The points of crits

Well said Rick. Unfortunately, as Robert has noted before, self-deception is the stumbling block particularly for beginners but also for those who have been painting for many years. It seems to me that the longer you’ve been painting the more you can see the faults in your own work. The worst thing is those who can’t really paint seem to be at the front of the line in offering advice!

Wanting to get a “star” from the teacher is very big, especially if you, the juror, is highly esteemed and your approval sought after. Competition is a squirrely matter. Less than “win” may be devastating. A lot of folks can’t take the heat of competition. They need to realize that there are no winners or losers at critiques..just paintings that are being analyzed, and which are part of a larger body of work done over time past and to be followed by many more paintings in the future. Take these same people to a show of the great artists, and see how many different ratings they get from the group. Love Rembrandt, hate Picasso; Love Warhol, hate Fragonard. etc.

The critique can be positive , negative or ambivalent. For the artist it can be hurtful, uplifting or meaningless. There is a wide range of impressions of a piece of art. In the larger scheme the critique is judgmental. With that in mind, and you are giving a critique, you have to be civil and try to see something positive in the work or at least point out areas where the artist fell short. And offer suggestions where the artist can improve and continue to grow. Look at the piece as if you were the artist. Walk in that artists shoes for a while. Offer a kind word or two will work wonders.

A long time ago I realized that many painters see in their paintings similarity to the subject far beyond what the rest of the room can see. It was for this reason that I put that criteria in the dump bin when it came to critiquing another’s artwork and focused only on the Elements of Design. In my opinion if the work succeeds in as an overall design then I should shut up about whether or not the face looks like Marilyn Monroe or Frankenstein with a wig.

After decades of painting with acrylics, I have decided to give oils another go. I recently bought a small set of walnut oil colors and have started a new painting. The first thing I have realized is how dependent I have become on the quick drying aspects of acrylics. This has led to laziness in the planning department. Any major changes in composition or color can be applied in minutes, rather than hours as is the case with oils. So, I sit and wait for the Jello cart…

We must be our worst critic and be merciless in self evaluation. Never be completely satisfied; there is no other means to become better artists than to continually strive for excellence. Fragile ego and artist is a terrible combination. We not only have to withstand rejection we must have a clear compass where we want to go with our work. Agreed, I look at my own work and know exactly where the problems are, and the older I get the more critical I am. The best critique is matter-of-fact suggestions HOW to solve a particular problem. It takes more than “You should work on your half tones.” Oddly enough, when some professionals complete their respective schools/education the degree holder is licensed or well trained enough to engage in their craft. Art is a lifetime pursuit and we never finish learning – that’s why it’s called art.

There is one lesson I learned after years of painting and occasionally participating in shows and consulting with artists that I respect. Never ever take any advice from someone who financially depends on teaching art. No disrespect intended, as they say – some of my best friends know people who teach art. In a best case scenario objectivity is inherently lacking since teachers always stand behind their choice of methods and values. Worst case scenario, they just steer you to take their classes. Robert’s advice to go to your room is the best one I ever got. That and the experience of being accepted in shows and galleries and eventually placing art with collectors. Everything else is more or less fluff.

Your critique remarks sum it up —- beautifully.

I do paint off and on with a group that has a critique at the end of about less than 2 hours of painting. Many of us are not finished, of course, and we have to keep saying “it is not done”. Some of it is helpful, but when I receive about 5-10 suggestions, it ruins the painting for me because it is too confusing and most suggestions are not what I have in mind. Consequently, I have stopped putting my work up for a critique unless I am really stuck.

In our open studio, members of our art group meet every Wednesday to paint together and we have become friends and we often ask each other about our work. Some of us have had certificates or graduated from art schools while some of us are amateurs whose training is taking workshops or from self study from art books or online. I am reluctant to give my opinion about someone’s work while some give theirs solicited or unsolicited. Sometimes they ask me to give my opinion and I usually see an image of an animal or other shapes formed by the work that were not obvious but by the way colors and values are set together, just like when looking at clouds we see shapes that resemble animals or ships and other forms. They would ask me where I see them and when I point it out they then see it. Some of them will change the spot or they like it and leave it. I don’t tell them whether it is a fault or it is good. I just tell them what I perceived or saw in the painting; would that be negative critic?

