “Do not go gentle into that good night” is a great place to start. Y ou can find the full text of the poem, as well as additional analysis, here .

There’s more to literary analysis than just knowing your way around imagery! Make sure you’re familiar with the most important literary devices, like personification, before you head into your AP test.

There are two parts to the AP Literature test: the multiple choice section and the essay section. Some students worry about the written portion of the test so much that they forget to study for the multiple choice questions! Don’t let this be your situation. Make sure you’re preparing for the whole test by reading through this guide to mastering the AP Literature exam’s multiple choice portion, too .

These recommendations are based solely on our knowledge and experience. If you purchase an item through one of our links, PrepScholar may receive a commission.

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Ashley Sufflé Robinson has a Ph.D. in 19th Century English Literature. As a content writer for PrepScholar, Ashley is passionate about giving college-bound students the in-depth information they need to get into the school of their dreams.

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Visual Imagery Essays

Exploring emily dickinson’s poetry lysk, contrasting visions of american identity: a comparative analysis of ‘american hustle’ and ‘booksmart’, popular essay topics.

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• Literary Terms
• Definition & Examples
• When & How to use Imagery

I. What is Imagery?

Imagery is language used by poets, novelists and other writers to create images in the mind of the reader. Imagery includes figurative and metaphorical language to improve the reader’s experience through their senses.

II. Examples of Imagery

Imagery using  visuals:

The night was black as ever, but bright stars lit up the sky in beautiful and varied constellations which were sprinkled across the astronomical landscape.

In this example, the experience of the night sky is described in depth with color (black as ever, bright), shape (varied constellations), and pattern (sprinkled).

Imagery using sounds:

Silence was broken by the peal of piano keys as Shannon began practicing her concerto .

Here, auditory imagery breaks silence with the beautiful sound of piano keys.

Imagery using scent:

She smelled the scent of sweet hibiscus wafting through the air, its tropical smell a reminder that she was on vacation in a beautiful place.

The scent of hibiscus helps describe a scene which is relaxing, warm, and welcoming.

Imagery using taste:

The candy melted in her mouth and swirls of bittersweet chocolate and slightly sweet but salty caramel blended together on her tongue.

Thanks to an in-depth description of the candy’s various flavors, the reader can almost experience the deliciousness directly.

Imagery using touch:

After the long run, he collapsed in the grass with tired and burning muscles. The grass tickled his skin and sweat cooled on his brow.

In this example, imagery is used to describe the feeling of strained muscles, grass’s tickle, and sweat cooling on skin.

III. Types of Imagery

Here are the five most common types of imagery used in creative writing:

a. Visual Imagery

Visual imagery describes what we see: comic book images, paintings, or images directly experienced through the narrator’s eyes. Visual imagery may include:

• Color, such as: burnt red, bright orange, dull yellow, verdant green, and Robin’s egg blue.
• Shapes, such as: square, circular, tubular, rectangular, and conical.
• Size, such as: miniscule, tiny, small, medium-sized, large, and gigantic.
• Pattern, such as: polka-dotted, striped, zig-zagged, jagged, and straight.

b. Auditory Imagery

Auditory imagery describes what we hear, from music to noise to pure silence. Auditory imagery may include:

• Enjoyable sounds, such as: beautiful music, birdsong, and the voices of a chorus.
• Noises, such as: the bang of a gun, the sound of a broom moving across the floor, and the sound of broken glass shattering on the hard floor.
• The lack of noise, describing a peaceful calm or eerie silence.

c. Olfactory Imagery

Olfactory imagery describes what we smell. Olfactory imagery may include:

• Fragrances, such as perfumes, enticing food and drink, and blooming flowers.
• Odors, such as rotting trash, body odors, or a stinky wet dog.

d. Gustatory Imagery

Gustatory imagery describes what we taste. Gustatory imagery can include:

• Sweetness, such as candies, cookies, and desserts.
• Sourness, bitterness, and tartness, such as lemons and limes.
• Saltiness, such as pretzels, French fries, and pepperonis.
• Spiciness, such as salsas and curries.
• Savoriness, such as a steak dinner or thick soup.

e. Tactile Imagery

Lastly, tactile imagery describes what we feel or touch. Tactile imagery includes:

• Temperature, such as bitter cold, humidity, mildness, and stifling heat.
• Texture, such as rough, ragged, seamless, and smooth.
• Touch, such as hand-holding, one’s in the grass, or the feeling of starched fabric on one’s skin.
• Movement, such as burning muscles from exertion, swimming in cold water, or kicking a soccer ball.

IV. The Importance of Using Imagery

Because we experience life through our senses, a strong composition should appeal to them through the use of imagery. Descriptive imagery launches the reader into the experience of a warm spring day, scorching hot summer, crisp fall, or harsh winter. It allows readers to directly sympathize with characters and narrators as they imagine having the same sense experiences. Imagery commonly helps build compelling poetry, convincing narratives , vivid plays, well-designed film sets, and descriptive songs.

V. Imagery in Literature

Imagery is found throughout literature in poems, plays, stories, novels, and other creative compositions. Here are a few examples of imagery in literature:

Excerpt describing a fish :

his brown skin hung in strips like ancient wallpaper, and its pattern of darker brown was like wallpaper: shapes like full-blown roses stained and lost through age .

This excerpt from Elizabeth Bishop’s poem “The Fish” is brimming with visual imagery. It beautifies and complicates the image of a fish that has just been caught. You can imagine the fish with tattered, dark brown skin “like ancient wallpaper” covered in barnacles, lime deposits, and sea lice. In just a few lines, Bishop mentions many colors including brown, rose, white, and green.

Another example :

A taste for the miniature was one aspect of an orderly spirit. Another was a passion for secrets: in a prized varnished cabinet, a secret drawer was opened by pushing against the grain of a cleverly turned dovetail joint , and here she kept a diary locked by a clasp , and a notebook written in a code of her own invention. … An old tin petty cash box was hidden under a removable floorboard beneath her bed.

In this excerpt from Ian McEwan’s novel Atonement , we can almost feel the cabinet and its varnished texture or the joint that is specifically in a dovetail shape. We can also imagine the clasp detailing on the diary and the tin cash box that’s hidden under a floorboard. Various items are described in-depth, so much so that the reader can easily visualize them.

VI. Imagery in Pop Culture

Imagery can be found throughout pop culture in descriptive songs, colorful plays, and in exciting movie and television scenes.

Wes Anderson’s Fantastic Mr. Fox:

Wes Anderson is known for his colorful, imaginative, and vivid movie making. The imagery in this film is filled with detail, action, and excitement.

Louis Armstrong’s “ What a Wonderful World. ”

Armstrong’s classic song is an example of simple yet beautiful imagery in song. For instance, the colors are emphasized in the green trees, red blooming roses, blue skies, and white clouds from the bright day to the dark night.

VII. Related Terms

(Terms: metaphor,  onomatopoeia and personification)

Metaphor is often used as a type of imagery. Specifically, metaphor is the direct comparison of two distinct things. Here are a few examples of metaphor as imagery:

• Her smiling face is the sun .
• His temper was a hurricane whipping through the school, scaring and amazing his classmates .
• We were penguins standing in our black and white coats in the bitter cold .
• Onomatopoeia

Onomatopoeia is also a common tool used for imagery. Onomatopoeia is a form of auditory imagery in which the word used sounds like the thing it describes. Here are a few examples of onomatopoeia as imagery:

• The fire crackled and popped .
• She rudely slurped and gulped down her soup .
• The pigs happily oinked when the farmer gave them their slop to eat .
• Personification

Personification is another tool used for imagery. Personification provides animals and objects with human-like characteristics. Here are a few examples of personification as imagery:

• The wind whistled and hissed through the stormy night .
• The tired tree’s branches moaned in the gusts of wind.
• The ocean waves slapped the shore and whispered in a fizz as they withdrew again.

