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 When you think about analysis, try thinking about how you might analyze a car.

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, a painting by Pieter Bruegel the Elder, impresses the viewer first with the softness of sunshine and the bucolic pleasures of the countryside. The everyday pursuits of the three common men pictured — the plowman, the shepherd, and the fisherman — are being carried out in earnest, but with apparent ease and even pleasure. The shepherd lifts his face to the sky, seemingly unconcerned that his sheep are grazing perilously close to the seacliff's edge; the other two are a bit more intent on their work. The details of the foreground — the way the plowman's feet tread upon the neatly folded soil behind the plow — blend toward the vague but powerful treatment of the background's mysteries: the nearly obscured and whitened mountains, the majestic (if somewhat cloudy) city along the far shore, and the ruined castle in the sea with its cave-like entry.

What are its most important qualities?

Our first version of this first essay's beginning is casual, to say the least. Some of the language, the choice of words, would be typical of friends standing in front of a painting at the museum, remarking in an off-handed way some of its more obvious characteristics. Words and phrases such as "guy," "pretty much," "horse's rear end," "weird thing," "give a darn," "pretty," and, of course, "Whoa, Nelly!" would be inappropriate in formal academic discourse. It's not so much that those words are , exactly, just that they are neither precise nor helpful in our understanding of how the painting registers its effects on the viewer. In addition, the analysis of the painting is done entirely from the viewpoint of the first-person singular, "I." Again, that's not exactly wrong, but the reader is impressed by the fact that these impressions could be entirely those of the eccentric individual writing, not that these are impressions that ought to be shared by others.

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The glow of the setting sun (its golden light nearly palpable in the sky) is mirrored by a splash of light in the far sea, but its main effect is in the foreground, the illumination of the commonplace activities of the plowman and the shepherd. The most vivid color in the painting is the reddish orange of the plowman's shirt, juxtaposed as it is to the natural earth tones of horse and dirt surrounding it. Even the shepherd's shadow has an ephemeral quality as the light hits him and his plow nearly horizontally. Whatever energy exists in the painting is moving toward the left side; the plowman, face downward, plods in that direction, as does his horse (whose backside also indecorously confronts the viewer). They move downward and to the left, toward the delicate tracery (like a Chinese screen) of the large tree on the left edge.