Art Criticism and Aesthetic Judgment Chapter 2 ArtTalk Textbook.

Art Criticism and Aesthetic Art Criticism and Aesthetic JudgmentJudgment

Chapter 2 ArtTalk TextbookChapter 2 ArtTalk Textbook

Art CriticismArt Criticism

Art criticismArt criticism is an is an organized system for organized system for studying a work of art.studying a work of art.

Criteria Criteria (standards of (standards of judgment) are used to judgment) are used to evaluate a work of art.evaluate a work of art.

AestheticsAesthetics are the are the philosophy or study of the philosophy or study of the nature of beauty and art.nature of beauty and art.

The The aesthetic experience aesthetic experience is is your personal interaction your personal interaction with a work of art.with a work of art.

Leo Twiggs, Blue Wall, 1969Leo Twiggs, Blue Wall, 1969 - Batik and paint on cotton mounted on board - 22 x 29 3/8 inches (frame) Collection of the artist - Batik and paint on cotton mounted on board - 22 x 29 3/8 inches (frame) Collection of the artist

Why Study Art Criticism?Why Study Art Criticism?

Art criticismArt criticism at first glance is a at first glance is a difficult and nerve-wracking difficult and nerve-wracking process. It seems as though process. It seems as though people are making up weird people are making up weird things about a work of art. things about a work of art. Common thoughts during the Common thoughts during the process are, “I don’t see that”, process are, “I don’t see that”, “What is she talking about?”, “I “What is she talking about?”, “I don’t want to say the wrong don’t want to say the wrong thing”. In thing”. In art criticismart criticism, there is , there is not a “correct” answer. After you not a “correct” answer. After you learn to learn to critique critique (not (not criticize)criticize) art, you will find that art, you will find that art art criticismcriticism is about looking at art is about looking at art and evaluating what and evaluating what youyou think think about it. Art will have different about it. Art will have different meanings to each of us. There is meanings to each of us. There is no right answer!no right answer!

Mary Cassatt, Self-portrait. c. 1878. Gouache on paper. 23 1/2 x 27 1/2 in. Metropolitan Museum of Art, New York.

Art CriticismArt Criticism Art criticismArt criticism is like playing is like playing

detective. You assume the detective. You assume the artist has created a message artist has created a message for you to uncover, and it’s for you to uncover, and it’s your job to discover that your job to discover that message.message.

In order to “discover” the In order to “discover” the message, there are four steps message, there are four steps for you to follow for you to follow in orderin order::

1.1. DescriptionDescription

2.2. AnalysisAnalysis

3.3. InterpretationInterpretation

4.4. JudgmentJudgment

Henri de Toulouse-Lautrec,Henri de Toulouse-Lautrec, At the Moulin Rouge. At the Moulin Rouge. 1892/1895. Oil on canvas. 123 x 1892/1895. Oil on canvas. 123 x 141 cm (48 7/16 x 55 1/2 in.). The Art Institute of Chicago, Helen Birch Bartlett 141 cm (48 7/16 x 55 1/2 in.). The Art Institute of Chicago, Helen Birch Bartlett Memorial Collection Memorial Collection

Step 1 - DescriptionStep 1 - Description This step is meant to slow your This step is meant to slow your

pace of looking at the art. pace of looking at the art. Instead of giving it a quick Instead of giving it a quick glance and saying, “I like it” or glance and saying, “I like it” or “I don’t like it”, this step slows “I don’t like it”, this step slows you down to you down to looklook at the art and at the art and really see it.really see it.

In this step, write the credit line In this step, write the credit line and describe what you physically and describe what you physically see in the work of art.see in the work of art.

Don’t use emotional words at all Don’t use emotional words at all in describing the work of art. in describing the work of art. Instead of “I see a sad woman”, Instead of “I see a sad woman”, you would say “I see a woman”.you would say “I see a woman”.

Don’t make assumptions in your Don’t make assumptions in your description. Instead of “I see a description. Instead of “I see a mother and child”, you would mother and child”, you would say “I see a woman and a child”say “I see a woman and a child” Mary Cassatt, Baby Reaching for an Apple. 1893. Oil on canvas. 100.3

x 65.4 cm (39 ½ x 25 ¼ in). Virginia Museum of Fine Arts, Richmond, VA.