List of Terms

• Alliteration
• Amplification
• Anachronism
• Anthropomorphism
• Antonomasia
• APA Citation
• Aposiopesis
• Autobiography
• Bildungsroman
• Characterization
• Circumlocution
• Cliffhanger
• Comic Relief
• Connotation
• Deus ex machina
• Deuteragonist
• Doppelganger
• Double Entendre
• Dramatic irony
• Equivocation
• Extended Metaphor
• Figures of Speech
• Flash-forward
• Foreshadowing
• Intertextuality
• Juxtaposition
• Literary Device
• Malapropism
• Parallelism
• Pathetic Fallacy
• Point of View
• Polysyndeton
• Protagonist
• Red Herring
• Rhetorical Device
• Rhetorical Question
• Science Fiction
• Self-Fulfilling Prophecy
• Synesthesia
• Turning Point
• Understatement
• Urban Legend
• Verisimilitude
• Essay Guide
• Cite This Website

Definition of Imagery

Love, whether newly born or aroused from a deathlike slumber, must always create sunshine, filling the heart so full of radiance, that it overflows upon the outward world.

Common Examples of Imagery in Everyday Speech

Types of poetic imagery, famous examples of imagery in shakespearean works, writing imagery, difference between literal imagery and figurative imagery, tips to analyze imagery, use of imagery in sentences, examples of imagery in literature, example 1:  goblin market (christina rossetti).

Early in the morning When the first cock crow’d his warning, Neat like bees, as sweet and busy, Laura rose with Lizzie: Fetch’d in honey, milk’d the cows, Air’d and set to rights the house, Kneaded cakes of whitest wheat, Cakes for dainty mouths to eat, Next churn’d butter, whipp’d up cream, Fed their poultry, sat and sew’d; Talk’d as modest maidens should: Lizzie with an open heart, Laura in an absent dream, One content, one sick in part; One warbling for the mere bright day’s delight, One longing for the night.

Example 2:  The Yellow Wallpaper  (Charlotte Perkins Gilman)

The color is repellant, almost revolting; a smouldering unclean yellow, strangely faded by the slow-turning sunlight. It is a dull yet lurid orange in some places, a sickly sulphur tint in others. No wonder the children hated it! I should hate it myself if I had to live in this room long.

Example 3:  The Red Wheelbarrow  (William Carlos Williams)

so much depends upon a red wheel barrow glazed with rain water beside the white chickens

Synonyms of Imagery

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There is no one perfect way to organize a rhetorical analysis essay. In fact, writers should always be a bit leery of plug-in formulas that offer a perfect essay format. Remember, organization itself is not the enemy, only organization without considering the specific demands of your particular writing task. That said, here are some general tips for plotting out the overall form of your essay.

Introduction

Like any rhetorical analysis essay, an essay analyzing a visual document should quickly set the stage for what you’re doing. Try to cover the following concerns in the initial paragraphs:

• Make sure to let the reader know you’re performing a rhetorical analysis. Otherwise, they may expect you to take positions or make an evaluative argument that may not be coming.
• Clearly state what the document under consideration is and possibly give some pertinent background information about its history or development. The intro can be a good place for a quick, narrative summary of the document. The key word here is “quick, for you may be dealing with something large (for example, an entire episode of a cartoon like the Simpsons). Save more in-depth descriptions for your body paragraph analysis.
• If you’re dealing with a smaller document (like a photograph or an advertisement), and copyright allows, the introduction or first page is a good place to integrate it into your page.
• Give a basic run down of the rhetorical situation surrounding the document: the author, the audience, the purpose, the context, etc.

Thesis Statements and Focus

Many authors struggle with thesis statements or controlling ideas in regards to rhetorical analysis essays. There may be a temptation to think that merely announcing the text as a rhetorical analysis is purpose enough. However, especially depending on your essay’s length, your reader may need a more direct and clear statement of your intentions. Below are a few examples.

1. Clearly narrow the focus of what your essay will cover. Ask yourself if one or two design aspects of the document is interesting and complex enough to warrant a full analytical treatment.

The website for Amazon.com provides an excellent example of alignment and proximity to assist its visitors in navigating a potentially large and confusing amount of information.

2. Since visual documents often seek to move people towards a certain action (buying a product, attending an event, expressing a sentiment), an essay may analyze the rhetorical techniques used to accomplish this purpose. The thesis statement should reflect this goal.

The call-out flyer for the Purdue Rowing Team uses a mixture of dynamic imagery and tantalizing promises to create interest in potential, new members.

3. Rhetorical analysis can also easily lead to making original arguments. Performing the analysis may lead you to an argument; or vice versa, you may start with an argument and search for proof that supports it.

A close analysis of the female body images in the July 2007 issue of Cosmopolitan magazine reveals contradictions between the articles’ calls for self-esteem and the advertisements’ unrealistic, beauty demands.

These are merely suggestions. The best measure for what your focus and thesis statement should be the document itself and the demands of your writing situation. Remember that the main thrust of your thesis statement should be on how the document creates meaning and accomplishes its purposes. The OWl has additional information on writing thesis statements.

Analysis Order (Body Paragraphs)

Depending on the genre and size of the document under analysis, there are a number of logical ways to organize your body paragraphs. Below are a few possible options. Which ever you choose, the goal of your body paragraphs is to present parts of the document, give an extended analysis of how that part functions, and suggest how the part ties into a larger point (your thesis statement or goal).

Chronological

This is the most straight-forward approach, but it can also be effective if done for a reason (as opposed to not being able to think of another way). For example, if you are analyzing a photo essay on the web or in a booklet, a chronological treatment allows you to present your insights in the same order that a viewer of the document experiences those images. It is likely that the images have been put in that order and juxtaposed for a reason, so this line of analysis can be easily integrated into the essay.

Be careful using chronological ordering when dealing with a document that contains a narrative (i.e. a television show or music video). Focusing on the chronological could easily lead you to plot summary which is not the point of a rhetorical analysis.

A spatial ordering covers the parts of a document in the order the eye is likely to scan them. This is different than chronological order, for that is dictated by pages or screens where spatial order concerns order amongst a single page or plane. There are no unwavering guidelines for this, but you can use the following general guidelines.

• Left to right and top to down is still the normal reading and scanning pattern for English-speaking countries.
• The eye will naturally look for centers. This may be the technical center of the page or the center of the largest item on the page.
• Lines are often used to provide directions and paths for the eye to follow.
• Research has shown that on web pages, the eye tends to linger in the top left quadrant before moving left to right. Only after spending a considerable amount of time on the top, visible portion of the page will they then scroll down.

Persuasive Appeals

The classic, rhetorical appeals are logos, pathos, and ethos. These concepts roughly correspond to the logic, emotion, and character of the document’s attempt to persuade. You can find more information on these concepts elsewhere on the OWL. Once you understand these devices, you could potentially order your essay by analyzing the document’s use of logos, ethos, and pathos in different sections.

The conclusion of a rhetorical analysis essay may not operate too differently from the conclusion of any other kind of essay. Still, many writers struggle with what a conclusion should or should not do. You can find tips elsewhere on the OWL on writing conclusions. In short, however, you should restate your main ideas and explain why they are important; restate your thesis; and outline further research or work you believe should be completed to further your efforts.

Visual Techniques for English Essays: A Complete Guide

Visual techniques in English may be something you are familiar with, but it also may be completely new to you, and that’s okay! In HSC, QCE, ATAR, and other English curriculums, you have to use visual techniques to discuss images in books, videos, or book covers and analyse the visual and interpretation techniques within them, for meaning. The visual techniques outlined in this article focus mainly on images rather than film clips as these are likely to come across in your external HSC system. Still, these techniques can easily be transferred to film clips. 

What Are Visual Techniques in English?

Visual techniques are the elements of an image, video, or artwork that help to create meaning. They are used by different artists and creators for many reasons, but we analyse them to help us discern and create meaning from text when writing English essays .

