Friday, May 4, 2012

What and How

by Petar Meseldzija

The following lines were taken from the Introduction to the article about my work that will be published in International Artist within the section called The Art of Illustration. These words reflect my own feelings and thoughts about illustration and fine art. Some of you might disagree, or even dismiss it as unnecessary and pretentious. Anyway, it is our right, perhaps an obligation as well, to refuse things that we cannot identify with. But, before we do so, we should think about it first, because what appears to be unattractive today, might become quite relevant tomorrow.

“When people ask me to characterize myself as an artist, I often say that I am a painter (fine artist) who has been deliberately lost in the World of Fantasy Illustration. The main reason I see myself as such is that the pictorial aspect of painting plays an important role in my work. In the contemporary illustration, fantasy illustration in particular, it is more important what is depicted, than how it is depicted. In other words, a clear, readable and attractive depiction of a theme/subject/story seems to be a primary concern for many illustrators. How that particular subject matter is being translated into the pictorial language, and how much emotional content this language evokes, comes to the second place. Generally speaking Illustration tends to be more descriptive, for descriptiveness is an organic part of its very nature, whilst Fine Art is more suggestive. This suggestiveness is an imperative for, as well as the consequence of dealing with the subject matter on a deeper level and in a more personal way. In my illustrations I try to combine these two approaches, first of all through a suggestive alla-prima painting technique, than through my choice not to illustrate the text lines exactly, but rather what is between them, and finally through use of the secondary compositional forms to emphasize the primary aspects of the composition.

Although I did (and still occasionally do) the Fine Art painting, including Fantastic Realism, still-life, portraiture and landscape painting, my heart is leaning more towards Fantasy Art. The reason is that Fantasy Art deals with the kind of themes that are closer to me. I guess that, deep inside, I am still a child who finds his refuge from the harsh disillusioned real world in the world of the fantastic and the imaginative. This might be seen as an escapist behavior. On the other hand, I am very much attracted by the symbols and archetypes, their hidden meaning and message, that are making up much of the world of Mythology and Imagination. These subject matters and themes are more inspiring to me, they are in a way less pretentious and easier to comprehend. More importantly, they hide within themselves a hint of a greater and more universal Truth, instead of the partial or little Truth(s) that is being presented through often socially engaged pictorial and symbolic vocabulary of the main stream Contemporary Art…”


A detail


Impressionistic approach – the depiction of light was more important that the actual shape.


Suggesting the shapes by “putting the right color, on the right place”.


Oil “aquarelle” technique – lots of medium used.


The application of four different painting techniques – oil “aquarelle”, usual second layer brushwork, partial glazing, and the final touch done with pallet knife.


An example of the “wrist brushwork technique”.


“ Apple? ”, 65 x 50 cm, 23 1/2 x 19 3/4 inch, oil on Masonite, 2009 / 20012. An illustration from one of my book projects in progress.
Temporary additions

Without the plant in the foreground
Snow White with a smaller head

 

42 comments:

  1. great strokes and light. the only thing that seems to not fit perfectly is the head of the young woman

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    1. OK, tell me what is wrong with young woman (Snow White, by the way) according to you?

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  2. Naturally Snow White would not seem to fit perfectly as she is looking out from within a dwarf cottage. There is nothing technically wrong with her head, it is the house that is merely too small, and that is as it should be.

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    1. It is a matter of choice. I intentionally made her hair darker so that she, and the apple, pop out better against all the surrounding details. I wanted to keep all the details because they contribute to the pictorial intensity and vibrancy of the piece. So I chose to exaggerate the color and the tone of her hair. Again, this is a matter of choice, not a mistake. Although I understand that some might see it as a mistake.

      I believe that even “mistakes” have function if consciously and intentionally applied. It has much to do with perception.
      When the Impressionists started to show their work, the public saw their paintings as “unfinished”. Later on this “unfinishness” became a synonym for expressiveness and regarded as one of the trademarks of the 20st century art.

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    2. I don't see it as a mistake at all. I thought your original choices (the plant and the head at the size that it was) were perfect. I'm sorry if it seemed like I was finding any fault, that certainly was not my intention.