Step 2 - AnalysisStep 2 - Analysis In step 2, you discover how the work is In step 2, you discover how the work is

organized – how are the organized – how are the elements of artelements of art and the and the principles of designprinciples of design used in this art used in this art work?work?

How has the artist used How has the artist used lineline, , shapeshape and and formform, , spacespace, , colorcolor, , valuevalue, and , and texturetexture in in his art?his art?

How has the artist created and/or used How has the artist created and/or used rhythmrhythm, , movementmovement, , balancebalance, , proportionproportion, , varietyvariety, , emphasisemphasis, , harmonyharmony, and , and unityunity in in her art?her art?

Another way to look at this step is to Another way to look at this step is to describe how the artist has directed your describe how the artist has directed your eye to the most important part, the next eye to the most important part, the next item in importance, and so on, through the item in importance, and so on, through the use of the elements and principles.use of the elements and principles.

Sir Jacob Epstein, The Visitation. 1926. Bronze. 165.3 x 53.1 x 49.9 cm (65 1/3 x 20 ¼ x 18 ¼ in). Hirshhorn Museum and Sculpture Garden, Smithsoinian Inatitution, Washington, D.C.

Step 3 - InterpretationStep 3 - Interpretation What is the artist saying to me? What is the artist saying to me?

This is the step where you explain This is the step where you explain or tell the meaning or mood of or tell the meaning or mood of the work.the work.

InterpretationInterpretation is when you use is when you use emotional words like sad, happy, emotional words like sad, happy, glad, carefree, calm, relaxed, etc.glad, carefree, calm, relaxed, etc.

InterpretationInterpretation is the most is the most difficult step because this is what difficult step because this is what the art means to you, and that the art means to you, and that may be very different from what may be very different from what others might think. others might think.

Your interpretation is going to be Your interpretation is going to be based on based on youryour life experiences, life experiences, so it will be different.so it will be different.

Your interpretation is still based Your interpretation is still based on what you observed in the on what you observed in the description description and and analysis analysis steps.steps.

Rene Magritte, Golconde. 1953. Oil on canvas. 81 × 100 cm, 31.9 × 39.37 in. The Menil Collection, Houston, TX.

Step 4 - JudgmentStep 4 - Judgment You determine the degree of artistic merit.You determine the degree of artistic merit. You decide whether you like it or not.You decide whether you like it or not. Is this a successful work of art?Is this a successful work of art? In judging a work of art, you need to look at your reaction to it. In judging a work of art, you need to look at your reaction to it.

Sometimes you can dislike a work of art and still think it is successful. Sometimes you can dislike a work of art and still think it is successful. Artists sometimes deliberately try to evoke a negative reaction.Artists sometimes deliberately try to evoke a negative reaction.

Again, there is no Again, there is no rightright answer! answer!

Pablo Picasso, Guernica. 1937. Oil on canvas. 349 × 776 cm, 137.4 × 305.5 in. Museo Reina Sofia, Madrid.

Aesthetic Theories & Qualities of ArtAesthetic Theories & Qualities of Art The three aesthetic qualities of art The three aesthetic qualities of art

are:are: Literal qualities Literal qualities focus on the realistic focus on the realistic

qualities that appear in the subject of qualities that appear in the subject of the work. Art should imitate life. The the work. Art should imitate life. The aesthetic theory called aesthetic theory called ImitationalismImitationalism focused on realistic presentation.focused on realistic presentation.

Design qualities Design qualities look at how well the look at how well the work is organized – how well the work is organized – how well the elements of artelements of art and the and the principles of principles of design design are used. The aesthetic theory are used. The aesthetic theory FormalismFormalism places emphasis on the places emphasis on the design qualitiesdesign qualities..

Expressive qualitiesExpressive qualities communicate communicate the ideas and the moods of the the ideas and the moods of the artwork. The aesthetic theory artwork. The aesthetic theory EmotionalismEmotionalism requires a strong requires a strong communication of feelings, moods, or communication of feelings, moods, or ideas from the art work to the viewer. ideas from the art work to the viewer.