Essential English Visual Techniques 

Analysing visual techniques in your English essays is vital for success in your career as an English student. Many other things can help you get an A in English as well, but here we are focusing on breaking down different visual techniques. The different techniques are listed and expanded upon below. 

1. Composition

Composition is what an image is made up of . This includes things like where an object is placed, how it is framed, and the colour and lighting techniques used. Composition broadly refers to the image as a whole and what you see when you look at it.

Using this in an essay could look like this: The Mona Lisa is a picture of a woman’s torso taking up the majority of the piece in front of a nature background.

Colour is the colours used in an image and what they can symbolise. Oftentimes different colours will evoke different emotions in the audience. For example, purple is a colour of royalty, wealth and luxury, whereas red represents passion, lust and anger. 

Colour also includes the tone of the colour, if it is bright and vivid or dull and de-saturated. Using this in an essay could look like: The deep, saturated colours used in the Mona Lisa evoke feelings of calm and peace. 

If you are a visual learner , you may already be using this without even knowing it! This could be through colour-coding different subjects or thoughts, or working better with diagrams and colours built into your notes.

3. Symbolism

Symbolism is the use of one object or image to represent another more complex concept. Things like religious symbolism and animal symbolism are often used.

Using this in an essay could look like: Frida Kahlo’s use of the hummingbird in Self Portrait with Thorn Necklace and Hummingbird symbolises hope in her culture.

Texture refers to the literal texture of an object. Is it rough or smooth? Does it have different ridges and feelings across the object? 

Using this in an essay could look like: Van Gogh’s Starry Night has a heavy texture throughout the image.

5. Perspective

Perspective is how a three-dimensional object is placed on a two-dimensional surface. In artworks, perspective also changes the angle at which you, as the viewer, perceive the object. 

Using this in an essay could look like: In Self Portrait with Thorn Necklace and Hummingbird, the viewer is placed in a front-on perspective, looking directly at Kahlo. 

6. Lighting

Lighting is how an image is lit or not lit. This can include natural lighting like sunlight or open windows, man-made lighting like lamps or torches, or feature lighting like coloured lights or spotlights. Lighting has a major impact on the mood and atmosphere of a piece of art.

Framing includes the camera shots and angles used across images and film to foster differing audience reactions and emotions. These techniques include a close-up, extreme close-up, mid shots, aerial shots, and many more. 

Using this in an essay could look like this: The artist uses an extreme close-up of the subject to create a feeling of tension and unease in the viewer.  

8. Proportion and Scale

Proportion is the size of the different parts of an object in relation to each other. Scale is the size of one object to another in the same artwork. 

Using this in an essay could look like: The artist uses realistic proportions across the image. The artist plays with scale to create a more surrealist feel in the image. 

9. Point of View

Point of view refers to how the shot is framed in reference to the viewer or a character. For example, is the audience placed level with, above or below the subject of the image. 

Using this in an essay could look like: The point of view in the image places the viewer looking down at the subject. 

10. Text and Typography

Text and typography are the words used within an image to convey a literal or figurative message. This is influenced by the colour, size, and font of the text as well as its repetition throughout the image. 

Using this in an essay could look like: The text within the image conveys both its literal message based on the words, and a subliminal message based on the wider context of the whole image. 

Need extra help with English assignments?

Ready to take your visual analysis skills to the next level? Sign up for our English tutoring services today and get personalised guidance and support from experienced academic personal trainers. 

Whether you need help with literary analysis, essay writing, or visual techniques in literature, our team is here to help you succeed. Contact us now to schedule your first session and start achieving your academic goals!

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Imagery: The Power of Visual Representation in Communication

Imagery is a literary device that is used to create a vivid and descriptive picture in the reader’s mind. It is a powerful tool that writers use to evoke emotions, set a mood, and transport the reader to another place and time. Imagery can be used in any form of writing, from poetry to novels, and it is an essential element in creating a compelling and engaging piece of literature.

In this article, we will explore the concept of imagery in more detail. We will look at the different types of imagery that writers can use, and we will examine some examples of how imagery has been used in literature throughout history. By the end of this article, you will have a better understanding of how imagery works and how it can be used to enhance your own writing.

Definition of Imagery

Imagery is a literary technique that refers to the use of descriptive language and figures of speech to create a vivid mental picture or sensory experience for the reader. It is a powerful tool that writers use to appeal to the reader’s senses of sight, sound, touch, taste, and smell, as well as their emotions and feelings.

Imagery can be found in all forms of literature, including poetry, prose, and drama. Writers use imagery to create a more immersive and engaging experience for the reader, allowing them to visualize the story or scene in their mind’s eye. By using imagery, writers can also convey complex emotions and ideas in a way that is more accessible and relatable to the reader.

There are several types of imagery, including visual imagery, auditory imagery, tactile imagery, olfactory imagery, and gustatory imagery. Visual imagery refers to descriptions that create a mental picture in the reader’s mind, while auditory imagery uses sound to create an immersive experience. Tactile imagery refers to descriptions that create a sense of touch, while olfactory imagery uses scent to create a sensory experience. Gustatory imagery uses taste to create a sensory experience.

Overall, imagery is a powerful literary technique that allows writers to create a more immersive and engaging experience for the reader. By using descriptive language and figures of speech, writers can appeal to the reader’s senses and emotions, creating a vivid mental picture or sensory experience that brings the story or scene to life.

Types of Imagery

Visual imagery.

Visual imagery is the most common form of imagery used in literature. It is related to sight and is used to create mental images of people, places, and things. Writers often use descriptive language to paint a picture in the reader’s mind, allowing them to visualize the scene.

Auditory Imagery

Auditory imagery is related to hearing and is used to create mental images of sounds. Writers use descriptive language to create a soundscape for the reader, allowing them to hear the scene in their minds.

Olfactory Imagery

Olfactory imagery is related to smell and is used to create mental images of scents. Writers often use descriptive language to evoke smells, allowing the reader to imagine the scent of a place or object.

Gustatory Imagery

Gustatory imagery is related to taste and is used to create mental images of flavors. Writers use descriptive language to evoke tastes, allowing the reader to imagine the flavor of a food or drink.

Tactile Imagery

Tactile imagery is related to touch and is used to create mental images of textures. Writers use descriptive language to create a tactile experience for the reader, allowing them to imagine the feel of an object or surface.

Kinesthetic Imagery

Kinesthetic imagery is related to movement and is used to create mental images of motion. Writers use descriptive language to create a sense of movement for the reader, allowing them to imagine the physical actions of a character.

Organic Imagery

Organic imagery is related to internal sensations within the body, such as hunger, thirst, or fatigue . Writers use descriptive language to create a sense of these sensations for the reader, allowing them to imagine the physical and emotional experiences of a character.

Functions of Imagery

Imagery is an essential literary device that helps to create vivid and lifelike descriptions in literature. The primary function of imagery is to engage the reader’s senses and emotions, making the text more relatable and memorable. Here are some of the key functions of imagery:

• Creating a sense of atmosphere: Imagery is used to set the scene and create a particular mood or atmosphere. For example, describing a dark, stormy night can create a sense of foreboding and tension.
• Developing character: Imagery can also be used to reveal the inner thoughts and feelings of characters. By describing a character’s physical appearance or surroundings, the reader can gain insight into their personality and motivations.
• Highlighting themes: Imagery can be used to reinforce or emphasize the themes of a literary work. For example, describing a barren wasteland might symbolize the emptiness and futility of life.
• Enhancing the plot: Imagery can also be used to enhance the plot of a story. By describing key events in detail, the reader can better visualize and understand what is happening.

Imagery in Literature

Imagery is a literary device that allows writers to create vivid mental pictures and sensory experiences in the reader’s mind. It is a powerful tool that can be used to transport readers to different places, evoke emotions, and convey complex ideas. In literature, imagery can be found in both poetry and prose.

