I recently took advantage of the Critique Service offered by Oil Painters of America. After sending in my required images, I learned that my critique would be from a master artist who teaches at the Art Student's League in New York.
As an artist, my previous experience with critiques came either from the classroom or the public. While I always appreciate hearing feedback, it felt quite different to wait for the critique from such an experienced painter. What would he say? Would it be useful, or just point out the weaknesses in the work? So I felt a certain amount of trepidation when I opened the email with his response attached.
It was the best experience that I've had with regard to someone talking to me about my work.
Of course, the one painting my instructor picked to illustrate his points was Tangerine Tango. And he began his instruction by telling me the question he always asks his students: What do you want to see happen in your painting?
The advice he offered me was "I would like to see more variety and unity in my painting," and he gave some very specific ideas on how I might achieve this.
Since I was currently working on a new still life, I looked for ways to apply the concepts. One suggestion related to ways of describing local color. Within a few strokes, my painting began to come alive and I could see exactly how far I could push the color. Studying books by Sergei Bongart and Sorolla helped, as well as the Impressionists. Another book from my library, Problem Solving for Oil Painters, by Gregg Kreutz, as been most helpful. With so many instructional books on the market, it's hard to decide which books are the best, but I do recommend that you take a look at this book. Aimed at the moderately experienced painter, Kreutz discusses painting concepts and illustrates ways to achieve them.
As an artist, my previous experience with critiques came either from the classroom or the public. While I always appreciate hearing feedback, it felt quite different to wait for the critique from such an experienced painter. What would he say? Would it be useful, or just point out the weaknesses in the work? So I felt a certain amount of trepidation when I opened the email with his response attached.
It was the best experience that I've had with regard to someone talking to me about my work.
Of course, the one painting my instructor picked to illustrate his points was Tangerine Tango. And he began his instruction by telling me the question he always asks his students: What do you want to see happen in your painting?
The advice he offered me was "I would like to see more variety and unity in my painting," and he gave some very specific ideas on how I might achieve this.
If you are interested in the OPS Critique Service, here is the information from their newsletter:
Artists are reminded that a critique service is available for both members and non-members of OPA. Artists wishing to participate should mail two identical disks containing three to ten paintings of current work with a one page biography. The fee is $25.00 for OPA members and $50.00 for non-members. Send materials and check to Oil Painters of America, P.O. Box 2488, Crystal Lake, IL. 60039-2488
I think it's always important to get feedback from viewers, especially educated ones! Thanks for the reminder and letting us know this service is available!
Posted by: TracyW | May 14, 2009 at 12:08 AM
I am bookmarking this post; would really enjoy that kind of feedback.
Posted by: AscenderRisesAbove | May 13, 2009 at 05:08 PM