The Critique Blog

Oil Critique: "Hillside of Poppies"

2010-02-17T12:00:00Z

Hillside of Poppies 2008, oil, 24 x 30. I have a few suggestions to offer for this painting. The artist may want to consider showing some cast shadows across the path. These shadows would have the same direction as the shadows of the trees, bushes, and house. I would also change the shape of the cast shadows of the round trees in the left background; they could be curved instead of linear. The color of the blue mountain in the background can be much grayer; this would move the mountain back in space...(read more)

Oil Critique: "Portrait of an Old Man"

2010-02-10T18:48:00Z

Portrait of an Old Man by Roger Burch, 2009, oil on linen, 20 x 16. The artist of this painting may want to consider lightening the irises of the eyes—especially the man’s right eye, since it is farther away from the viewer. Some edges of the hat could be lost into the background, so too could the man’s right shoulder. The drawing of the ear could be changed a bit to show some narrowing. This perspective change would make the ear go back in space instead of reading flat. (Unless...(read more)

Oil Critique: "Welsh Landscape"

2009-11-25T12:00:00Z

Welsh Landscape by Patti DeWitt, 2007, oil, 16 x 20. A common challenge in painting summer landscapes is that there is usually so much green. In these cases artists can take lots of “artistic license” and have fun mixing lots of different greens, which can either be so warm that they are close to red or so cool that they read as blue. Artists should use warmer greens in the foreground and cooler ones in the background. In this landscape there are some nice yellow-greens on the ground...(read more)

Watercolor Critique: "Mountain"

2009-11-18T19:20:00Z

Mountain by Michele A. Congdon, 2008, watercolor, 18 x 22. Three things would help this painting. First, the artist can vary the softness and hardness of edges. Edges in the distance can be made softer, even losing some into the sky. Second, the artist can vary the temperatures of the blues and browns, keeping in mind that colors get cooler as they recede in space and warmer as they advance. A third improvement would be to vary the intensities of the colors; they should be less intense in the background...(read more)

Watercolor Critique: "Sofie"

2009-11-04T12:00:00Z

Sofie by Nora Velastegui Pettersson, 2004, watercolor, 22 x 18. The artist has created an engaging portrait of a young woman. I especially like the simplicity of the nose and the mouth. The forehead has a great sense of roundness. Parts of the hair could be less linear, and this adjustment would put more attention on the face and delicate shadows that fall on the head. The texture of the hair does not need to be eliminated; there should just be less contrast between some of the strands of hair, especially...(read more)

Pastel Critique: "Mountain Stream"

2009-10-28T11:00:00Z

Mountain Stream by Mary Ann Stafford, 2008, pastel, 18 x 24. The rocks and water in the foreground are very effective. I would like to have more of an impression that the water on the back waterfall is moving toward the viewer and connecting with the water in the front of the painting. To help with this, there could be some light water that links the horizontal shapes of the back waterfall together. Also, if the lights on the water linked together from the back of the painting to the front, the composition...(read more)

Oil Critique: "Jealous Much?"

2009-10-21T11:00:00Z

Jealous Much? by Sheri Crawford, 2008, oil on Masonite, 16 x 20. Bravo! This painting is strong in both concept and execution. It really does not need any “fixing.” A good exercise in this case is to consider alternate ideas for a piece. Another possibility for this painting might be to use the shadow to design the image. If the shadow on the back wall were enlarged, it would add more drama and minimize some of the mortar lines between the bricks. Also, if the right arm of the figure...(read more)

Oil Critique: "Teaching Grace"

2009-09-02T10:00:00Z

For this painting, our critic discussed the importance of background color.

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Oil Critique: "Rapid Reflections"

2009-08-26T10:00:00Z

Our critic discusses the use of shadows in this water-filled landscape.

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Oil Critique: "Montana Fall"

2009-08-19T10:00:00Z

Our critic discussion color choices when creating a landscape painting.

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Critique: "Still"

2009-08-12T10:00:00Z

Our critic offers her suggestions for this portrait of an old man.

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Acrylic Critique: "Blue Longing"

2009-08-05T10:00:00Z

Blue Longing by Crystal MacEachern, 2007, acrylic on paper, 12 x 14. My main recommendation for this floral painting concerns illumination and shadow. There is a hint of shadow rendering in the centers of the flowers, and this concept needs to be used in the flower petals also. To render objects in a representative manner, an artist needs one light source illuminating a light side and a shadow side. About the Critic Joyce Washor graduated from Rutgers University, in New Brunswick, New Jersey, and...(read more)

Oil Critique: "Winter Day Rock Channel"

2009-07-29T10:00:00Z

Winter Day Rock Channel by Karl Terry, 2009, oil on board, 8 x 16. Being in the middle of summer it can be hard to look at a winter scene, but this one is very appealing. The colors and the composition both work. There are two minor changes I would suggest. The first concerns the triangular object, which could be a bit lighter in value. To my eye it stands out a bit too much—even if it’s the center of interest. I’m not sure if it is part of the structure in the foreground or not...(read more)

Charcoal Critique: "Landscape"

2009-07-22T10:00:00Z

Our critic discuses the importance of texture when portraying the mass of the land against the sky.

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Charcoal Critique: "Kevin"

2009-07-15T10:00:00Z

Dawn Whitelaw discusses highlights while looking at this charcoal drawing.

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