      And, incidentally, your words about your art were superb and inspiring and not unnecessary or pretentious at all.

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  3. Great text, great work, thanks Petar. I think what Strike means is that the head pops out a little bit too much only because of the black hair that becomes of a darker value against the mid value of the house. I made the experience myself and toned down the value of the head a bit and it sits better at the cost of loosing the blackness of her hair. Hope i made myself clear :p

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  4. Perhaps the tones of the shadows on the girls hair and features go too dark compared to the shadows on the surrounding house/vegetation, which makes it seem not to fit.

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  5. "OK, tell me what is wrong with young woman (Snow White, by the way) according to you?"
    Please tone down the edge, Petar. "According to me", Snow White's head is simply too large, she looks like a giantess compared to the disguised queen.

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    1. Solid comment, the house can still feel large at the scale of Snow vs House, but the witch vs Snow scale relationship feels awkward.

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    2. Agreed that the artist seems kinda defensive. I was initially struck by Snow's head as well. It seems to be levitating above the apple--there could have been more detail of her hand/torso to show that she's peeking from inside the house. As it is (especially in the final pic), it seems the head is floating. This problem could also perhaps be solved by moving the apple farther from Snow rather than directly under her head.

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  6. As usual, your painting is beautiful and naturalistic, with wonderful painterly brushwork. Not to pile on with the other commenters, but Snow White's head looks "off" to me as well. Sure, the situation of her head popping out of a small house will look unusual just from the circumstances. However, here is my crit-submit. Her head is a bit larger than the old woman, even though she is behind her. Maybe if you add some high key rim light to Snow White's hair, like there is on the hand and apple, she would tie in better. Also, she is not looking at the old woman, but behind her. I suggest she look right at the apple, which after all is right in front of her and is the focal point of the painting! Also, I admire that you have the guts to place a plant right through the middle of your focal point, but it is a distraction.

    As to the "fine art" vs. illustration thing, this is an artificial concept invented by academia. There was no such distinction until fairly recently. After all, most historical art was commissioned, and often illustrations of the bible. In modern times, there are many, many examples of illustrators that are far superior artists compared to the ones that the "experts" claim to be great.

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    1. Totally agree with the second part! The academists usually look down at us for being illustrators as if we r second hand artists or smth. In fact we have the BEST fine artist even today.I have always given this example to sceptics- Leonardo, Michelangelo and all the rest of the best- they were all Illustrating scenes from the bible.Or ancient greek myths. If they had the tales and the stories we now have today, oh God, they would have done epic miracles, instead of deviding art in stupid categories.

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    2. There's been a distinction between the two for as long as we've had fine art that hasn't communicated narrative, but I regard illustration as the higher form, because I have an elevated view of story telling.

      I don't think the edge in his written voice was intentional, and even if he is responding in frustration, this is the internet. We probably wouldn't be challenging his work so directly face to face while having a conversation about the dynamics in the work, we'd be less overt in our conversion.

      IMHO.

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  7. I have aaaaalways admired your technique and those brush strokes and all the dynamics you tend to lock in them, all your colours and how the paint flows- magical by itself. This painting makes NO diference, save for one thing (which I dont understand, not that I dont like) Since you have a purpose behind everything you paint in, can you explain me why did you make that plant which is crossing the witch's hand. It seems as if it is deviding the focal point. Everything else is closing it-the roof, the ivy, the other plants and so on. This plant in the front,I dont understand.Great painting nevertheless.

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    1. Gollor – I have just posted a version of the final painting without the plant in the foreground. Take a quick look, for I will remove it soon. What do you say? Is it better without?

      I find the composition without it less exciting and a little too "normal". Besides, I used the plant to direct the viewer’s attention towards Snow White, apple and the witch (which is actually not exactly a real witch in my story, by the way).

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    2. I agree with you. The composition is much more interesting with the plant in the foreground.

