Understanding the Artwork:

To embark on the journey of writing a thoughtful and engaging art review, it is paramount to develop a comprehensive understanding of the artwork at hand. This involves immersing oneself in the piece, closely observing and analyzing it from various angles. By unraveling the artist’s intentions and techniques, as well as examining the visual elements, symbolism, and composition, writers can effectively unearth the layers of meaning embedded within the artwork. This foundational knowledge will serve as a solid bedrock for crafting an insightful critique.

Developing a Critical Eye:

Nurturing a discerning and knowledgeable eye is a critical aspect of art critique. Aspiring art writers must cultivate a broad knowledge base encompassing diverse art styles, movements, and genres. Studying art history and relevant cultural contexts is indispensable for gaining a deeper appreciation of artworks and understanding their significance within the larger artistic landscape. By honing the ability to identify the strengths and weaknesses of an artwork, writers can offer well-informed assessments, facilitating an enriched understanding for readers.

Structuring the Art Review:

A well-structured art review is essential to maintain the reader’s engagement from start to finish. Crafting an enticing introduction is paramount, as it serves as the gateway to the entire review, capturing the reader’s attention and compelling them to delve deeper. Following the introduction, a concise summary of the artwork and its contextual background should be provided, enabling readers to grasp its significance and relevance. Evaluating the technical and conceptual aspects of the artwork, supported by concrete evidence and illustrative examples, adds depth and credibility to the review. Furthermore, the incorporation of constructive criticism and suggestions for improvement fosters growth within the artistic community, ensuring a balanced and constructive approach to critique.

Engaging and Thoughtful Writing Techniques:

Writing an art review that is both engaging and thoughtful transcends mere description. Employing vivid and evocative language allows readers to experience the artwork on a deeper emotional and sensory level. By incorporating personal reflections and connections, writers can provide unique insights and establish a relatable experience for readers, fostering a more profound connection with the artwork. Striking a delicate balance between subjective opinions and objective analysis is crucial, as it ensures that the review remains fair and comprehensive. Moreover, adopting a clear, concise, and accessible writing style enables a wider audience to connect with the critique, thereby promoting broader appreciation and understanding of art. Exploring diverse perspectives and encouraging dialogue helps to cultivate a vibrant and inclusive artistic community, fostering a space for meaningful exchanges of ideas and interpretations.

Ethical Considerations in Art Critique:

When engaging in art critique, it is vital to navigate ethical considerations with care, sensitivity, and respect. Recognizing and appreciating the artist’s intentions and artistic freedom is crucial, as it acknowledges their unique voice and individuality. By providing fair and balanced assessments, the review maintains its objectivity and impartiality, ensuring that the critique is rooted in a genuine understanding of the artwork. Sensitivity is especially important when handling sensitive topics or controversial artworks.

FAQ

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There is no one right way to start drawing. Artists use a variety of techniques that best suit their personal style of work. But if you’re a beginner, chances are you only know one or two methods, and you keep using them even when they don’t seem to work.

In this article, I will show you five popular methods for creating a creature/character drawing. I will show their pros and cons so you can decide which one is best for you. However, don’t just look at the pros and cons – not all of them may be important!

1. Stroke

What is this?

This is by far the most popular method among true beginners. Whenever I read the stories of professional artists, they always admit that this is how they started. Basically, a stroke is drawing over an image to copy its lines, partially or completely. The result is a drawing with clean lines and perfect proportions. To circle:

1. Find a drawing/photo (the brighter the lines, the better).
2. Cover it with a thin sheet of paper so you can see the original image (you can use some kind of transparent table, like a window).
3. Draw visible lines.

For

• The drawing is clean.
• Correct proportions.
• Requires little effort.
• Improves handicraft skills.
• A process that even a child can understand.
• It turns out a decent picture without artistic skills.
• Good result guaranteed.