Imagery in Poetry

Poetry is known for its use of vivid imagery. Poets use language to create sensory experiences that allow readers to see, hear, smell, taste, and feel what is being described. Imagery in poetry can be used to create a specific mood or atmosphere, to convey a particular emotion, or to illustrate a theme.

For example, in William Wordsworth’s poem “I Wandered Lonely as a Cloud,” the imagery of “a host of golden daffodils” creates a sense of joy and beauty. The poem’s imagery also conveys the idea that nature can provide comfort and solace in times of loneliness.

Imagery in Prose

Prose also makes use of imagery to create vivid descriptions and sensory experiences. Prose writers use imagery to help readers visualize characters, settings, and events. Imagery in prose can be used to create a sense of realism, to convey a particular mood or tone, or to illustrate a theme.

For example, in F. Scott Fitzgerald’s novel “The Great Gatsby,” the imagery of the “valley of ashes” represents the moral decay and corruption of the characters in the novel. The imagery of the “green light” across the bay represents Gatsby’s longing for his lost love and his pursuit of the American Dream.

Imagery in Art

Imagery is a fundamental element in art that has been used for centuries to convey meaning and emotions. It is the visual representation of ideas and concepts through the use of symbols, metaphors , and other figurative language . Imagery in art can be found in various forms, including paintings, sculptures, and drawings.

One of the most famous examples of imagery in art is Leonardo da Vinci’s painting, The Last Supper. The painting depicts the final meal that Jesus had with his disciples, and the imagery used in the painting is meant to convey the emotions and feelings of the moment. The use of light and shadow, the facial expressions of the figures, and the positioning of each character are all examples of the use of imagery in the painting.

Another example of imagery in art is the sculpture, David, by Michelangelo. The sculpture depicts the biblical figure David, who is known for his bravery and courage. The use of imagery in the sculpture is meant to convey these qualities, as well as the beauty of the human form. The muscles and veins of David’s body are meticulously sculpted, creating a sense of realism and strength.

Imagery in art can also be used to convey political or social messages. For example, the painting, Guernica, by Pablo Picasso, is a powerful portrayal of the horrors of war. The use of imagery in the painting, such as the distorted figures and the broken objects, is meant to convey the chaos and destruction of war.

Imagery in Advertising

Imagery plays a crucial role in advertising as it can evoke emotions, capture attention, and convey messages effectively. Companies use various types of imagery in their advertisements to promote their products or services and create a positive association with their brand. Here are some common types of imagery used in advertising:

• Product Imagery: This type of imagery showcases the product in a visually appealing way, highlighting its features and benefits to attract potential customers. Product imagery can be in the form of photographs, illustrations, or videos.
• Lifestyle Imagery: Companies often use lifestyle imagery in their advertisements to create a connection with their target audience. This type of imagery portrays the product in a real-life situation, showing how it can be used to enhance the consumer’s lifestyle.
• Emotional Imagery: Emotional imagery is used to evoke feelings of happiness, joy, excitement, or even sadness, to create a strong emotional connection with the audience. Advertisements that use emotional imagery tend to be more memorable and effective.
• Inclusive Imagery: Inclusive imagery is becoming increasingly popular in advertising as companies strive to be more diverse and inclusive. This type of imagery features people from different backgrounds, races, genders, and abilities, to appeal to a wider audience and show that the brand is inclusive and accepting.

In conclusion, imagery is a powerful tool that can be used to enhance performance and improve our daily lives. Whether it is in sports psychology or creative writing, imagery can engage the human senses and create a vivid picture in the mind of the reader or listener.

Through the use of descriptive language, imagery can be used to convey emotions and ideas in a way that is both powerful and memorable. It can be used to create a sense of place or atmosphere, to evoke memories or emotions, or to help us visualize our goals and aspirations.

While imagery can be a highly effective tool, it is important to use it appropriately and in a way that is consistent with our goals and values. It is not a magic solution to all of our problems, but rather a tool that can be used to help us achieve our desired outcomes.

In summary, imagery is a valuable tool that can be used to enhance our performance, improve our communication, and enrich our lives. By using it effectively and appropriately, we can tap into its power and achieve our goals and aspirations.

Frequently Asked Questions

What is the role of imagery in storytelling?

Imagery plays a crucial role in storytelling as it helps to create vivid mental pictures in the minds of the audience. It helps to enhance the impact of the story by making it more engaging and memorable. Imagery can be used to convey emotions, set the mood, and create a sense of place and time.

How can imagery be used in marketing?

Imagery can be used in marketing to create a powerful visual impact on the audience. It can help to create brand awareness, communicate key messages, and evoke emotions that resonate with the target audience. Imagery can be used in various forms such as logos, product images, and advertising campaigns to create a lasting impression.

What are the different types of imagery?

There are various types of imagery, including visual, auditory, olfactory, gustatory, and tactile imagery. Visual imagery is the most common type of imagery and involves creating mental pictures in the mind’s eye. Auditory imagery involves creating mental sounds, while olfactory imagery involves creating mental smells. Gustatory imagery involves creating mental tastes, and tactile imagery involves creating mental sensations of touch.

How does imagery impact our emotions?

Imagery has a powerful impact on our emotions as it can evoke strong feelings and memories. It can create a sense of nostalgia, happiness, fear, or sadness. Imagery can also be used to create a sense of empathy and understanding, which can help to build stronger connections with others.

What is the importance of imagery in art?

Imagery is an essential element in art as it helps to convey the artist’s message and emotions. It can create a sense of depth, perspective, and mood, which can enhance the overall impact of the artwork. Imagery can also be used to create symbolism and meaning, which can help to convey complex ideas and concepts.

How can imagery be used in therapy?

Imagery can be used in therapy to help clients explore their emotions, memories, and experiences. It can be used to create mental images that represent the client’s inner world, which can help to increase self-awareness and promote healing. Imagery can also be used to create a sense of relaxation and calmness, which can help to reduce stress and anxiety.

Last Updated on August 17, 2023

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What Are the Best Tips for Writing an Essay on Imagery?

Imagery is one of the most commonly used and most effective literary techniques to really transport the reader into the story. As a result, it is common for teachers to assign students to write essays on imagery to be sure they understand this important concept. To begin writing an essay on imagery, it is first necessary to identify the examples of imagery in the story. Then, start considering the bigger picture; beyond the image itself, what could the author be trying to convey? It might be a symbolic image, or one meant to conjure up feelings related to something else in the text.

Identifying imagery can be difficult at first, but with practice it will become easier. When writing an essay on imagery, and trying to locate the examples of imagery in the story, it helps to consider the different possible types. Visual imagery is the most common, in which an author will describe how something looks, often making use of metaphor and simile . However, imagery can be used with any of the other four senses, including touch, smell, taste, and hearing. If an author takes the time to describe the way something smells, or the sound it makes, chances are it is an important part of imagery for the story.

Making notes and creating a type of outline of the imagery found throughout the story can be a great place to begin writing the essay. It can also make it easier to identify patterns. If a certain image is seen over and over again, this is a great place to focus to consider what the author meant by it. Even if images are not repeated, it is still necessary to look deeper; don't simply describe the images, but consider what they might mean on a deeper level.

A certain repeated image could represent the mood or personality of a character, for example. It might represent certain religious symbolism, or be indicative of a larger, theoretical idea. Though it may seem like too simple of an idea, it is also very helpful to consider other major aspects of the story, like plot and theme, when writing an essay on imagery. The theme of a book or short story is often repeated, over and over again, in the imagery used throughout. Asking these types of questions will generally make it easier to develop a thesis statement, which will help to guide the writing of the rest of the essay on imagery.

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A visual analysis essay is a common assignment for the students of history, art, and communications. It is quite a unique type of academic essay. 

Visual analysis essays are where images meet text. These essays aim to analyze the meanings embedded in the artworks, explaining visual concepts in a written form. 