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    3. Yes indeed. Now that i've got used to that plant it rly seems kind of boring and as you said "too normal" without it. Yet, I believe that most ppl wont take the time and have the patience and the interest towards your work to get familiar with the composition and to fully understand it. To most of them it will probably seem wierd and wrong, so just for the masses it would be better to go with the simple composition without the plant. And I kind of like the smaller head better, but u never got us familiar with your story- you probably have a good reason behind the size of it

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  8. always beautiful paintings!
    thanks for the close ups!

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  9. I love that last line!

    "...they hide within themselves a hint of a greater and more universal Truth, instead of the partial or little Truth(s) that is being presented through often socially engaged pictorial and symbolic vocabulary of the main stream Contemporary Art"

    This is the perfect expression of something I've been trying to get a handle on. It always seems to me that the little truths of social and political issues are being pushed to seem like the far reaching and universal big truths.

    Thanks!

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  10. There you go, for all of you who prefer Snow White with a smaller head, I just posted another image. Although she now appears to be better connected to the whole, I must say that I prefer the version with a bigger head, because in that way the presence of Snow White in the painting is slightly more obvious, and that is what I like. Sorry, guys :)

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    1. Photoshop is sure handy to test things! I like it better with both the smaller head and the plant removed. Actually, a good compromise would be to leave the bottom part of the plant in, but have it stop short of Snow White and the witch. That way you would still benefit from the plant "pointing" to the focal point.

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  11. The paint it's superb!
    But i don't think that even on the "small head version" it fits...it seems too large vs the witch and it's like, it's just cut out and pasted on the window and not like she's coming from it...
    Please note, i'm in no position to do better but that's what my eyes sees.

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  12. I love the impressionist approach to the scenery! Especially the use of colors makes the whole piece just buzz with vibrant colors and life.

    Though, the snow white's head is severely sticking out from the picture. I personally believe it is due to the different rendering. Unlike the rest of the picture, it is fairly smooth and simple with no breaks. It is almost as if it were painted in a different style. This is probably unintentional, but I can't shake the feeling. Perhaps a similar to the curse of the overdetailing?

    I also believe the choice for the color of the skin tone doesn't connect with the rest of the piece, especially the color for the skin in the light and the middle of the skin. When compared to the witch's, they seem to be different. Not overly, but that is perhaps the problem, it is not enough different. Perhaps glazing it over more with colors similar to the shades of the brick house, as that seems to be the frame the head should be in, to me.

    And anyway, I have no idea what I'm talking about. Color is silly. Turn it black and white!

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  13. I think the plant in the front is a very smart compositional device. It serves to direct the viewer to the action and also provides a psychological division between Snow White and the Witch. The witch is "crossing over between good and evil to offer the apple. I like it a lot. Without the plant, it feels rather standard fare as far as the composition goes. As always, the color and brushwork are terrific.

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  14. Spot on, Greg!! Finally a smart comment! I already lost the hope that somebody would ever understand the meaning and the function of the plant.

    To all of you who wholeheartedly criticized my work and questioned my decisions.
    Guys, I must say that some of you have been a little too bold and went a little too far. As you all know I am not an amateur artist, or a beginner, as some of you who apparently like to criticize. When I decide to do something in my painting there is always a reason for that. The fact that you cannot accept it, or cannot understand it, or don’t like it, does not necessarily mean that it is a wrong decision. This is Art, and in Art everything is possible. In Art even wrong things can be right. It depends on the point of view. Open your mind and try to think three dimensionally, at least. Don’t make yourself blind by focusing your attention just on one detail, while at the same time missing the rest of the “show”.

    At the end, do you really believe that I need your advice how to correct a “mistake”!? I don’t think that some of you realize how big the gap is between us at the moment. I don’t want to say that I never make mistakes, but do you really think that I would show the world something I am not sure about? Give me a break!

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    1. Pardon for raising the temperature!

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    2. You are definitely a better painter than I am. Please forgive me for offering my opinion.