Against

• The drawing is not really yours (if you call it yours, it’s the art of stealing!).
• And any praise you get for a drawing isn’t really yours either.
• You cannot draw what you want, but only copy.
• This is a one time solution.
• Since great results are obtained without much effort, you may not want to strain yourself later for the sake of working on a real drawing.
• This does not make you an artist, but rather a living copier.

How to learn it?

Doing it. It’s not that hard, really!

2. Stroke from memory

What is this?

This is a method that beginners may consider the only honest one. You may or may not use the template; in the end, it all comes down to imagining lines. The process looks like this:

1. Take a blank sheet of paper.
2. Look at it and imagine the future drawing.
3. Draw imaginary lines.

For

• It’s very lucrative.
• If you consider yourself talented, it will be easy to a certain extent.
• If you know what you’re doing, the lines are very clean and neat.
• It does not require a sensitive instrument.

Against

• The more complex the topic, the more “talent”/experience/visual memory it requires.
• You don’t really know what you’re drawing until it’s done – it’s a guessing game.
• The more you guess, the messier the drawing.
• The result rarely matches your vision.
• Every little mistake is fatal to the end result.
• It requires a lot of effort with no guarantee of decent results.

How to learn it?

Don’t learn it. Learn other methods and this skill will update automatically.

3. Structural drawing

What is this?

When you begin to seriously learn to draw, you are told that the final lines come from the guides, the inner skeleton of the drawing. Here’s how to understand it:

1. Get a set of samples of one item.
2. Analyze them to understand the structure of the subject (something common to each photo).
3. Circle from memory to simply draw the structure.
4. Use the structure as guides for the final drawing.

For

• If you understand the topic correctly, you can create very realistic drawings without reference.
• This gives you confidence and the ability to fix bugs on the fly.
• You don’t have to guess where to put the last lines in order for them to be clear.
• You can change what you have learned before learning something new.
• You can teach drawing to others.
• This is perfect for the analytical mind.

Against

• The drawing will come out messy if you have too many guides or draw them in too much detail.
• The poses come out stiff and unnatural because you have to plan them first (unless you use a link).
• It takes a lot of effort to study a topic.
• It takes a lot of practice.
• If you take a bad structure, the final lines will turn out to be bad, no matter how much time you put into it.
• Structural thinking may not fit into the typical mind of an artist.
• Structures can be easily forgotten if you haven’t practiced drawing them for some time.
• You need concentration to draw like this.

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“Shulers”. Caravaggio

This is one of the most famous paintings on the theme of gambling. The name of Caravaggio does not require an extra introduction. The painting was painted at the time of his formation as an artist after he left the studio of Cesare d’Arpino. The picture depicts a well-dressed young man, and two cheaters are already ready to wrap him in their nets – one has cards hidden behind his back, the second tries to peep into the cards of a young man whom they are going to cheat. The bright canvas is not devoid of the drama of the situation, which opens up to an attentive viewer – the calm course of the game can flare up with violence at any moment, because one of the cheaters has a dagger in his belt.

“The End of the Card Game” Messinier

Jean-Louis-Ernest Messonnier is not as famous among the general public as Picasso. But in the 19th century, he was a recognized painter whose paintings were sold at fabulous prices. His “Chess Game” has nothing to do with real passion, a completely different feeling is “The End of the Card Game”. A bright, expressive picture that conveys the climax of the confrontation between two inveterate and hot players. Without resolving the dispute with words, they grab their swords and kill each other. It is difficult, in my opinion, to convey the apogee of the game more expressively than Messonnier did. And indeed – for both the game is over. If you are interested in gambling, we recommend that you try your luck in an online casino – minimum deposit casino

“Preference”. Vasnetsov

For Viktor Mikhailovich Vasnetsov, such a plot is not familiar. A singer of Russian folklore and nature, he suddenly turned to the image of gamblers. Vasnetsov’s attitude to gambling, apparently, was not the best. The Preferans are depicted bored, and the atmosphere of the painting lacks the fire and drama of a card game. Two out of five players who are not busy with what is happening at the table frankly do not know what to do with themselves. Vasnetsov chose an unusual approach to portraying excitement.