It may sound difficult to write a visual analysis essay, but it can be done in simple steps by following the right approach. Let’s dive into the writing steps, tips, example essays, and potential topics to help you write an excellent essay. 

• 1. What is a Visual Analysis Essay
• 2. How to Write a Visual Analysis Essay - 7 Simple Steps
• 3. Tips on How to Analyze a Photograph
• 4. Tips on How to Analyze a Sculpture
• 5. Visual Analysis Essay on Advertisement
• 6. Visual Rhetorical Analysis Essay Examples
• 7. Visual Analysis Essay Topics

What is a Visual Analysis Essay

A visual analysis essay basically requires you to provide a detailed description of a specific visual work of art. It is a type of analytical essay that deals with imagery and visual art instead of texts.

The subject of a visual analysis essay could be an image, painting, photograph, or any visual medium. 

In this type of essay, you need to describe the artwork and analyze its elements in detail. That is, how different elements and features fit together to make the whole work stand out. In this sense, you need to use a mixture of descriptive writing and analytical language. 

To write a good visual analysis essay, you need to know the basic visual elements and principles of design. Let’s learn about these concepts first before diving into the writing steps.

Paper Due? Why Suffer? That's our Job

Visual Elements for a Visual Analysis Essay

Writing a visual analysis essay involves analyzing the visual elements of a piece of art. These elements form the basis of the features and characteristics of an image. 

Below you can find the common visual elements of a visual analysis essay.

Principles of Design in a Visual Analysis Essay

In addition to visual elements, you must also consider the principles of design for writing a great visual analysis essay. These principles help you identify and explain the characteristics of the image. 

How to Write a Visual Analysis Essay - 7 Simple Steps

Now that you have an idea about visual elements and principles, you are now ready to proceed. 

Here are the steps that you need to follow for writing a visual analysis essay. Let’s discuss them in detail.

Step 1 - Gather General Information About the Artwork

Once you have a specific artwork or image, here is how to start a visual analysis essay. You need to ask some basic questions about the work and jot down your ideas.

This pre-writing step is for brainstorming ideas. Ask these questions to begin:

• Who and what does the artwork represent? 
• Who is the author of the piece? 
• Who did the artist create the work for? Who is the intended audience?
• When and where was the work created? What is its historical context?
• Where was this work displayed for the first time?
• Identify which medium, materials, and techniques were used to create the image?

Step 2 - Note Down the Characteristics of the Artwork

The next thing that you need to do is identify what the image depicts. Moreover, you need to identify and describe the visual art elements and design principles used in the work. 

Here’s what you need to note:

• The subject matter and its representation.
• Colors, shapes, and lines used in the composition.
• The balance, proportion, and harmony within the artwork.
• Any symbolism or metaphors present.

By pointing out such characteristics, you set the stage for a nuanced analysis in your essay.

Step 3 - Visual Analysis Essay Outline 

Once you have gathered your main points by carefully studying the image, you should now organize them in an outline.

Here is how you make an outline for your visual analysis essay:

Step 4- Write the Introduction

This is the first paragraph of a visual analysis essay in which you need to provide some background information on the topic. After grabbing the readers’ attention with an interesting fact, briefly provide information on the following points. 

• Talk briefly about the painting and its artist or creator.
• Provide a brief description of the painting and give historical context
• Add an interesting fact about the artist or the painting. 

The introduction should end with a thesis statement. The visual analysis essay thesis states the analysis points on the artwork that you aim to discuss in your essay. 

Step 5 - Provide Detailed Description, Analysis, and Interpretation

In the body section, you need to explore the artwork in detail. In the first body paragraph, simply describe the features and characteristics of the work. For instance, talk about the technique being used, shape, color, and other aspects to support your thesis. 

In the next paragraphs, you can go into the analysis and interpretation of these elements and the work as a whole. Present all the details logically and discuss the relationship between the objects. Talk about the meaning, significance, and impact of the work.

Step 6 - Writing a Conclusion

Once you have completed the body section, move to the conclusion paragraph. This is the last paragraph of the essay that should be strong and well-written to create a sense of closure.

Here’s how you can do it

• Revisit the main insights gained through the analysis, summarizing the key visual elements and principles discussed. 
• Emphasize the significance of cultural or historical context in interpreting the visual narrative. 
• Tie together the threads of your analysis to reinforce your thesis or main argument.
• End with a memorable statement and encourage readers to carry the lessons learned from the analysis into their own encounters with art. 

Step 7 - Edit & Revise Your Essay

Here’s how to end your visual analysis essay: edit and revise your first draft until it becomes the perfect version. Consider these steps for an excellent revision:

• Review for Clarity: Ensure your ideas flow logically. Clarify any ambiguous or unclear statements to enhance the overall readability of your essay.
• Trim Unnecessary Details: Trim excess information that doesn't directly contribute to your main points. Keep your analysis focused and concise.
• Check Consistency: Verify that your writing style remains consistent throughout the essay. Maintain a balance between formal language and engaging expression.
• Fine-Tune Transitions: Ensure smooth transitions between different sections of your essay. Transitions help guide your reader through the analysis, making the journey more enjoyable and comprehensible.
• Proofread for Errors: Carefully proofread your essay for grammar, spelling, and punctuation errors. A polished essay enhances your credibility and the overall professionalism of your work.

With these basic steps, you can craft an amazing visual analysis essay. Read on for some useful tips for analyzing different kinds of visual subjects.

Tips on How to Analyze a Photograph

Painting and photograph analysis are very similar. There are three ways in which photo visual analysis is conducted: description, reflection, and formal analysis.

Although the historical study may be used, it is not necessary.

• Description -  It implies examining the picture carefully and considering all of the details. The description should be neutral, focusing on simple facts without expressing a personal viewpoint.
• Reflection -  For the next stage, consider the emotions that the picture stirs in you. Every viewer will have a distinct viewpoint and feelings about the piece. Knowing some historical background might be useful when formulating an educated response.
• Formal analysis -  Consider the visual components and concepts. How are they shown in the photo?
• Historical analysis -  For a contextual analysis, keep an eye on the photo's surroundings. Make sure you comprehend the surrounding environment in which the photograph was taken. What era was this image shot during?

Tips on How to Analyze a Sculpture

A sculpture, unlike a painting or photograph, requires a different approach to visual analysis. It still depends on visible components and principles, however it does so in a slightly different way.

When you're writing about sculptures, keep the following in mind:

• Medium, size, and technique -  What kind of material is it? Is it carved in a negative or positive method?
• Color and lightning -  Describe the hue of the sculpture, whether it is painted. Was the sculptor concerned with the illumination when creating the work?
• Human body and scale -  Consider how a human body is portrayed in the piece. Also, assess the sculpture's size compared to that of the viewer.
• Function -  What was the sculpture's main aim? You could speak about whether it represented a religious conviction or honored someone, for example.
• Composition -  Examine the placement of the piece and determine whether there is a focal point.

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Visual Analysis Essay on Advertisement

In advertisements, visuals are used to pique interest or persuade the public that what is being advertised is needed. The goal of a visual argument is to generate attention and intrigue. Images are utilized in advertisements to transmit information and interact with the audience.

When conducting a visual analysis of an ad, keep the following in mind:

• Textual Elements
• Illustrations
• Composition

This all has an impact on how people perceive information and how they react to it.

When you analyze the visuals of an ad, you're performing a rhetorical analysis. The study of images and extracting information from them is known as visual rhetoric. It aids in the comprehension of typography, imagery, and the structure of elements on the page.

How to Write a Visual Analysis Paper on an Advertisement

Visual components in advertising are important. It aids in the persuasion of the audience.