Thomas Eakins, The Gross Clinic. 1889. Oil on canvas.

Joan Miro, Dutch Interior I. 1928. Oil on canvas. 36 1/8 x 28 3/4" (91.8 x 73 cm). Mrs. Simon Guggenheim Fund. © 2008 Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris

Francis Bacon, Head VI. 1948.

Aesthetic Theories & Qualities of Aesthetic Theories & Qualities of ArtArt

All three theories of All three theories of aesthetics, aesthetics, Imitationalism, Imitationalism, Formalism, Formalism, and and EmotionalismEmotionalism can be used can be used to judge art. You may like to judge art. You may like a work because it looks so a work because it looks so realistic. You may also realistic. You may also appreciate it because it is so appreciate it because it is so perfectly in balance using perfectly in balance using informal balance. And, you informal balance. And, you may like it because you may like it because you have positive feelings about have positive feelings about the subject matter or you the subject matter or you may like the message the may like the message the artist is conveying.artist is conveying.

Chuck Close, Mark. 1979. Acrylic on canvas.

Paul Strand, White Fence. 1916. Photograph.

Edward Munch, The Dead Mother. 1899-1900. Oil on canvas. 39 3/8 x 35 3/8 in. Kunsthalle, Bremen.

Art Criticism of Art Criticism of Christina’s WorldChristina’s World by by Andrew WyethAndrew Wyeth

Description (What do you Description (What do you see?)see?) first look at the credit line. first look at the credit line.

Record the information from Record the information from the credit line.the credit line.

List everything you physically List everything you physically see, including small details.see, including small details.

Possible details to examine – Possible details to examine – the woman’s dress (is it old or the woman’s dress (is it old or new, what color), her hair, her new, what color), her hair, her legs, arms, feet, hands legs, arms, feet, hands (anything unusual?), the (anything unusual?), the buildings, the road, the sky buildings, the road, the sky (what color is it? How much (what color is it? How much of image is ground, how of image is ground, how much is sky?)much is sky?)

Andrew Wyeth, Christina's World. 1948. Tempera on gessoed panel. 32 1/4 x 47 3/4" (81.9 x 121.3 cm).


Analysis (How is the work Analysis (How is the work arranged?)arranged?) Where does your eye go first Where does your eye go first

in the painting? How does the in the painting? How does the artist get you to look at this artist get you to look at this first? (use of line, color, first? (use of line, color, value, shape, emphasis, value, shape, emphasis, rhythm, etc)rhythm, etc)

How does the artist get you to How does the artist get you to look at different parts of the look at different parts of the painting and in what order?painting and in what order?

Use the Use the elements of artelements of art and and the the principles of designprinciples of design to to describe how the artist has describe how the artist has directed your viewing of his directed your viewing of his or her artwork.or her artwork.



Interpretation (What is the artist Interpretation (What is the artist saying?)saying?)

Your interpretation is based on Your interpretation is based on youryour life experiences and life experiences and outlook, so it will not be the same outlook, so it will not be the same as someone else’s interpretation.as someone else’s interpretation.

The slant of the roof of the The slant of the roof of the largest building takes your eye largest building takes your eye straight to the woman. Why did straight to the woman. Why did the artist do this?the artist do this?

Why is the ground so much Why is the ground so much bigger than the sky area?bigger than the sky area?

Why did the artist separate the Why did the artist separate the blades of grass?blades of grass?

Why are the woman’s legs not Why are the woman’s legs not carrying any weight?carrying any weight?

What is the emotional mood of What is the emotional mood of this work?this work?



Judgment (Is this a Judgment (Is this a successful work of art? Why successful work of art? Why or why not?)or why not?) Look at it from an aesthetic Look at it from an aesthetic

theory viewpoint.theory viewpoint. Would this be a successful Would this be a successful

artwork to an Imitationalist?artwork to an Imitationalist? Would this be a successful Would this be a successful

artwork to a Formalist?artwork to a Formalist? Would this be a successful Would this be a successful

artwork to an Emotionalist?artwork to an Emotionalist? Is this a successful artwork to Is this a successful artwork to

you? Why or why not? How you? Why or why not? How did you react to it? What was did you react to it? What was your response to it?your response to it?


