MODULE 3: Basic Art Criticism

Topics
1. The Steps in Art Criticism
2. The Four Steps in Art Criticism
3. Types of Critical judgment
4. Methods of Art Criticism

Learning Outcome
1. Identify and differentiate the basic steps in art criticism
2. Analyze and critique artworks for their formal qualities and artistic
organization

Overview of the Lesson

The evolution of man’s regard to arts has developed from the concept of beauty to
the state of AESTHETICS. The considerations however, lies on the eye of the
beholder.

The lesson focuses on activities regarding basic art criticisms. It also involves art
appreciation activities where basic art criticism following basic steps is executed.
It further underscores the types of Critical Judgment and methods of art criticism.
The lesson aims to help learners to put premium on the appreciation of the
different forms of art.

IN TOUCH!
Basic Art Criticism
The Steps in Art Criticism by Matt Fussell
Source: Art Appreciation by Solmerano, ET M. (2019)

Whenever we observe art, our mind juggles into different component parts—we
look at the physical construct, we dig into the affective component, we deal with
the raw materials and the end-product and the likes. As we go through this
process, the art of criticism is manifested.

Criticisms impose a great help on developing and redefining any work of art. The
polishing of a more defined craft is a result of peoples’ criticism. It is however
important for the artist or the artisan to be open and to listen to criticisms to help
them look for the loopholes or the weaknesses of their craft—in this way we
become more successful in our crafts.

To further define our crafts, we use the four steps in art criticism: description,
analysis, interpretation, and judgment.
 a. Description. Basically, when we look at any work of art what the naked eye
sees is the general construct of the art. Say for instance if we are to look at
Mona Lisa, the initial identity of the craft is “It is a painting of a woman.”

When critiquing, start with making a simple description of what is

obviously seen in the artwork.

b. Analysis. It underscores how we see elements and principles of art. We

may consider the color, the lines, the texture, the property of balance,
proportion, rhythm, unity, and the likes.

When critiquing, we need to discern when these elements and properties

are exhibited or if these are employed successfully on the craft. Any
alteration or inconsistency on the craft’s property or element will be obvious
on this case—leading to criticisms.

c. Interpretation. Without enough knowledge on the process of giving

criticisms in arts, most individuals will eventually proceed to this stage.
This is a natural human act as we look for meaning in everything.

When critiquing, it entails exploring the meaning of the artwork. It goes

down deep into what the artist want to convey on his or her craft.

d. Judgment. The validation of judgment is cleared from sort of biases. To see

the value of an art, it is significant to have and end goal—that is to bring
out the best from the artist.

To note, in judging a work of art it is not necessary to like or love the craft.
The most important thing is you appreciate the craft and that you see it as
a work in progress in which criticism is a valuable key for polishing—
resulting to an aesthetically acclaimed output.

“Understanding the steps to art criticism and implementing them in a structured

way in critique, will help you create better artwork.” (Fussell, “The Steps in Art
Criticism” 2010)

The Four Steps in Art Criticism from Janice Mason Art Museum
Source: Art Appreciation by Solmerano, ET M. (2019)

Being able to critique art by utilizing the concepts of element, principles of design,
and appropriate art terminologies is of great significance. Coupling it with the
steps in art criticism, this will help learners to use a systematic view to assist in
their creative pursuit to becoming successful art critiques.

Each step includes valuable questions that can be used to critique any piece of
art. Answering each question in every step will further help you validate the value
of an art.
1. Describe. Tell what you see (visual facts)
a. What is the name of the artist who created the artwork?
b. What kind of an artwork is it?
c. What is the name of the artwork?
d. When was the artwork created?
e. Name some other major events in history that occurred at the same
time this artwork was created.
f. List the literal objects in the craft (trees, people, animals, mountains,
rivers, etc.)
g. What do you notice first when you look at the work(s)? Why?
h. What kinds of colors do you see? How would you describe them?
i. What shapes can we see? What kind of edges do the shapes have?
j. Are there lines in the work(s)? If so, what kinds of lines are they?
k. What sort of textures do you see? How would you describe them?
l. What time of the day/night is it? How can we tell?
m. What is the overall visual effect or mood of the work(s)?

2. Analyze. Mentally separate the parts or elements, thinking in terms of

textures, shapes/forms, light/dark or bright/dull colors, types of lines,
and sensory qualities.