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    3. hello petar, I'm an Illustrator from germany and just came across your painting. First thing I thoguht was, wow, this is an amzing painting! It's good to see the detail shots because you have very nice brushwork and textures and I like your impressionistic approach. I must admit that I thought about snow whites head too and that's why I read all the comments and discussion. I don't doubt that you painted her knowing what you are doing and obviously you put much work in your painting. So it must be very hard for you to read all those comments questioning some of the decisions you made. I know the feeling when you made something and you are happy with it and other people criticise details without seeing the whole thing. I read your last comment and can totally understand your anger, at the same time I must say, when I learned one thing it is that you never should say you don't need others advice because you are better in something than them. Even if their advice is stupid it can tell you something, it can even tell you that you made everything right. Second thing I learned: If you make art (or in my case illustrations) you often forget who is looking at your work. 90% "normal" people, who like to look at artworks, hobby artists, people who buy your books with illustrations. You mainly work for those 90%, which doesn't mean you should only please the masses with your art but it's something you should think about in your process. I hope you understand what I mean and I hope it doesn't sound rude or something. I really appreciate your work and I bet, even they criticized you, the others do it too. Keep up the great work and good luck with all your projects.

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  15. Joel - I can take your opinion, although I might not agree with it. You are an experienced artist , you are polite and you know how to putt it correctly. It is just that there are a few guys that are speaking out their opinion/criticism in a bold and even disrespectful way, although they know that they are not able to support their criticism by the quality of their own work, or by the amount of their experience and the depth of their artistic insights. I might be a little old-fashioned but I think that one cannot go around irresponsibly and carelessly speaking out his personal thoughts and feelings, just because of the cover of anonymity which the internet provides him with. It is not fair, it is cowardly and not clever after all. However, this is still free (virtual) world and people can say what they want, but at the same time they have to be prepared to accept the consequences. If you do such a thing, you will come across a reaction like mine, sooner or later.

    By the way, this is not the first time that people criticize my work on this blog. I have seen this time some names who never left a comment before, but encouraged by …I don’t know what, wholeheartedly started to criticize. I haven’t seen so much criticism on this blog when it comes to the work of other Muddies. Does my work really contains so many mistakes, or is something else the reason, I often wonder?

    Those critics have even criticized my recent, and best paintings, Eowyn and The Rescuer, quite severely (as you probably know both paintings are nominated for this year’s Spectrum award, which I guess means something). Some time ago, a guy, while expressing his “opinion” about my Eowyn painting, swiftly and in one single sentence offended not only me, but also offended innocent Boris Vallejo in an ugly way. And all this covered by the usual excuse – I have the right to express my opinion… Well, Joel, you will surely understand when I say that I don’t do this blogging to be openly and inadequately criticized.

    Of course, nobody likes to be criticized, including myself, but after being trough many different situations in life I have learned to see the positive side of it and to profit from. I know all about it, believe me. But there is still one thing that often irritates me, and that is when an incompetent person insensitively criticizes more experienced and better one.

    Advice to some of you - if you must criticize, choose than the right manner and the right words. It has much to do with the way we say things. If you think that a criticism is appropriate, speak it out in a polite and well-articulated manner. Never forget to whom you talk to, and that your words can hurt the one who is criticized.

    And don’t forget that the competence of your opinion will always be judged by others. In other words, people will ask, openly or in their minds, who are you to judge about me or my creation? What have you created to prove your competence? “ I think so, or That is how I see it, or feel it”, might be enough for YOU as a reason, but it is often not enough for the outside world.

    This is the whole story!


    Kai - No problem, your words are definitely OK!

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    1. Sorry to keep the argument going! But this is a subject that I feel strongly of; therefore, pardon if I happen to offend.

      I agree with most of your post, that giving critique should be done in an exact and constructive fashion (and not in a rude and derisive manner such as in the example you gave). That is completely fine, and is expected of all communication - that you have a message, and it is your responsibility to give the message in the most effective fashion.

      What I think is the problem is that if you only give that right to someone who is of your level, someone who can criticize it "properly" also denies those who are not as adept a valuable chance to learn. If only those who are masters of the art can criticize works, then what is left to those who are not? Are they to simply blindly accept works and not engage in the discussion that the painter is obviously trying to have with the viewer (as is very prominently evident in your works, bless them)?