“Card player” (“Gambler”). Picasso

The Spanish genius paints this picture at the moment of his passion for cubism, so for an inexperienced viewer it is something incomprehensible with cards in the middle. Well, this is the vision of the creator, but it’s hard not to notice that the cards in the picture, replete with geometric elements, are given a central place.

“Card Players” Paul Cezanne

Another masterpiece of world art. More precisely, this is a series of five paintings united by the theme of playing cards. Three of them are variants of the same composition, where two people sit at a table and hold cards in their hands. Only the surroundings on all canvases are different. The other two paintings are also similar to each other. The difference is in the details. And here the artist depicted not excitement, but a routine, even sometimes it seems that the players are killing time. There is nothing to do, why not spread to the cards? Do the characters just have dull faces, or maybe they are immersed in a heavy thought?

“Before starting”. Degas

The French classic Edgar Degas was fond of horse racing, so it is not surprising that there are so many jockeys and horses in his paintings. For example, “Racehorses in front of the stands”, “At races in the countryside”, “Races in the field” and others. In my opinion, the most revealing painting by Degas on this topic is “Riders before the start”. The audience has already gathered, the jockeys in the saddles, the race will soon start. Men on horseback sit calmly and even with dignity. And in the heat of excitement, one must maintain undaunted fortitude, although it is known how dangerous horse racing was for jockeys. Big money on the hippodrome – big risk.

Soldiers playing cards and dice. De Boulogne

In Valentin de Boulogne, the theme of cards and games runs through a number of paintings. The plot of the painting “The Dodger” is reminiscent of the canvas “Rounders” by Caravaggio, which was discussed above. More than once, the French artist depicted fortune-tellers who are short-handed with cards. But our attention is riveted to the painting “Soldiers playing cards and dice.” Soldiers not engaged in their direct business indulge in gambling with passion and tension in their faces. One couple is playing cards, the other is throwing dice. The dynamism of what is happening is masterfully conveyed by de Boulogne.

The Card Players Lucas van Leyden

Lucas van Leyden, a painter from the beginning of the 16th century, plunges us even deeper into the abyss of centuries. And here people, driven by excitement, indulge in their favorite game of cards. Unbridled passions were not customary to convey in those days in painting, the faces on the canvas are concentrated and, as it were, pious. But the poorly hidden interest in the result of the game shows through in the faces full of languishing expectation. The artist hid, but could not hide their tension. Behind the outward decency are hidden emotions that need to be released. Game, excitement – and six centuries ago they also rule the ball.

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Henri Rousseau

The future artist and one of the most influential representatives of primitivism was born into the family of a plumber in the French town of Laval. After serving in the army, Henri got a job at the local customs office, where he worked as a simple clerk for much of his life. “Le Douanier” or “The Customs Officer” is the condescending nickname given by critics of this period to the naive self-taught artist. The modest, tenacious and talented Rousseau, having formed his own unique style, managed to gain recognition during his lifetime – his works were exhibited in the same exhibitions as paintings by Van Gogh, Matisse and Gauguin. Later Pablo Picasso acquired many paintings by Rousseau, some of which he bequeathed to the Louvre.

Paul Gauguin

A successful and wealthy stockbroker Paul Gauguin started his way in art collecting paintings by modern impressionist artists. Gradually gaining an understanding of painting, Gauguin tried his hand at the easel. In Gauguin’s spacious, comfortable apartments, much attention was given to the artist’s studio. Gradually, Paul distances himself from his main profession in favor of painting. Along with immersion in art, his financial problems grow. Friendship with artists Leval, Van Gogh, with whom Gauguin stayed and worked in Arles, and communication with other talented contemporaries become his only professional school. Driven by a desire to merge with nature and get away from civilization, Paul Gauguin goes to Tahiti and then to the Marquesas Islands, where he creates his most famous paintings.

