About a Critique

I love that because I blog I meet other artists out there. Last year I met Robert, who has posted a few comments on my blog and we have been corresponding for a while now. Recently he asked me to critique a few of his paintings. This is what he wrote about them:

I have been trying to develop paintings in a consistent motif, consistent style, trying to use value and color to instill vitality into scenes. I'm trying to do that to use my paintings to help uplift peoples spirits. That's my goal. I'm not trying to make political statements, or to use paintings to create harsh, brooding, overly emotional and melodramatic sentiments. Quite the opposite. This world has enough things going on to bring people down. When I think of my clients, I want them to have paintings that hang on their walls that help to make them feel good, refreshed, invigorated.

I'm trying to get more brushstroke, more use of lighting, and of color to try and create vitality. I just want viewers to feel refreshed and energized when they see my works. Happy.

Painting 1 Frolicking in Maine, 16" x 20", Oil on Panel

Let me just say that this painting is wonderfully expressive and original. To me it looks as though you have a love for the area which is a huge asset in a painting. 

Now let's look at the fundamentals like composition and design, value and color quality, perspective, edges and brushwork.

I love the composition and how the boy running on the beach adds to the curve of the wave into the painting. Robert keeps the eye moving in this one with secondary interests like people on the beach as it curves around. It looks to be in the late afternoon light to me, with the pinkish warm undertones. Overall the composition and design was a good concept, but perhaps a lot of information to throw into one idea.

The design in painting is so important and it helps to try and keep it as simple as possible while telling your story. So maybe there is more than one story going on here?

It is really difficult to judge the values in a photograph, but they seem to be reading okay here. Perhaps you could find ways to create distance in a stronger way. Consider scaling the background houses down to a smaller size and toning down the value to be lighter and cooler? I would leave out the detail of the windows and just "suggest" them. The chimneys are not going to have a hard edge and will be much lighter. 

I like the light and shadow on the beach and the people. This is very well done.

I also like the warm light on the rocks. You really thought this through Robert. 

It appears to me that you are at a point in your paintings that you could start to consider your edges more seriously. Really look at what the edges are doing. Anything in the distance is very soft and things tend to blend into each other. The clouds are in the distance and seem somewhat out of perspective. The sky is like a big dome and clouds grow larger as they come closer to you. Clouds are also another opportunity to create a pleasing design shape. Try not to paint mounds of clouds but design something beautiful. Also keep them simple. I know this is just a lot of words, and I hope this is helpful anyway. 

Painting 2 Heading out, Thomas E. Lannon, 12" x 16", Oil on Panel

This is another very beautiful piece. Still maybe two stories going on, or three. The sailboat and the smaller boat is really plenty of information already. The reflections in the water are very nice. I like your brushwork here. The clouds seem to be taking the interest away from the focal point which would be the sails on the big sailboat. I would do away with the building in the back altogether. When I put my hand over it, the design is very pleasing.
Here is the thing. Design and concept are fundamental, especially in landscape pieces. Take time to decide what it is you want to say. This is the concept. It could be about the fisherman, about the sunset, the boats, the shadow and light. I know you want to tell the world about your beautiful Maine. But simple statements made with a melodic design of darks, lights and color will tell your story the best.

Painting 3  Maine Seascape, 12" x 16", Oil on Panel

Painting 4  Heading Out, 12" x 16", Oil on Panel

These two are my favorites. I'm glad you sent enough paintings for me to get a feel for your style and overall development. I like these two because they do tell a story, but in a simple and beautiful way. They make me want to visit Maine and sail in the waters there.
My suggestion to you Robert at this point is to be careful while copying from photos, and rely more on your own understanding of what is out there. Go out and paint small studies, many of them. Really spend time so you can develop your eyes to see what is really there. Look at the difference when you see something in the distance. Take time to paint small simple compositions. Then go back to your studio with your studies and spend more time developing your designs by sketching simple notan studies. Then paint value studies using black and white. Then paint your larger pieces using what you have learned along the way. 
You are doing a good deed, sharing your love of your area. I can feel it already in your paintings. And when you learn to create simple designs that can say it, you will really have something special.
Thank you for sharing these with me. I hope I have been able to say some things that will help. I know you will do well. You have the heart to do it. You have already done it in these last two pieces. So you know how. Bravo Robert.

To see more of Roberts work go to Robert's Blog