So very heartening that I am not alone is abandoning, or destroying, a piece of work that is bad. Sand paper and gesso work wonders to soothe after consigning a piece of work to destruction.

For the past 2 years, I have belonged to a group of 8 artists. We come together every other week. The group varies in our backgrounds; but, we are all professional exhibiting artists. These are lively discussions. We originally laid out the ground rules: to be critical but without malaise, to say why we liked a work, to vocalize what we didn’t think was working, etc. Each one of us would feel remorse if we had to disband. All have definitely proffited from the experience. Although we are ruthless with our own self crits, it helps to see how other experienced eyes view a work before sending it out for its debut.

I remember a critique of a painting I did over red underpainting (landscape) and the Critter said I “had rhythm”. I liked that.

Frank – not one in particular – there are an army of them!

Yes- and we’ve met the army and they is us! And I should remember who I’m ripping off- but don’t… And don’t bother with the bad grammar comments- it was intentional- I’ve know many a newbee who thought they knew it all… Takes years of work just to discover knowing it all isn’t possible.

So sorry Bruce – ‘there is an army of them’ or ‘there’s an army of them’. I personally don’t give crits, as the truth will often offend. Artists who ask for crits are usually asking for praise.

I think that beginners are more free to share because they experience lack of meaningful input from those that are busy with their own prosperous careers. This panel is exception, especially the amazingly generous Mr. Genn and many contributors. Maybe my experience will be helpful for some as well. I have a non-artist friend who follows my work and every once in a while says – this painting is great, why don’t you send a pic to this or that person (good friends that are established artists) to get feedback. I always refuse, and he comments that I am “too proud” or “too insecure” .something silly like that. My opinion is that those people couldn’t care less about seeing my work or of anyone else’s who is not on their game level. And why should they. “there’s an army of us”. My friend is appalled at this idea and blames it on my insecurity, supported by the fact that networking/mentoring is very lively in his profession, while I am always alone making art. I sometimes put something in a non-profit show and get hints from mature artists that “I am showing too soon” even when I win awards or sell. They say – “you will know when you are ready” (implying to pack heavy for a long wait). I have decided long time ago not to listen. I was born ready, never hesitated to jump into the cold water, and that works for me. There are actually collectors out there who only want paintings from emerging artists. They won’t collect anything that looks slick. I know this because they buy from me. Picasso once said that he would never ever want to get slick, and he is one of my dear teachers. It’s worth mentioning that there is no “graduation into art market”. If there was one, I’d have followed that path to find out what could be learned. As it is, I follow my own path and don’t listen to anyone. I would encourage all emerging artists to do the same.

As one who has lived/worked in the up-country regions of West Africa, I understand very well the severe limitations aspiring young (and not so young) people face. When I shared pencils – or a plastic carrier bag – with young people in some of the villages of my experience, they were almost delirious with their joy of the small gifts. I do thank you for your openness to mentioning and assisting Nnadozie Gideon. There is so much talent in those countries – it is really encouraging that you sensitively and boldly open the windows so other people can think and respond about development of a different kind – it is all about the art of human being.

This is one of your best letters. Thank you and keep them coming.

I am always put off by anyone who self describes as an artist, rather than as a painter, sculptor, or what have you. I make allowances for those involved in assemblage and performance, though I personally find those disciplines unappealing and often, well, undisciplined. But more to the point, I have found art in many different pursuits. I’ve seen art in knitting and quilting, normally considered (mere) crafts. I’ve seen it in carvings generally described as “outsider art”. While a firm believer in pursuing technique, I believe that art and technique are very different things. Sometimes they compliment one another, sometimes not. What I have definitely found is that a bio that includes formal art education does not guarantee that there will be artistic content in any particular product. On the other hand there are “outsiders” who cannot seem to do anything that doesn’t include artistic content. I wish that anyone who wants for a manner of expression might have the opportunity to try. I stopped a day job to write a novel. I hated the process and failed, jumping willingly back into another day job. But my pastel work– I love it. Will it ever be art? I don’t know. I can only hope and work. But since I love that process, the hope is secondary. Until art reveals itself, I’m happy with the simple pastel landscapes.

for jim noel…. Walnut oils are known to be very slow drying… try using some Liquin with them and it will help a lot. Next time use a different brand of oils.

