Category: St. Paul

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Monday Morning Art School: How to critique work on the internet (and elsewhere)

Stop looking for something brilliant to say; it’s not about you.
Ogunquit, by Carol L. Douglas

My friend likes to make “medieval” artwork through her persona in the Society of Creative Anachronism. If any activity ought to be about pure fun, this is it, but she recently told me about a terribly harsh criticism she received on Facebook. She hadn’t asked for advice, but she got it anyway. The message she heard wasn’t about something she could do better. It was that this so-called expert was a cruel jerk.

In general, this is my rule for critiques over the internet: don’t. Comments are irrevocable once they’re out there in cyberspace. Your tone can’t modify or soften your words. You can’t really see the work, and while a thumbnail may tell you a lot about composition, it is silent about paint handling, mark-making, and scribing.
Historic Fort Point, by Carol L. Douglas
When I am asked for a comment, I talk about what I admire, reserving more thoughtful critiques for my classes and workshops. However, someone will occasionally press and want more specific criticism. At that point, I take the conversation to private messaging or email. It’s too easy for public internet conversations to devolve into a cruel pile-on.
We use the “sandwich rule” in our class. We begin by pointing out something the person did well. We then discuss what might have been handled differently. We finish by pointing out something else that the person did well, so that each session ends on a positive note.
Lunch break, Castine, by Carol L. Douglas
This method has been mocked as “fluffy bun—meat—fluffy bun,” but that misses the point. Most people are all too aware of their failures and not aware of their strengths. Their own self-doubt gets in the way of seeing what is successful in their painting. That needs articulation as much as the negatives do.
St. Paul was one of the most influential people of antiquity. Philippians 4:10-20 reveals a teacher who is affirming, content, flexible and confident. He exhorts, he talks freely of his own challenges, and he’s optimistic. That’s a great model on which to base teaching and criticism.
People are capable of wonderful things, but our society routinely discourages us from daring to be great. When someone disregards all the voices telling them they can’t do something, and they challenge themselves with hard work and dedication, they ought to be encouraged.
Kaaterskill Falls, by Carol L. Douglas
I’m up at Schoodic Institute teaching my Sea & Sky workshop. On Thursday evening, we’ll have a critique session. This isn’t about learning what’s wrong with our paintings. It’s also about learning to read artwork and learning to write artwork that is readable. To this end, we’ll ask some general questions, such as:
  • “What do you notice first? Second?”
  • “Why did you see those things in that order?”
  • “Does this evoke a feeling or response in you?”
  • “What is the point of this work?”

Frankly, there’s enough negativity in this world. If we err, let us err on the side of kindness.
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If you haven’t got anything nice to say…

By now, I assume you’ve seen the video, above, of the art student who lost her temper at her classmate’s inane and snarky critique. Although she has been characterized as unstable and over-the-top, I feel her pain. Nasty criticism is everywhere, and, sadly, young artists often lead the pack.

I remember the first time my work was reviewed for publication. The writer—a successful, middle-aged gallery director—was snarky and destructive. I felt it keenly. 

Conversion on the way to Damascus, Caravaggio, 1600-1. This was the moment when Paul stopped being rigid, inflexible, discontented and critical. For most of us, however, it’s a far more gradual process.
This past Sunday, Pastor James Laughlin talked about the characteristics of St. Paul that made him such a formidable evangelist. It occurred to me that they were applicable to teaching and criticism as well.
St. Paul, Georges de la Tour, 1615
Paul comes down to us as one of the most influential people of antiquity, and certainly the most important figure of the Apostolic Age. That’s pretty amazing considering that after he gave up his Pharisaical career, he spent the rest of his life as a peripatetic tent-maker, preacher, prisoner, and letter writer.
St. Paul in Prison, Rembrandt van Rijn, 1627
Philippians 4:10-20 reveals a writer who was affirming, content, flexible and confident. He exhorts his friends in Philippi, he talks freely of his own challenges, but he’s always optimistic.
His success as an evangelist ought to encourage us to imitate him as critics and teachers. And yet so often teaching and criticism takes exactly the opposite approach—it demeans.

People are capable of wonderful things, but our society routinely discourages people from daring to be great. When someone disregards all the voices telling them they can’t do something, and they challenge themselves with hard work and dedication, they ought to be encouraged.

Let me know if you’re interested in painting with me on the Schoodic Peninsula in beautiful Acadia National Park in August 2015. Click here for more information on my Maine workshops! Download a brochure here.