In this step consider the most significant art principles that were used in
the artwork. Further, you may describe how the artist used them to
organize the elements.
a. How has the artist used colors in the work(s)?
b. What sort of effect do the colors have on the artwork?
c. How as the artist used shapes within the work of art?
d. How have lines been used in the work(s)? Has the artist used them as
an important or dominant part of the work, or do they play a different
roll?
e. What role does texture play in the work(s)? Has the artist used the
illusion of texture or has the artist used actual texture? How has
texture been used within the work(s).
f. How has the artist used light in the work(s)? Is there the illusion of a
scene with the lights and shadows, or does the artist use light and
dark values in a more abstracted way?
g. How has the overall visual effect or mood of the work(s) been achieved
by the use of elements of art and principles of design.
h. How were the artist’s design tools used to achieve a particular look or
focus?

3. Interpretation. It seeks to explain the meaning of the work based on the

core of your existing knowledge about the work of art and on how you
perceive the message which the artist wants to convey.
a. What was the artist’s statement in this work?
b. What do you think it means?
c. What does it mean to you?
d. How does this relate to you and your life?
e. What feelings do you have when looking at this artwork?
 f. Do you think there are things in the artwork that represent other
things—symbols?
g. Why do you think that the artist chose to work in this manner and
made these kinds of artistic decisions?
h. Why did the artist create this artwork?

4. Judgment. This is your own personal evaluation based on your own

understanding of the wok(s).
a. Why do you think that this work has intrinsic value or worth? What is
the value that you find in the work(s)?
b. Do you think that the work(s) has a benefit for others? Do you find
that the work communicates an idea, feeling or principle that would
have value for others?
c. What kind of an effect do you think the work could have for others?
d. Does the work lack value or worth? Why do you think this is so? Could
the reason you find the work lacking come from a poor use of the
elements of art? Could the subject matter be unappealing,
unimaginative, or repulsive?
e. Rather than seeing the work as being very effective or without total
value, does the work fall somewhere in-between? Do you think that the
work is just okay? Where do you base this opinion on? The use of
elements of art? Lack of personal expression? The work lacks a major
focus?

Exploring your capacity in art criticism in any craft may also bring out positive
perception. As you go through on the process, you also come to realize that your
own taste and prejudice may interfere with your criticisms. Thus, the need to
underscore the impact of giving positive and constructive perceptions.

TYPES OF CRITICAL JUDGMENT

Source: The Nature and Importance of Art Criticism and Its Educational The Nature and Importance of
Art Criticism and Its Educational Applications for k-12 Teachers by Tia Blackmon (2015), University of
Central Florida

“Evaluation occurs when an idea or definition of excellence is known, and this

idea of what
Excellence is, is also known as aesthetics.” Feldman (1994)

The three types of judgment are as follows: formalist, expressivist, and

instrumentalist. These types of judgments underscore the derivation of varying
definitions on what excellent aesthetic value is.

Formalist judgment
҉ Formalism is the idea of excellence in the formal relationships between the
form and visual elements in the work. These visual elements of the work are
free of labels, associations, or the conventional meanings that these
elements may have in reality.

҉ For a formalist, an excellent work is designed with careful planning and

calculation done by the artist (Feldman, 1994). Within formalism, there is
no need on our part to take into account the artist’s means or method of
 creating the artwork. The elements of art are taken into account of the
success of the work: line, shape, balance, color, texture, value, and
form.

҉ No matter the style of work, the formalist critic judges a work on the
elements of art and its underlying organization. These criteria are
responsible for the formalist critic’s perception of the quality of the work.

Expressivist judgment
҉ Expressivist is the idea of excellence in the ability to communicate ideas
and feelings within a work intensely and vividly (Feldman, 1994). Now all
art communicates ideas or feelings in some capacity, no matter what the
style.

҉ Expressivist judgment gives the idea of intensity of experience. The most

exceptional work stimulates the most vivid feelings – even stronger than
what student critics would experience in everyday life.

҉ From this, the standards of judgment for expressivist criticism are from the
emotional response elicited from the viewer. However, expressivist
judgment does not shun the importance of formal organization;
expressivist judgment insists that the organization is associated with the
communication of significant ideas.

҉ Expressivist judgment takes into account the formal qualities of the

work and how those formal qualities help create emotional reaction
when judging the excellence of the artwork.

Instrumentalist judgment
҉ Instrumentalist Judgment regards art as a tool for advancing some moral,
religious, political, or psychological purpose. Instrumentalist judgment is
concerned with the consequences of the ideas and feelings expressed by art
and the message associated with them (Feldman, 1994).
҉ Contemporary artwork at most times has a strong message being
conveyed whether it is political, social, or economical. As art educators we
must incorporate engaging contemporary artwork within our lessons as to
expose our students to new artists and artwork.
METHODS OF ART CRITIC

It may be thought that any method of art criticism can be the framework for
examining the form and content of a work of art. However, with the
understanding of the types of critical judgment, art educators must know that
each lesson or type of work may not be critiqued using any one method, but in
using parts of several.

