Charcoal Critique: "Landscape"

22 Jul 2009
Landscape
by Dean M. Carpenter, charcoal, 42 x 66.

This dramatic landscape is enhanced by the artist’s skill with charcoal. I am attracted to the texture of the foreground and the mass of middle-ground hill against the sky. If the texture in the middle-ground hill were played down—not eliminated, but made subtler—the viewer could better feel the mass of the land against the sky. When the foreground and middle ground are equally articulated, you lose the sense of distance.

The hierarchy of highlights is also relevant to this drawing. The highlights on the distant trees and on the grass in the middle ground are as light as the highlights on the grass in the foreground. Selectively darkening some of these highlights could further improve the drawing.

The artist's drawing altered by our critic to illustrate her suggestions.

About the Critic
Dawn Whitelaw has studied painting with Scott Christensen, Cedric Egeli, Jim Pollard, and Everett Raymond Kinstler. In 2002 she received the Award of Excellence and Best of Show in an international competition sponsored by the Portrait Society of America, and she has exhibited her portrait, landscape, and still life paintings in juried shows organized by the Cumberland Society of Painters, the American Academy of Women Artists, and the Phoenix Historical Museum.

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Comments

Judy P. wrote
on 27 Jul 2009 12:02 PM

Since I took the time to disagree with the critique of the previous work 'Kevin', let me say here I think this critique of 'Landscape' is spot-on. Currently I am slogging through problems with an oil landscape of mine, and find these observations clarifying. I will apply them to my own work- thank you for the insight!

bsilverman wrote
on 30 Jul 2009 6:21 AM

I also disagreed with an earlier critique and I also think Dawn is right on the money with this one. Giving a sense of depth by un-cluttering specific elements in the field of vision is the way to create interest or focus of specific areas of your composition.

caroldnelson wrote
on 20 Aug 2009 10:27 AM

I love the left side of this work.  The whole composition is more interesting and has an improved sense of depth  if the right third or so of the painting is removed.