Meet the ArtistMeet the ArtistLouise NevelsonLouise Nevelson

Louise Nevelson was Louise Nevelson was born in Kiev, Ukraine in born in Kiev, Ukraine in 1899. In 1920, she 1899. In 1920, she moved to New York moved to New York City and took up the City and took up the study of art in 1929.study of art in 1929.

Nevelson was inspired Nevelson was inspired by Cubism, pre-by Cubism, pre-Columbian art, and the Columbian art, and the creative drive within creative drive within her.her.

Louise Nevelson, Sky Cathedral. 1982. Painted wood. Smithsonian American Art Museum

Meet the ArtistMeet the ArtistLouise NevelsonLouise Nevelson

Nevelson started out Nevelson started out experimenting with all art experimenting with all art media. Then she started media. Then she started working three-working three-dimensionally putting things dimensionally putting things together – called together – called assemblage, or assembled assemblage, or assembled sculpture.sculpture.

Although she is best known Although she is best known for her “boxes”, Nevelson for her “boxes”, Nevelson also did some massive also did some massive outdoor sculptures.outdoor sculptures.

Louise Nevelson died as an Louise Nevelson died as an American citizen in 1988.American citizen in 1988.

Louise Nevelson, City on the High Mountain. 1983. Steel painted black. 20' 6" x 23' x 13' 6"

Louise Nevelson, Luminous Zag: Night, 1971. Painted wood (105 boxes), 120 x 193 x 10 3/4 inches, overall. Solomon R. Guggenheim Museum

Objective Assessment – Reviewing Objective Assessment – Reviewing Art FactsArt Facts

Write the following questions and then the answer.Write the following questions and then the answer.

1.1. Standards of judgment.Standards of judgment.2.2. An organized system for studying a work of art.An organized system for studying a work of art.3.3. The philosophy or study of the nature of beauty and The philosophy or study of the nature of beauty and

art.art.4.4. Personal interaction with a work of art.Personal interaction with a work of art.5.5. The art criticism step in which you make a list of all The art criticism step in which you make a list of all

the things you see in a work.the things you see in a work.6.6. The art criticism step in which you discover how The art criticism step in which you discover how

the work is organized.the work is organized.7.7. The art criticism step in which you explain or tell The art criticism step in which you explain or tell

the meaning or mood of the work.the meaning or mood of the work.



8.8. The art criticism step in which you determine the degree of The art criticism step in which you determine the degree of artistic merit of the work.artistic merit of the work.

9.9. The realistic qualities that appear in the subject of the work.The realistic qualities that appear in the subject of the work.10.10. The qualities that indicate how well the work is organized.The qualities that indicate how well the work is organized.11.11. The qualities that communicate ideas and moods.The qualities that communicate ideas and moods.12.12. The aesthetic theory that focuses on realistic presentation.The aesthetic theory that focuses on realistic presentation.13.13. The aesthetic theory that places emphasis on the design The aesthetic theory that places emphasis on the design

qualities.qualities.14.14. The aesthetic theory that requires a communication of The aesthetic theory that requires a communication of

feelings, moods, or ideas.feelings, moods, or ideas.



1.1. What will learning the steps of art criticism help you What will learning the steps of art criticism help you develop?develop?

2.2. Name the four steps of art criticism in the order in which Name the four steps of art criticism in the order in which they must be followed.they must be followed.

3.3. In which step would you list the size of the work and the In which step would you list the size of the work and the medium used?medium used?

4.4. Name and describe the three aesthetic theories.Name and describe the three aesthetic theories.5.5. If the organization of an artwork is most important to an art If the organization of an artwork is most important to an art

critic, which aesthetic theory would he or she hold?critic, which aesthetic theory would he or she hold?6.6. When criticizing functional objects, what must you consider When criticizing functional objects, what must you consider

during interpretation besides beauty?during interpretation besides beauty?

Art Criticism and Aesthetic Judgment Chapter 2 ArtTalk Textbook.

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