҉ Feldman method (1970)

 Edmund B. Feldman’s system of criticism uses inductive reasoning to reach a
judgment from the supplied artwork based on four stages (Hamblen, 1985).
The idea is if students are able to master the method they will then be able to
talk about and think critically of art. Discussing art is critical to the process
and mastery of art criticism (Feldman, 1994). The following four stages of the
Feldman method emphasizes an explanation of the art work.
Description
• Name the facts and inventory the subject matter, noting what is immediately visible in
the artwork. Identifying things about the work that can easily be named, labeled,
and agreed upon by a group of people (Hamblen, 1985, p. 76-8).

Analysis
• Naming the art elements present in the work of art while discovering the
relationships and organization between the elements and principles within the
whole work (Hamblen, 1985, p. 76-8).

Interpretation
• The process of finding meaning of the work or the expressive qualities such as
mood, feelings or emotions. This stage uses the previous description and analysis
stages of the work as the explanation of the critic’s interpretation (Hamblen, 1985,
p. 77-8).

Judgment
• Making an evaluation of the work in relation to aesthetic excellence and to
other works of its type. The judgment is a conclusion drawn from the previous
stages, what qualifies as aesthetic excellence is based upon the critic and type of
critical judgment they use (Hamblen, 1985, p. 77-8).

Figure 3.1 Feldman Method

The Feldman method allows a student with no prior knowledge of art to
critique an artwork bases on basic principles of the elements of art and
principles of design. The ability to simplify the critical steps and leave the
judgments based on visual facts and relationships makes the Feldman method
objective. Although interpretation and judgment are subjective in heart, this
method does not take into account viewer emotional response to the work.

҉ Broudy method (1972)

It has four stages of aesthetic perception that is followed by three stages of
aesthetic criticism. Broudy refers his view as the informed aesthetic response,
breaking down criticism into each category of art criticism and judgment style
previously noted (Hamblen & Galanes, 1991).
Aesthetic Perception
Sensory Properties: Observing what appears in the artwork and
identifies the art elements
that exist (Hamblen & Galanes, 1991, p. 79)

Formal Properties: Establishing relationships of the elements of art and

their expressive
power (Hamblen & Galanes, 1991, p. 79)

Expressive Properties: Identifying mood, expressions, and emotions portrayed.

Recognizing how the work stimulates the senses and effects the viewer emotionally
(Hamblen & Galanes, 1991, p. 79)

Technical Properties: Observating how the work was created in style,

technique, and use
of skill. Emphasis on how the work was created (Hamblen & Galanes, 1991,
p. 79)

Figure 3.2 Broudly Method’s Aesthetic Perception

Historical: Determining the expressive intent of the art in relation to

the culture, time period, and style it was created in. Historical aesthetic
Aesthetic Criticism

criticism in the Broudy method does not directly mimic instrumentalism

because the work does not need to be a tool to a higher purpose, but
rather reflects on the relationship to the context of its time (Hamblen &
Galanes, 1991, p. 80).

Recreative: Recognizing the artist’s intent or what the work is

intended to express. Think of artist’s purpose and the different
objectives of art (Hamblen & Galanes, 1991, p. 80).

Judicial: Ranking the value or excellence of a work against other

works of similar style or content (Hamblen & Galanes, 1991, p. 80).

Figure 3.3 Broudly Method’s Aesthetic Criticism

The Broudy method is dissimilar from the Feldman method in process and type of
critical judgment. The main idea is for the viewer to take into account their
reaction to the work and making expressivist judgments.

This method defines excellence by the amount of an artworks’ emotional power.

Just as previously stated in expressivist judgment, students early on naturally
make judgments based on emotional response or connection to an artwork. This
method allows students to deconstruct those immediate emotional judgments into
analytical steps.

҉ Lankford method (1984)

Louis Lankford’s (1984) art criticism method emphasizes the viewer’s
observation and perspective as well as the properties of the work of art
(Smith, 1995). In his opinion, what a work of art means depends just as much
on the
Receptiveness
•The viewer is to free themselves of reflex responses and
preconditions in order to fully receive new information (Smith,
1995, p. 5-6).

Orienting
•The viewer is required to decide the visual boundary that an
artwork exists in, the effects of the physical conditions around the
work, and position themselves in a way so they are able to view
the work completely and clearly (Smith, 1995, p. 5-6).

Bracketing
•The viewer is to focus completely on the existing qualities of the
work in whole and limit critical art dialogue of the content of the
work (Smith, 1995, p. 5-6).

Interpretive Analysis
•The viewer discusses and partakes in an art dialogue of the
symbols, representational meanings, art element relationships,
and feelings produced by these factors (Smith, 1995, p 5-6).

Synthesis
•The viewer discusses their judgment and importance of the work
with an understanding that the conclusion reached is not an
absolute (Smith, 1995, p. 5-6).
 viewer’s perception as properties within the work (Lankford, 1984).