Always keep the rhetorical situation in mind while analyzing visual arguments. The following are some key elements to consider:

• Audience -  Who is the advertisement meant to attract?
• Purpose -  What message does the photo try to get across to the audience?
• Design -  What kind of visualizations are included? Are the visuals clear and easy to follow? Are there any patterns or repetitions in the design?
• Strategies -  Is there any humor, celebrities, or cultural allusions in the graphic's message?
• Medium -  Is the photograph surrounded by text? Is there any text within the picture? How does it interact with the picture to produce an intended effect if there is any?
• Context -  What are the characters in an ad? Where are they positioned?
• Subtext -  Consider the meaning of the picture's words. What are they trying to say?

Visual Rhetorical Analysis Essay Examples

Here are some visual analysis essay samples that you can read to understand this type of essay better. 

Art history Visual Analysis Essay Example

Political Cartoon Visual Analysis Essay

Rhetorical and Visual Analysis Essay Sample

Mona Lisa Visual Analysis Essay

Visual Analysis Essay Topics

Here are some top visual analysis essay topics that you can choose from and begin the writing process.

• Make a review of your favorite Hollywood production and discuss the visual arts involved.
• Write about the use of color and action in TV commercials.
• Discuss how the brand name is displayed in digital media campaigns.
• Discuss different types of visual appeals used in web ads.
• What is the special about Cleo Award-winning ads?
• The Use of Light and Shadow in Caravaggio's "The Calling of Saint Matthew"
• The Symbolism of Colors in Vincent van Gogh's "Starry Night"
• What is the importance of art and culture in our life?
• How has art changed over the last 50 years?
• The use of colors in marketing and advertising. 

To conclude, 

From gathering information about the artwork to crafting a compelling analysis, we've navigated the essential steps you need for a visual analysis essay. Moreover, with the specific tips and examples, you have everything you need to get started.

So dive into the writing process with confidence and return to this blog whenever you need help on any step!

However, if you have gone through the whole article and are still unsure how to start your essay, we can help you.

Our professional essay writers at MyPerfectWords.com can help you with your visual analysis essay assignment. Contact us with your order details, and we will get it done for you. 

We provide essay writing service for students  that you can trust for better grades. Place your order now and get the best visual analysis essay writing help. 

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Home — Essay Samples — Literature — Beowulf — Imagery in Beowulf: The Epic’s Visual Tapestry

Imagery in Beowulf: The Epic's Visual Tapestry

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Imagery in beowulf: portraying heroic valor, imagery in beowulf: symbolizing transience and mortality, conclusion: unveiling the visual tapestry of beowulf.

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• Published: 31 October 2017

The visual essay and the place of artistic research in the humanities

• Remco Roes 1 &
• Kris Pint 1  

Palgrave Communications volume  3 , Article number:  8 ( 2017 ) Cite this article

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What could be the place of artistic research in current contemporary scholarship in the humanities? The following essay addresses this question while using as a case study a collaborative artistic project undertaken by two artists, Remco Roes (Belgium) and Alis Garlick (Australia). We argue that the recent integration of arts into academia requires a hybrid discourse, which has to be distinguished both from the artwork itself and from more conventional forms of academic research. This hybrid discourse explores the whole continuum of possible ways to address our existential relationship with the environment: ranging from aesthetic, multi-sensorial, associative, affective, spatial and visual modes of ‘knowledge’ to more discursive, analytical, contextualised ones. Here, we set out to defend the visual essay as a useful tool to explore the non-conceptual, yet meaningful bodily aspects of human culture, both in the still developing field of artistic research and in more established fields of research. It is a genre that enables us to articulate this knowledge, as a transformative process of meaning-making, supplementing other modes of inquiry in the humanities.

Introduction

In Being Alive: Essays on Movement, Knowledge and Description (2011), Tim Ingold defines anthropology as ‘a sustained and disciplined inquiry into the conditions and potentials of human life’ (Ingold, 2011 , p. 9). For Ingold, artistic practice plays a crucial part in this inquiry. He considers art not merely as a potential object of historical, sociological or ethnographic research, but also as a valuable form of anthropological inquiry itself, providing supplementary methods to understand what it is ‘to be human’.

In a similar vein, Mark Johnson’s The meaning of the body: aesthetics of human understanding (2007) offers a revaluation of art ‘as an essential mode of human engagement with and understanding of the world’ (Johnson, 2007 , p. 10). Johnson argues that art is a useful epistemological instrument because of its ability to intensify the ordinary experience of our environment. Images Footnote 1 are the expression of our on-going, complex relation with an inner and outer environment. In the process of making images of our environment, different bodily experiences, like affects, emotions, feelings and movements are mobilised in the creation of meaning. As Johnson argues, this happens in every process of meaning-making, which is always based on ‘deep-seated bodily sources of human meaning that go beyond the merely conceptual and propositional’ (Ibid., p. 11). The specificity of art simply resides in the fact that it actively engages with those non-conceptual, non-propositional forms of ‘making sense’ of our environment. Art is thus able to take into account (and to explore) many other different meaningful aspects of our human relationship with the environment and thus provide us with a supplementary form of knowledge. Hence Ingold’s remark in the introduction of Making: anthropology, archaeology, art and architecture (2013): ‘Could certain practices of art, for example, suggest new ways of doing anthropology? If there are similarities between the ways in which artists and anthropologists study the world, then could we not regard the artwork as a result of something like an anthropological study, rather than as an object of such study? […] could works of art not be regarded as forms of anthropology, albeit ‘written’ in non-verbal media?’ (Ingold, 2013 , p. 8, italics in original).

And yet we would hesitate to unreservedly answer yes to these rhetorical questions. For instance, it is true that one can consider the works of Francis Bacon as an anthropological study of violence and fear, or the works of John Cage as a study in indeterminacy and chance. But while they can indeed be seen as explorations of the ‘conditions and potentials of human life’, the artworks themselves do not make this knowledge explicit. What is lacking here is the logos of anthropology, logos in the sense of discourse, a line of reasoning. Therefore, while we agree with Ingold and Johnson, the problem remains how to explicate and communicate the knowledge that is contained within works of art, how to make it discursive ? How to articulate artistic practice as an alternative, yet valid form of scholarly research?

Here, we believe that a clear distinction between art and artistic research is necessary. The artistic imaginary is a reaction to the environment in which the artist finds himself: this reaction does not have to be conscious and deliberate. The artist has every right to shrug his shoulders when he is asked for the ‘meaning’ of his work, to provide a ‘discourse’. He can simply reply: ‘I don’t know’ or ‘I do not want to know’, as a refusal to engage with the step of articulating what his work might be exploring. Likewise, the beholder or the reader of a work of art does not need to learn from it to appreciate it. No doubt, he may have gained some understanding about ‘human existence’ after reading a novel or visiting an exhibition, but without the need to spell out this knowledge or to further explore it.

In contrast, artistic research as a specific, inquisitive mode of dealing with the environment requires an explicit articulation of what is at stake, the formulation of a specific problem that determines the focus of the research. ‘Problem’ is used here in the neutral, etymological sense of the word: something ‘thrown forward’, a ‘hindrance, obstacle’ (cf. probleima , Liddell-Scott’s Greek-English Lexicon). A body-in-an-environment finds something thrown before him or her, an issue that grabs the attention. A problem is something that urges us to explore a field of experiences, the ‘potentials of human life’ that are opened up by a work of art. It is often only retroactively, during a second, reflective phase of the artistic research, that a formulation of a problem becomes possible, by a selection of elements that strikes one as meaningful (again, in the sense Johnson defines meaningful, thus including bodily perceptions, movements, affects, feelings as meaningful elements of human understanding of reality). This process opens up, to borrow a term used by Aby Warburg, a ‘Denkraum’ (cf. Gombrich, 1986 , p. 224): it creates a critical distance from the environment, including the environment of the artwork itself: this ‘space for thought’ allows one to consciously explore a specific problem. Consciously here does not equal cerebral: the problem is explored not only in its intellectual, but also in its sensual and emotional, affective aspects. It is projected along different lines in this virtual Denkraum , lines that cross and influence each other: an existential line turns into a line of form and composition; a conceptual line merges into a narrative line, a technical line echoes an autobiographical line. There is no strict hierarchy in the different ‘emanations’ of a problem. These are just different lines contained within the work that interact with each other, and the problem can ‘move’ from one line to another, develop and transform itself along these lines, comparable perhaps to the way a melody develops itself when it is transposed to a different musical scale, a different musical instrument, or even to a different musical genre. But, however, abstract or technical one formulates a problem, following Johnson we argue that a problem is always a translation of a basic existential problem, emerging from a specific environment. We fully agree with Johnson when he argues that ‘philosophy becomes relevant to human life only by reconnecting with, and grounding itself in, bodily dimensions of human meaning and value. Philosophy needs a visceral connection to lived experience’ (Johnson, 2007 , p. 263). The same goes for artistic research. It too finds its relevance in the ‘visceral connection’ with a specific body, a specific situation.