Nnadozie’s mailing address is at the top of this clickback, right after the RG letter. I’m going to take a chance and send him something too. I wonder if he will thank each and every one of us?

To Michele’s list of the “3 C’s” I would add a fourth-“Creativity”. A favorite artist of mine, Cheng-Kee Chee (illustrator of “Old Turtle”) uses these 4 C’s when he critiques his and other’s artworks. I have found the creativity aspect to be hardest as it forces me to delve beyond what I initially thought I was going to paint.

As a post script for me- the other day I sat a gallery with an aspiring artist who asked my advice about one of his pieces hanging in the gallery. I resisted giving advice with excuse after excuse, but he persisted. I told him I don’t give advice. He could take my class and I would be happy to assist him in future works. But, he kept at me until I saw I had no choice. I either critiqued his work or he would not leave me alone. So, (being very kind) I started with composition (I will not bore you with his) moved into spatial symmetry and finally tonal values. All of which where not supporting the work. Before I could finish, I could see he was formulating his rebuttal even before I finished speaking. Which means he did hear a word I said. Which was his reason for asking me in the first place. Which reaffirmed why I don’t give advice.

p,s, Artists do not really want to hear what is wrong they want to be told what they did well.

Robert, I love reading your letters which are so packed with interesting verbiage. I have many comments to make regarding my several curious experiences in just about every area discussed by previous commentors, so brevity will be difficult. If an artist’s work pleases him or her, and it pleases others enough so that they want it or buy it, then that should make the artist very happy and satisfied. Although art has always been my passion, I have had little time and money to pursue marketing it due to the many crises in my life. At this point in writing this, I have had to get up and attend to some emergency several times. I have an adult mentally and physically disabled son who is bed-bound. We are going through a change in his 24 hour attendant care concerning caregivers and agencies, as well as, an ongoing health issue he has. As an artist, everything I do is done artisticly, whether drawing, painting, writing, sewing, decorating, building. Yes, I have also drawn house plans and done the overseeing of building and shopping for building supplies. Yes, I have written and self-published a 300 page book of poetry and essays. All this I have done without any type of formal education in any of these areas. This is commonly referred to as “self-taught”. I call it “God-given talent”, which can only be “discovered, developed, and exercised”. When I stand back and look at something I have executed with my mind and physical dexterity, I am amazed and wonder “how did I do that?” The answer always comes from within, as God’s Spirit gently says “I did that through you.” What I look for in a completed work is “balance”. I don’t know all the correct verbiage to define balance, but I know if a work has it or does not have it. My work can be viewed at FineArtAmerica.com. I prefer doing realistic work, but I can do abstract. I applaud Nnadozie and his beautiful work and his perseverance. I never had encouragement at home with my art as a child. It was viewed as child’s play by my self-sufficient, poor but proud, hillbilly mother of seven. I was the youngest and began my work ethic training at age two and a half years, alongside my mother and siblings picking cotton as independent migrant field laborers. It has been a long, hard journey to this point, but now and then I get to do something artistic that I love and that others appreciate. I have never had the time to participate much in groups, especially critique groups. I have on occasion entered my work in fine art shows and the experience was enlightening. I learned, as a previous commentor expressed, that education in art does not necessarily mean one is an artist. On my first exhibit, I entered a lion portrait and put a copyright sign by my name, as I had read in a book that it was the appropriate thing to do. The judge of that exhibit, I overheard saying, “It was nice of the artist to put a “copy” sign signifying that it was a “copy” of another’s original.” I timidly approached her and said that it was a “copyright” sign, meaning it “is” my original. She stared at me as though I were a nonperson and said nothing. Another exhibitor’s husband became very agitated and was indeed making a scene, saying that his wife’s painting should have won an award. Her painting of a farmyard with a couple cows, a barn, a