Figure 3.4 Lankford Method

The Lankford method is a mix of formalist and expressivist judgment. What is

important about this method of art criticism is that the first step allows the
viewer to simply react to the work, a step that students as viewers do innately.
The combination of emotional and visual power of a work of art as a judgment of
excellence in visual aesthetic is a sound method.

҉ Anderson method (1988)

Tom Anderson’s (1988) approach to art criticism stresses critical thinking
because it encompasses all thinking skills such as analysis, deductive
reasoning, and interpretation (Anderson, 1988). Anderson’s method follows
closely to educational criticism in its ways to incorporate affective and
intuitive thinking with analytical ways of perceiving artwork (Hamm Walsh,
1992

Reaction Perceptual Personal Contextual Synthesis

•The viewer Analysis Interpretation Examination
reacts to the •The viewer •The viewer is to •The viewer must •The viewer
artwork and begins to search understand their research or gain comes to their
how the work and discover reaction and understanding final
makes them why they felt the thoughts of the of the framework evaluation of
feel. reaction. work in relation that makes up the work based
to the emotional the piece. on the steps of
•This is to be •This stage content and the method.
a completely requires three meaning found in •This can include
affective steps: the work (Hamm visual symbols, •Combination
response Representation, Walsh, 1992, p. or influences of emotional
(Hamm Formal Analysis, 74). that are social, and descriptive
Walsh, 1992, and Formal political, or components
p. 74). Characteristics historical are what
(Hamm Walsh, (Hamm Walsh, makes up the
1992, p. 74) 1992, p. 74). final
evaluation
(Hamm Walsh,
1992, p. 74).
 Figure 3.5 Anderson Method

What this method differs from other methods is that it has the viewer take into
account their personal interpretation of the work as a part of the critical process.
This allows viewers to further explain their initial emotional reactions and
connections to the artwork.

This method uses expressive judgment by basing viewer’s reactions and

personal interpretations as the components for final evaluation.

҉ Modernism (late 19th century – mid 20th Century)

✓ Modern art is usually associated with the era 1860-1960s, which
occurred along with Impressionism movement until halfway through the
Pop-Art movement (Postmodern Art, 2014).
✓ Modern artists centered on the individual, not the group.
✓ Modernism values the idea of individual development and technological
progression coming from individual rationality.
✓ Judgments made on modern art by modernists were based on the
aesthetic response and intrinsic qualities of the work itself.
✓ The concept of modernism calls for expressivist judgment when
critiquing work. The core of modern art is the independence of the
creative individual artist who acted alone or above their suppressive
society traditions (Anderson, 2005).
҉ Feminist conversation method (1970s)
✓ Feminist art criticism seeks to reflect the gender and the
interpretation and perception of woman in art. However, gender is
not relating to the biological sense of the word but relates to the
socialization, culture, and gender roles applied to femininity and women
(Langer, 1991).
✓ The structure of feminist art criticism is specific to each situation. With
this, feminist art criticism leads to be more conversational and
descriptive in format, examining content of concern of woman in art as
well as cross-cultural and multicultural.

❖ Feminist art criticism dialogue

The purpose of feminist art criticism is personal engagement and
personal fulfillment when experiencing a work of art (Langer, 1991).

The point of feminist art criticism is to find meaning based on

emotion and subjective perception rather than a defined truth,
using expressivist and instrumentalist judgment within their
method.

҉ Postmodernism (late 20th century)

✓ The new concept of postmodernism took the perspective that anything
created exists only within preexisting webs of social constructs and
 that in order to defy these constructs, artists must question traditional
and modern structures.
✓ Postmodernism questions the idea of a “free individual”, asking
whether any idea can only exist within a web of previous socially
constructed meanings (Anderson, 2005, p. 6-9). With this ideology, art
itself must challenge traditional boundaries.
✓ Postmodernism is a concept that uses instrumentalist judgment. The
concept of postmodernism is challenging social structures and creating
a strong message, the basis of what instrumentalist judgment examines.
✓ Giving students the opportunity to explore and question their world lead
to critical analysis and critical thought.
UPSHOT

Man has a natural sense of judgment and criticism—it holds true in the world of
art. However, the validity of a criticism should be subjected into different steps
and should adhere to the existing methods to further define its impact to the craft
being critiqued.

Art criticism offers opportunity to both the artist/artisan and the one who
critiques the craft. Constructive criticisms on the craft will help the artist/artisan
to redefine his or her craft, making it more subjected to aesthetic sense. The
person who critiques the craft on the other hand, has the ample opportunity to
expand his knowledge and views as he or she continues to deal with creative
pursuits in the world of arts.