      To a beginner artist, both receiving and /giving/ critique is invaluble. Even, I dare say, giving wrong critique is a great opportunity for a beginner to learn. For example, someone feeling the plant in the foreground is "wrong" and voicing that opinion, lets someone else to correct him and teach him something about the subtleties composition. Then that beginner receives a new viewpoint, and can think "three dimensionally" in the future. He may still disagree, of course, and no mutual consensus may necessarily be formed, but he still has learned something. That the plant has other function, than merely being in the way.

      Therefore, I cannot feel but think that having the viewpoint that only "those of who are able can criticize should do so, rest should merely accept it as is" is inherently problematic. If people cannot critique unless they are good enough to do so, then who ever can? If a painter cannot paint until he is good enough to paint, then how can anyone ever become a good painter?

      I fear I may be misrepresenting your argument (as certainly, insensitive rude critique has no merit to anyone and should be avoided), and perhaps I am not directing it at you personally, but at the dangerous notion that I feel I see peeking its head. But I think it's also quite rude and insensitive to attack someone for not being good enough as a painter or critic, who simply wishes to voice his honest opinion. We do not decry bad painters for being bad, after all, why should we attack the critics for still learning to see?

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    2. They didnt like Eowyn and The Rescuer? Well at first they didnt like Rembrandt's Night Watch did they :D You get my point? When you do smth inovative and audacious ppl may not understand it from the 1st look...yet this doesnt make it less genius. You are amazing,sometimes you just go out of the "frame" of what most ppl would like to see (which is a simple and "user friendly" illustration)which is all great in fact.I myslef didnt got that plant from the 1st look, that's why I asked- that is my aproach- I ask when i dont understand. Now I like it and I think I learned from it and, well, I strongly believe that you guys who made MC are doing us a great favour-I've learned more from you than of my teachers at university for the past 3 years :D Keep it up, pls and be proud of yourselves

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  16. Unfortunately, Jirmack, you did misinterpret my point. You have put your own issues in between my words. I did not say that only masters, or competent ones can criticize, and that all others must stay quiet. That would be very insensitive and stupid to say.

    It is more a matter of common sense - when you want to criticize somebody who knows more or better, whatever the reason or situation is, you should at least be more cautious, unless you want to embarrass yourself, because your criticism reflects your present level of competence.

    “…when an incompetent person insensitively criticizes more experienced and better one”. The accent is on “insensitively”. Incompetent and sensitive – good. Incompetent and insensitive – not good. Competent and insensitive – also not good, but it feels different.

    Apart from that, your point is generally correct. I might disagree with just a few details.

    At the end (and this is for me the end of this whole discussion) as far as it is possible to understand another person; Yes, I do believe that only a master can fully and ultimately understand another master. When I say “master” I mean all sorts of people who have achieved high level of skill, knowledge or insight. This has nothing to do with authority, or egocentrism, or need to feel better or above others, or be more important. This has to do with one simple fact - unless you have walked a certain path yourself, you cannot truly know it. So, be careful when you criticize or judge another person, especially when that person is more experienced than you.

    Native Americans have a nice expression: “Never judge another man until you have walked a mile in his moccasins”.

    I wish you all a nice day!

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    1. I understand. It perhaps would have been more appropriate as a reply to your previous post, but it would have still suffered the same miscommunication.

      Thanks for the reply, I do hope to see more of your works. And perhaps even more than the works themselves, I would love to hear your thoughts on them.

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  17. Hi Petar,

    I think that people feel some arrogance in your posts and that's what annoys and provokes them. I'm not talking only about your latest comments, because you obviously lost your temper after the Snow White criticism, but the older ones as well.

    You are usually writing from a position of a teacher or someone giving advices, not from a position of a fellow artist or simply an artist sharing his art with others. I remember that in one of your posts you wrote that many people "have a dream of having an original Meseldzija", which sounds pretty immodest. And now, you are saying something like “Who are you to criticize my work? I am better than you.”. Think about how that sounds.

    If you choose to put your work on the Internet for people to comment on it, you don't get to choose who is worthy of writing comments and require more respect for your work.