pasture with a huge perfectly round tree, was done in a very colorful and pretty primitive style, which I thought deserving an award. The judge’s comment to the husband was “Trees are not shaped round like that.” Well, I thought that in a primitive style, a tree could be shaped any way one desired. Rather, I made a comment that trees are indeed shaped just that round if they are growing all alone, as can readily be seen in any cleared pasture or field, where no other trees or buildings obstruct any area of the tree from sun, and especially if the cows keep the underside of the tree trimmed. Again, I got the stare. This woman judge has remained a constant in the art community leadership as judge and teacher. Once upon a time in the 70’s in Atlanta, I read a flattering writeup with favorable art critique in the Atlanta Consitution Newspaper of an artist who was exhibiting in a fine restaurant. I went to see this amazing artist. Most of the pieces were done in about 30 x 16. They were all the same theme. Jungle. The backgrounds were all black. The green of the foliage was bright. The animals were all peeking through the foliage with cartoonish features. Every piece was tagged at $20,000 or more. I couldn’t believe that people would pay that much money for a cartoon that was so much like another cartoon hanging next to it. I like cartoons. I like color. I Like exotic animals. I would not have minded having one of those paintings, but not at that price. That was my first art exhibit ever attended and I couldn’t understand the monetary value placed on that art. So, eventually, I learned that art is a category of “opinions”. And unfortunately or fortunately those “opinions” determine the value. So, it is well enough that the artist loves his work and does it for the love of it, and it is even better if his work brings some pleasure to others. If it accomplishes this much, then pay no attention to the naysayers. Once, I read an accomplised artist’s comment, “The best thing a school can do for an artist is to kick him out, because all a teacher does is to teach others to do art the way the teacher does.” I have found this to be true. As I stated, I have no formal education in art, but I had occasion to sit in a couple informal classes of artists and indeed they were teaching to paint as they painted, and the class had to each paint the same subject. It was boring to me and I didn’t want to participate. What I needed to learn was how to apply paint, because I didn’t have paints in my youth, I only hand pencil and paper. I didn’t want to draw a bowl of grapes and a bottle of wine. I wanted to draw live things. So, I had to learn by trial and error, the way I have learned everything else. The power was already within me, the searching it out was mine to do. God Bless.

I’m sorry, but I have to disagree. If one is painting for the process, truly only for the enjoyment it brings, the only critique they need is whether they succeeded in achieving their goal. Anyone else’s input is irrelevant unless you have another agenda, for example, sales, or the approval of your peers, or you’re not sure about what you’re trying to accomplish or why you’re doing it, etc., etc., etc. I think relying on someone else to tell you what your work needs in the way of improvements only weekens your own ability to see that for yourself. I could be wrong. It wouldn’t be the first time.

weakens … weakens … It’s three am and the neighbor’s dog is keeping me awake!

What an interesting read…The best I have had for ages! I think one important matter is how well the person giving the critique knows the person whose work they are looking at…If there’s a supportive relationship there with trust and respect both sides, then the comments can be very useful indeed. A person-centred teaching approach, which seeks to both identify the aims and objectives of the individual, and suggest possible avenues for development/ways of experimenting/further examples to study can be very enriching. I agree that the problem sometimes is that there are good artists who don’t have such great teaching skills…Happily I have only run into a couple of these myself though. A good painter/teacher should be able to embrace many different approaches, not just the one they personally prefer. I think focus on the formal aspects of design, use of colour etc…summed up well by “composition” helps things not to get into a “judgemental” kind of mode. Also I agree about the importance of process, though final result does matter, every painting is just one step in a journey…I always say this to my own students, as it helps them to be both kind and critical of their work. I found the memory device offered “Composition, Content, Craftsmenship” very helpful.