Stand before the painting for a few seconds before trying to identify it. Wait a second and do not yet search for the painter’s name and certainly do not run over to the description hanging next to the frame. Let yourself first look at the painting. The most important thing is to do this because the label can condition you to believe that the “right” answer has been given before you have noticed the content that is actually present.
Look first at the most important details you can see. Look at the dimensions of the piece, at the overall form, the main light and shadow, and the first element your eye lands on. If it is a portrait, it may be the face or hand. If it is a landscape, it may be a winding road or river or row of trees. If it is a still-life, it may be a way the objects are arranged in a composition of fruit, cloth, glass or flowers that is restful, tense, sumptuous or ephemeral. These things are not insignificant and they are a crucial foundation for looking at a painting.
Next, consider the composition. Look at how the painting is structured. Are the figures in a balanced arrangement, or is the action crowded and full of drama? Are there strong diagonal lines or repeated arcs, a defined focal point, or competing points of interest? Beginners will sometimes only see the content (for example, “A woman”, “A battle”, “A room”) and fail to see how the painting guides the eye. The subject matter tells you what is depicted. The composition tells you how it works.
Another layer of analysis is color and texture. Warm colors can give you a sense of intimacy, drama, or energy, whereas cool colors may seem to create distance, calm, or moderation. Dense paint can create a tangible physical surface and texture, whereas thin paint may smooth away the hand of the artist and present a finished, composed image. You do not need to learn specialized vocabulary to do this. “Soft lighting”, “sharp contrast”, “bold darks” or “loose strokes” are all good starting points.
Try writing down a brief description of the painting before you look at the label. In two or three sentences, describe what the painting is, how you interpret its mood or tone, and the importance you assign to specific visual elements. Perhaps the subject is turned away from the viewer, the interior setting is gloomy save for a single candle, or the calm atmosphere makes it feel very private. This keeps you from surrendering your own look and creates something you can compare to the information on the label.
Only after this do you turn to the museum label or your instructor’s lecture for more information. Look for any new context provided by this description: its period, its school, who commissioned it, its medium, its subject, or why this object is of particular significance. Maybe the subject is religious, the composition was inspired by courtly portraiture, the work depicts modern urban life, or the work is an example of the newly popular trend in depicting everyday objects. This type of description makes more sense when you have developed your own questions. This is not merely about being told information but about evaluating that information against what you see.
It is not a sign of improvement when you start using all the technical terms used by art historians. You know you are making progress when you are able to leave a painting with a clearer memory of what it looks like, and the significance of its most important visual elements. When you do leave the painting, take a few more seconds to look at the work one more time and consider which part would you remember most if it did not have a title. Only by doing this will you make the label more of a reference than a replacement for your attention.