Words are one way of disclosing this lived experience, but within the context of an artistic practice one can hardly ignore the potential for images to provide us with an equally valuable account. In fact, they may even prove most suited to establish the kind of space that comes close to this multi-threaded, embodied Denkraum . In order to illustrate this, we would like to present a case study, a short visual ‘essay’ (however, since the scope of four spreads offers only limited space, it is better to consider it as the image-equivalent of a short research note).

Case study: step by step reading of a visual essay

The images (1, 2, 3, 4, 5) form a short visual essay based on a collaborative artistic project 'Exercises of the man (v)' that Remco Roes and Alis Garlick realised for the Situation Symposium at Royal Melbourne Institute of Technology in Melbourne in 2014. One of the conceptual premises of the project was the communication of two physical ‘sites’ through digital media. Roes—located in Belgium—would communicate with Garlick—in Australia—about an installation that was to be realised at the physical location of the exhibition in Melbourne. Their attempts to communicate (about) the site were conducted via e-mail messages, Skype-chats and video conversations. The focus of these conversations increasingly distanced itself from the empty exhibition space of the Design Hub and instead came to include coincidental spaces (and objects) that happened to be close at hand during the 3-month working period leading up to the exhibition. The focus of the project thus shifted from attempting to communicate a particular space towards attempting to communicate the more general experience of being in(side) a space. The project led to the production of a series of small in-situ installations, a large series of video’s and images, a book with a selection of these images as well as texts from the conversations, and the final exhibition in which artefacts that were found during the collaborative process were exhibited. A step by step reading of the visual argument contained within images of this project illustrates how a visual essay can function as a tool for disclosing/articulating/communicating the kind of embodied thinking that occurs within an artistic practice or practice-based research.

Figure 1 shows (albeit in reduced form) a field of photographs and video stills that summarises the project without emphasising any particular aspect. Each of the Figs. 2 – 5 isolate different parts of this same field in an attempt to construct/disclose a form of visual argument (that was already contained within the work). In the final part of this essay we will provide an illustration of how such visual sequences can be possibly ‘read’.

First image of the visual essay. Remco Roes and Alis Garlick, as copyright holders, permit the publication of this image under a Creative Commons Attribution 4.0 International License

Second image of the visual essay. Remco Roes and Alis Garlick, as copyright holders, permit the publication of this image under a Creative Commons Attribution 4.0 International License

Third image of the visual essay. Remco Roes and Alis Garlick, as copyright holders, permit the publication of this image under a Creative Commons Attribution 4.0 International License

Fourth image of the visual essay. Remco Roes and Alis Garlick, as copyright holders, permit the publication of this image under a Creative Commons Attribution 4.0 International License

Fifth image of the visual essay. Remco Roes and Alis Garlick, as copyright holders, permit the publication of this image under a Creative Commons Attribution 4.0 International License

Figure 1 is a remnant of the first step that was taken in the creation of the series of images: significant, meaningful elements in the work of art are brought together. At first, we quite simply start by looking at what is represented in the pictures, and how they are presented to us. This act of looking almost inevitably turns these images into a sequence, an argument. Conditioned by the dominant linearity of writing, including images (for instance in a comic book) one ‘reads’ the images from left to right, one goes from the first spread to the last. Just like one could say that a musical theme or a plot ‘develops’, the series of images seem to ‘develop’ the problem, gradually revealing its complexity. The dominance of this viewing code is not to be ignored, but is of course supplemented by the more ‘holistic’ nature of visual perception (cf. the notion of ‘Gestalt’ in the psychology of perception). So unlike a ‘classic’ argumentation, the discursive sequence is traversed by resonance, by non-linearity, by correspondences between elements both in a single image and between the images in their specific positioning within the essay. These correspondences reveal the synaesthetic nature of every process of meaning-making: ‘The meaning of something is its relations, actual and potential, to other qualities, things, events, and experiences. In pragmatist lingo, the meaning of something is a matter of how it connects to what has gone before and what it entails for present or future experiences and actions’ (Johnson, 2007 , p. 265). The images operate in a similar way, by bringing together different actions, affects, feelings and perceptions into a complex constellation of meaningful elements that parallel each other and create a field of resonance. These connections occur between different elements that ‘disturb’ the logical linearity of the discourse, for instance by the repetition of a specific element (the blue/yellow opposition, or the repetition of a specific diagonal angle).

Confronted with these images, we are now able to delineate more precisely the problem they express. In a generic sense we could formulate it as follows: how to communicate with someone who does not share my existential space, but is nonetheless visually and acoustically present? What are the implications of the kind of technology that makes such communication possible, for the first time in human history? How does it influence our perception and experience of space, of materiality, of presence?

Artistic research into this problem explores the different ways of meaning-making that this new existential space offers, revealing the different conditions and possibilities of this new spatiality. But it has to be stressed that this exploration of the problem happens on different lines, ranging from the kinaesthetic perception to the emotional and affective response to these spaces and images. It would, thus, be wrong to reduce these experiences to a conceptual framework. In their actions, Roes and Garlick do not ‘make a statement’: they quite simply experiment with what their bodies can do in such a hybrid space, ‘wandering’ in this field of meaningful experiences, this Denkraum , that is ‘opened up’: which meaningful clusters of sensations, affects, feelings, spatial and kinaesthetic qualities emerge in such a specific existential space?

In what follows, we want to focus on some of these meaningful clusters. As such, these comments are not part of the visual essay itself. One could compare them to ‘reading remarks’, a short elaboration on what strikes one as relevant. These comments also do not try to ‘crack the code’ of the visual material, as if they were merely a visual and/or spatial rebus to be solved once and for all (‘ x stands for y’ ). They rather attempt to engage in a dialogue with the images, a dialogue that of course does not claim to be definitive or exhaustive.

The constellation itself generates a sense of ‘lacking’: we see that there are two characters intensely collaborating and interacting with each other, while never sharing the same space. They are performing, or watching the other perform: drawing a line (imaginary or physically), pulling, wrapping, unpacking, watching, framing, balancing. The small arrangements, constructions or compositions that are made as a result of these activities are all very fragile, shaky and their purpose remains unclear. Interaction with the other occurs only virtually, based on the manipulation of small objects and fragments, located in different places. One of the few materials that eventually gets physically exported to the other side, is a kind of large plastic cover. Again, one should not ‘read’ the picture of Roes with this plastic wrapped around his head as an expression, a ‘symbol’ of individual isolation, of being wrapped up in something. It is simply the experience of a head that disappears (as a head appears and disappears on a computer screen when it gets disconnected), and the experience of a head that is covered up: does it feel like choking, or does it provide a sense of shelter, protection?

A different ‘line’ operates simultaneously in the same image: that of a man standing on a double grid: the grid of the wet street tiles and an alternative, oblique grid of colourful yellow elements, a grid which is clearly temporal, as only the grid of the tiles will remain. These images are contrasted with the (obviously staged) moment when the plastic arrives at ‘the other side’: the claustrophobia is now replaced with the openness of the horizon, the presence of an open seascape: it gives a synaesthetic sense of a fresh breeze that seems lacking in the other images.