Maurice Utrilo.

For a long time, the work of a self-taught master was not recognized by professional critics and gallery owners. The education of the young Utrilo was to observe the work of the great artists of Montmartre. The boy was given such an opportunity by his mother, the future artist, the beautiful Suzanne Valadon, who worked as a model who posed for such painters as Renoir, Toulouse-Lautrec, Berthe Morioso and Degas. However, by the age of 30, Maurice Utrilo’s work gradually becomes in demand, and even later the artist becomes an international celebrity, receiving the Legion of Honor at age 42 for his contribution to French art, hardly regretting the lack of a diploma.

Maurice de Vlaminck.

The French landscape painter was born in 1876 and graduated only from music school as a violinist and cellist. The musician’s paintings don’t begin selling for the first time until he was 30, and before Morms’ major artistic success comes, he earns a living by giving private music lessons and performing in local salons and restaurants. Vlaminck later devotes himself entirely to painting and becomes one of the artists whose Fauvist paintings had a significant influence on the 20th century Impressionists.

Frida Kahlo

The legendary Mexican artist Frida Kahlo was born in 1907 in the suburbs of Mexico City, later changing her year of birth to 1910, the date of the Mexican Revolution. She graduated from one of Mexico’s best educational institutions, the National Preparatory School, planning to study medicine in the future. After a serious accident, in which Frida was involved at the age of eighteen, the girl found herself bedridden for a year. It was during this period that she asked her parents to bring her brushes, canvases and paints. The novice artist’s first painting was a self-portrait, which for a long time determined the main direction of Frida’s work. Currently, Frida Kahlo is a truly iconic character of modern history, her rich biography has become the prototype of many works of literature and cinema.

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The artist’s biography has been repeatedly rewritten, and is also accompanied by speculation and legends, which are often refuted or questioned by researchers. The sources of false rumors often turned out to be gallery owners and art dealers who sought to fuel interest in the artist’s paintings by substituting and exaggerating biographical facts.

For example, contrary to the legend of the only painting sold during his lifetime, to date, documented at least 14 successful transactions related to the work of the master. Naturally, the artist actually sold many more paintings, not to mention the fact that for some time Van Gogh himself was a professional dealer of paintings.

We’ve collected the titles of several works that are quite rarely shown to the general public, including early Van Gogh paintings in which the handwriting of the future master is easily discernible:

• Vincent van Gogh, Roofs. A View from the Studio”, 1882
• Vincent van Gogh, A Trimmed Willow Tree, 1882.
• Vincent van Gogh, A Meadow in the Mountains of Le Mas de Saint-Paul, 1889
• Vincent van Gogh, A View of the Roofs of Paris, 1886.
• Vincent van Gogh, The Garden of Dobigny, 1890.
• Vincent van Gogh, Still Life with a Bible, 1885
• Vincent van Gogh, Landscape under a Stormy Sky, 1888
• Vincent van Gogh, “Girl in White in the Woods,” 1882.
• Vincent van Gogh, “Exterior of a Restaurant on Agnère,” 1887.

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“Work Without Authorship” (Werk ohne Autor) / 2018, Germany

The names of the main characters are fictional, but as the plot progresses, it becomes clear that the film’s story is based on the biography of the now living German painter Gerhard Richter. The 88-year-old painter did not appreciate the film, yet the fascinating story, which tells of life, love and creativity against the backdrop of Nazism, escape from East Germany, encounter with the realities of Western modern art and worldwide recognition, coupled with good camerawork and a touching soundtrack, makes the film a beautiful and meaning-filled stor”Gauguin. In Search of Paradise,” in some translations “Savage” (Gauguin – Voyage de Tahiti) / 2017, France

A pictorial film biography about the famous French painter, played by Vincent Cassel. The plot describes the period when Gauguin leaves the bohemian life of Paris for Tahiti, where he meets a local girl – a beautiful islander Techura, who would later become the heroine of many now famous paintings of the artist.

