painting shows you’re a professional and creative painter. I don’t know what things
you need to draw there are. We are not necessarily equipped with the boldness
to describe an art work. Appreciating art for some artists entails the ability
to explain their pieces because every art work conveys a message. Therefore, as
artists, it is their job to pass on the message that is portrayed in you works.
mentality is often associated with the capability to think critically which the
art world implies as a demand. In the event where you are presenting a
painting, you are asked about your inspiration. It would be an awkward
situation if your answer is without depth.
in art colleges many students were written critical
abstract essay about painting. They described
one effective and simple practice to develop critical thinking in this
situation is to have a menu of descriptive words. These words are used to
associate your thoughts and the artwork itself making it comprehensible for you
and your audience.
I don't know just what you're trying to determine here, but I'll explain precisely what my eye did, as I viewed this. (Don't know whether it's something you want, or not.)
My eye was first drawn to the two green lights in the upper center of the painting. My gaze then drifted down to the horse (which did not seem to be very prominent at first glance), and then to the right, to encompass the carriage. Then my gaze simply followed that same path, in reverse, to once again come to rest on the two street lights.
Don't know whether that pleases you, or not, but that is exactly how I viewed this piece. Nearly everything else in the painting was virtually non-existent, in terms of "interest".
Maybe I'm weird, but I started in the center where the purple light then my eye flowed to the carriage.
The lines at the bottom kind of threw me off a bit.
Can't wait to see it finished!
Allow me to be very direct in offering my thoughts about your painting.
I don't think you have an "eye-flow" problem here. I think the problem here is values. Much of the painting is in the highest contrast, black (or almost black) and white. All of this high contrast is screaming for attention. The white pathway markings on the street are so dominate that they are taking away from the carriage, your center of interest.
You might use a piece of workable (treated) acetate as an overlay and roughly paint out the walk-ways or tone them down considerabely to see how this looks. My suggestion for the future is to make a complete, rough value sketch in black and white at about one third size. Work out the problems of contrast at that point in black, white and two or three grays. Then make a color rough sketch that interpets your value sketch into color.
Contrast is one of the most important elements of picture design. There has been much too much emphasis on eye-flow in the teaching of pictorial composition. Now we have people thinking of picture design as road maps for the eye. Eye movement is important but the most important thing is establishing the center of interest. There are no hard fast rules for picture design. There are only guidelines.
Best of luck—
Jay, my look at the original piece took my eye to the center green light and the slightly red building behind it (color compliment) then slid down the line of the building to the right and hit the two bright lights and stopped. I had to pull my eye down to the carriage on the horse and back to the green lights in the center. I jumped right over the walkway a just something to keep me from the action and never got to the left of the painting without conscious effort. The later versions are much better, however for me I just don't see the need for the two bright lights on the right - they keep pulling my eye away from the center of interest. I am not complaining nor trying to find fault at all, its just the way I see it. Very nice technique and obviously well thought out. Will look forward to the finished work.