In this case, the contrast between the different spaces is very clear, but in other images we also see an effort to unite these different spaces. The problem can now be reformulated, as it moves to another line: how to demarcate a shared space that is both actual and virtual (with a ribbon, the positioning of a computer screen?), how to communicate with each other, not only with words or body language, but also with small artefacts, ‘meaningless’ junk? What is the ‘common ground’ on which to walk, to exchange things—connecting, lining up with the other? And here, the layout of the images (into a spread) adds an extra dimension to the original work of art. The relation between the different bodies does now not only take place in different spaces, but also in different fields of representation: there is the space of the spread, the photographed space and in the photographs, the other space opened up by the computer screen, and the interaction between these levels. We see this in the Fig. 3 where Garlick’s legs are projected on the floor, framed by two plastic beakers: her black legging echoing with the shadows of a chair or a tripod. This visual ‘rhyme’ within the image reveals how a virtual presence interferes with what is present.

The problem, which can be expressed in this fundamental opposition between presence/absence, also resonates with other recurring oppositions that rhythmically structure these images. The images are filled with blue/yellow elements: blue lines of tape, a blue plexi form, yellow traces of paint, yellow objects that are used in the video’s, but the two tones are also conjured up by the white balance difference between daylight and artificial light. The blue/yellow opposition, in turn, connects with other meaningful oppositions, like—obviously—male/female, or the same oppositional set of clothes: black trousers/white shirt, grey scale images versus full colour, or the shadow and the bright sunlight, which finds itself in another opposition with the cold electric light of a computer screen (this of course also refers to the different time zones, another crucial aspect of digital communication: we do not only not share the same place, we also do not share the same time).

Yet the images also invite us to explore certain formal and compositional elements that keep recurring. The second image, for example, emphasises the importance placed in the project upon the connecting of lines, literally of lining up. Within this image the direction and angle of these lines is ‘explained’ by the presence of the two bodies, the makers with their roles of tape in hand. But upon re-reading the other spreads through this lens of ‘connecting lines’ we see that this compositional element starts to attain its own visual logic. Where the lines in image 2 are literally used as devices to connect two (visual) realities, they free themselves from this restricted context in the other images and show us the influence of circumstance and context in allowing for the successful establishing of such a connection.

In Fig. 3 , for instance, we see a collection of lines that have been isolated from the direct context of live communication. The way two parts of a line are manually aligned (in the split-screens in image 2) mirrors the way the images find their position on the page. However, we also see how the visual grammar of these lines of tape is expanded upon: barrier tape that demarcates a working area meets the curve of a small copper fragment on the floor of an installation, a crack in the wall follows the slanted angle of an assembled object, existing marks on the floor—as well as lines in the architecture—come into play. The photographs widen the scale and angle at which the line operates: the line becomes a conceptual form that is no longer merely material tape but also an immaterial graphical element that explores its own argument.

Figure 4 provides us with a pivotal point in this respect: the cables of the mouse, computer and charger introduce a certain fluidity and uncontrolled motion. Similarly, the erratic markings on the paper show that an author is only ever partially in control. The cracked line in the floor is the first line that is created by a negative space, by an absence. This resonates with the black-stained edges of the laser-cut objects, laid out on the desktop. This fourth image thus seems to transform the manifestation of the line yet again; from a simple connecting device into an instrument that is able to cut out shapes, a path that delineates a cut, as opposed to establishing a connection. The circle held up in image 4 is a perfect circular cut. This resonates with the laser-cut objects we see just above it on the desk, but also with the virtual cuts made in the Photoshop image on the right. We can clearly see how a circular cut remains present on the characteristic grey-white chessboard that is virtual emptiness. It is evident that these elements have more than just an aesthetic function in a visual argumentation. They are an integral part of the meaning-making process. They ‘transpose’ on a different level, i.e., the formal and compositional level, the central problem of absence and presence: it is the graphic form of the ‘cut’, as well as the act of cutting itself, that turns one into the other.

Concluding remarks

As we have already argued, within the frame of this comment piece, the scope of the visual essay we present here is inevitably limited. It should be considered as a small exercise in a specific genre of thinking and communicating with images that requires further development. Nonetheless, we hope to have demonstrated the potentialities of the visual essay as a form of meaning-making that allows the articulation of a form of embodied knowledge that supplements other modes of inquiry in the humanities. In this particular case, it allows for the integration of other meaningful, embodied and existential aspects of digital communication, unlikely to be ‘detected’ as such by an (auto)ethnographic, psychological or sociological framework.

The visual essay is an invitation to other researchers in the arts to create their own kind of visual essays in order to address their own work of art or that of others: they can consider their artistic research as a valuable contribution to the exploration of human existence that lies at the core of the humanities. But perhaps it can also inspire scholars in more ‘classical’ domains to introduce artistic research methods to their toolbox, as a way of taking into account the non-conceptual, yet meaningful bodily aspects of human life and human artefacts, this ‘visceral connection to lived experience’, as Johnson puts it.

Obviously, a visual essay runs the risk of being ‘shot by both sides’: artists may scorn the loss of artistic autonomy and ‘exploitation’ of the work of art in the service of scholarship, while academic scholars may be wary of the lack of conceptual and methodological clarity inherent in these artistic forms of embodied, synaesthetic meaning. The visual essay is indeed a bastard genre, the unlawful love (or perhaps more honestly: love/hate) child of academia and the arts. But precisely this hybrid, impure nature of the visual essay allows it to explore unknown ‘conditions and potentials of human life’, precisely because it combines imagination and knowledge. And while this combination may sound like an oxymoron within a scientific, positivistic paradigm, it may in fact indicate the revival, in a new context, of a very ancient alliance. Or as Giorgio Agamben formulates it in Infancy and history: on the destruction of experience (2007 [1978]): ‘Nothing can convey the extent of the change that has taken place in the meaning of experience so much as the resulting reversal of the status of the imagination. For Antiquity, the imagination, which is now expunged from knowledge as ‘unreal’, was the supreme medium of knowledge. As the intermediary between the senses and the intellect, enabling, in phantasy, the union between the sensible form and the potential intellect, it occupies in ancient and medieval culture exactly the same role that our culture assigns to experience. Far from being something unreal, the mundus imaginabilis has its full reality between the mundus sensibilis and the mundus intellegibilis , and is, indeed, the condition of their communication—that is to say, of knowledge’ (Agamben, 2007 , p. 27, italics in original).

And it is precisely this exploration of the mundus imaginabilis that should inspire us to understand artistic research as a valuable form of scholarship in the humanities.

We consider images as a broad category consisting of artefacts of the imagination, the creation of expressive ‘forms’. Images are thus not limited to visual images. For instance, the imagery used in a poem or novel, metaphors in philosophical treatises (‘image-thoughts’), actual sculptures or the imaginary space created by a performance or installation can also be considered as images, just like soundscapes, scenography, architecture.

Agamben G (2007) Infancy and history: on the destruction of experience [trans. L. Heron]. Verso, London/New York, NY

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Ingold T (2011) Being alive: essays on movement, knowledge and description. Routledge, London/New York, NY

Ingold T (2013) Making: anthropology, archaeology, art and architecture. Routledge, London/New York, NY

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Hasselt University, Martelarenlaan 42, 3500, Hasselt, Belgium

Remco Roes & Kris Pint

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Correspondence to Remco Roes .

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Roes, R., Pint, K. The visual essay and the place of artistic research in the humanities. Palgrave Commun 3 , 8 (2017). https://doi.org/10.1057/s41599-017-0004-5

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Received : 29 June 2017

Accepted : 04 September 2017

Published : 31 October 2017

DOI : https://doi.org/10.1057/s41599-017-0004-5

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