“Genius: Picasso” / 2018, USA

The second season of the acclaimed National Geographic project “Geniuses” colorfully narrates the biography of Pablo Picasso, played by Antonio Banderas. For ten episodes, the viewer observes all the main events of the rich life of the legendary Spaniard – from enrollment in art school and youth to death. Along with the biography of the artist, the viewer contemplates the historical events of the twentieth century, as well as the great contemporaries of Picasso – Ernest Hemingway, Jean Cocteau, Marc Chagall.

“The Final Portrait / 2017, UK, USA

In 1964, two years before his death, the famous sculptor Alberto Giacometti (Geoffrey Rush) begins working on a portrait of his friend, the young and popular American critic James Lord (Armie Hammer). The film may seem to have almost no plot, but the fresh atmosphere of Paris and the brilliant dialogues about life, art and painting make you want to watch the Oscar-nominated film to the end.

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Pablo Picasso, Picador, 1889.

Impressed by a bullfight, eight-year-old Pablo Picasso created his earliest surviving painting. The young artist painted from an early age. Many people also know his Portrait of his Mother, painted at the age of 13.

Michelangelo, “The Torture of St. Anthony,” 1487

By far the most expensive work of art created by a child. The earliest surviving work by Michelangelo. In July 2008 the painting was sold at an auction at Sotheby’s for 2 million dollars. At the time of the painting, the 12-year-old Michelangelo was studying in the studio of Domenico Ghirlandaio.

Salvador Dali, “Landscape near Figueres,” 1910

The 6-year-old Salvador painted this landscape on a postcard. The layer of oil paint is so thin that the postcard design figures show through the painting.

Paul Klee, Children’s Drawing of a Lady with an Umbrella 1873-1875.

One of the most prominent masters of the European avant-garde, after he had already graduated from art school, dissected his childhood sketches and picked out this particular pencil drawing. The artist systematically used this portrait, among others, created at the age of 4-6 years in his mature works, considering childish art especially valuable thanks to its sincerity and spontaneity.

Albrecht Dürer, self-portrait, 1484

Dürer’s work marked the formation of the Northern European self-portrait as an independent genre. The greatest master of the Western European Renaissance painted his first portrait while working in his father’s jewelry workshop and later studying under Michael Wolgemuth, the greatest artist of the time. Dürer created his self-portrait at the age of 13.

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The panel has been seriously damaged and, since the seventeenth century, has been restored several times. That’s why some experts expressed doubts that the unexplained detail of the painting was added by the author himself. We are talking about a small fly painted in the central part of the plot. The insect sits on the cloth covering Our Lady’s lap, a composition between the Roman Emperor Maximilian I and the Christ Child. At the same time, the fly is depicted in detail and in life-size, although the other characters of the painting are painted in markedly smaller scale.

The tiny fly in Dürer’s painting confuses the experts.

The small detail is practically invisible to the uninitiated viewer; moreover, on the church altar, the panel was at a considerable distance from the eye and was hardly noticeable to most of the congregation.

Still, it is most likely that the fly was added to the painting directly by Dürer. This is evidenced by early copies made from the original and by lines from a poem written shortly after the panel’s creation, where the painting’s author is referred to as “the artist of the daring fly.”

There are several versions that seek to explain the presence of the fly in the composition. According to one of them, the insect, symbolizing negative, evil associations at the time, according to the author’s idea will soon be crushed by the foot of the infant Christ. At the same time, the location of the fly between Christ and the monarch could symbolize mortality and refer to the future crucifixion of Jesus, or on the other hand – to the temporality and relativity of earthly power in comparison with the power of God. We can not exclude more down-to-earth motives of the artist, who decided in a joking way to demonstrate his mastery of the brush or place a compositional emphasis in the picture.

In any case, the mystery of Dürer’s fly is unlikely to ever be exhaustively explained, still generating theories, versions and discussions around it.

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