"Paintings With Personality"

A few more members of my critique group

      As an advocate of the Big Mac Aesthetic, I feel that the subaqueous qualities of the spatial relationships endangers the devious simplicity of the essentially transitional quality.

      Huh??? That’s supposed to be a critique? An art critique is to point out the powerful areas in a painting as well as it’s less certain aspects in terms that can be understood. The painter can learn as much from seeing someone else’s work being critiqued as from a critique of their own work. Our minds register the information even when we aren’t aware it is happening (most minds anyway, mine could be in question just ask ‘Honey’). Some critique groups have become a mutual admiration society rather than an organization whose goal is to learn and grow. Here are a few techniques that can be followed to help with a critique:

• Artist’s statement – what was the artist’s intention? Have they achieved their goal? Does the painter want feedback on any particular area?
• Emotional impact – What is the overall mood of the painting? Do the colors and values support the mood and promote an emotional reaction?
• Subject matter – does it tell a story? Is it unexpected or intriguing? Is there any symbolism in the painting?
• Title –What does the title tell you about the painting? Does it give a sense of the artist’s intention? Would a different title make you interpret the painting differently?
• Technical skill – how well has the artist handled the medium? Has the painting been slavishly copied rather than thought put into which elements to include?
• Unity – is the medium and subject matter handled the same way throughout the painting? Does the eye flow around the painting and stay involved?
• Format – is the shape of the canvas suitable for the subject matter, and does the arrangement of shapes suit the painting size and shape?
• Perspective – Is the perspective accurate and consistent throughout the art work?
• Focal point – is the focal point easily identified and in a good location?
• Texture – is the texture consistent throughout painting and uniform in the subject matter?
• Value range – are the values strong, going from lightest light to darkest dark? Even a high key painting needs value.

      Anyone who paints has a little something they can offer in a critique that someone else doesn’t know or might not have thought of. If you don’t have anything to say about the work being shown sit and listen while the others discuss the piece. To talk while someone else has the floor distracts from the critique and could make someone miss what they most wanted to hear.

      You can take the advice given in a critique or not. I would suggest taking it into sincere consideration what this group of 5 – 10 artists has offered.  You would need a pretty good reason for ignoring them in favor of something you might prefer. Re-evaluate the elements and principles of design and the rule of thirds then make your final decision.

”I read an article on me once that described my machine-method of silk-screen copying and painting: 'What a bold and audacious solution, what depths of the man are revealed in this solution!' What does that mean?” -- Andy Warhol

A marvelous pastel, we didn't find much to critique here.