    BTW, I like this painting, so I don't have anything bad to say about it.

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    1. Vladimir, let the following be known, for I must react to your comment.

      I think that people feel some arrogance in your posts and that's what annoys and provokes them.

      -(I can understand that).

      I'm not talking only about your latest comments, because you obviously lost your temper after the Snow White criticism, but the older ones as well.

      You are usually writing from a position of a teacher or someone giving advices

      -(Yes, that is true. I am in the position to be a teacher and to give advices, which I wholeheartedly do, and I don’t see why it should be wrong. That is the music you hear when you switch on the frequencies of my “school class”, and I know that many profit from this “music”. If the way I present my knowledge is more important to you than the actual value and the meaning of that knowledge, and you get annoyed by it, you are free to search for another “frequency” , one that will suit you better)

      , not from a position of a fellow artist

      - (when in my “class”, I am first of all a teacher, than the fellow artist. That is my style. People who know me better know that I am also a “fellow artist” ),

      or simply an artist sharing his art with others . I remember that in one of your posts you wrote that many people "have a dream of having an original Meseldzija"

      - (This is exactly what I said: “…So, if you have always dreamed of having an original Meseldzija in your collection…”, This was meant to be a joke, but as people say, there is always a bit of truth in jokes. And this is true when it comes to this joke as well. I know there are many people who would like to have my painting in their collection)

      which sounds pretty immodest. And now, you are saying something like “Who are you to criticize my work? I am better than you.”

      -(Yes, I lost my temper, but I had a reason for that. By the way, I am a temperament person. I come from South of Europe where blood is a little hotter).

      Think about how that sounds.

      -(I think you are in fact annoyed by the fact that I dare to say and show things (call it truts) that you only think. I always pay attention not to offend anybody with what I write. If you feel offended, or annoyed, it says more about you, your projections and preconceptions. You prefer to be equal. Well, as human beings we definitely have the equal rights, but we are not equal. You might, for instance, be a better person, more compassionate, or less arrogant, than me. But, when in my “class”, and if you are my student, we are not equal, not until you prove it by the progression of your work, for you have come to me to learn the trade. If I am a good teacher I will treat you with genuine respect and understanding and help you develop your skills and insights and find your own voice. I have had this discussion with my best “student”. We have been wrestling with this issue for a while, but I did not beck up from my, one might call it, “old-fashioned” approach. Fortunately for both of us, this story had a happy ending and now he has become an extraordinary artist with a bright future in front of him. I don’t claim that I shaped him. Not at all, he did it by himself, but I helped him in different ways and on different levels , and all that in that same old-fashioned “arrogant” way. I will soon present his work to you in one of my future posts, but I think you already might have seen his work…)

      If you choose to put your work on the Internet for people to comment on it, you don't get to choose who is worthy of writing comments and require more respect for your work.

      -(That is absolutely true, but indecency stays indecency, and good manners stay good manners)

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  18. Petar,

    I'm glad you made the two revisions to show Snow White with a smaller head and without the plant because I think it actually proves that your original decisions were correct.

    Having seen the changed versions I think the composition suffers a great deal without the plant, and by making Snow White's head smaller it actually places the emphasis on the witch and changes the story of the painting.

    Not that you need my opinion. :)

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  19. Hi Petar,

    I am reminded of a picture in a previous Muddy Colors post, showing you looking at one of your paintings upside down. Ironically the caption said you were trying to figure out what was wrong with your painting! As you know, artists do this sort of thing all the time to get a fresh perspective. We step back, look at it sideways, in a mirror, squint our eyes. Artists get too close to their work, and so we do all these weird things as an aid to see the work differently.

    These tricks work to some degree, but sometimes the completely fresh perspective from another person can be very helpful. I do not see any comments on this thread saying they do not like your Snow White painting. Why would they? It is a beautiful piece! However, you did get some unsolicited advice and opinions about a couple things that did not seem right to them (including me). You may not agree at all with what they have to say, but the thoughts of others are like looking at your painting upside down. I think that one of the main reasons this thread of comments got out of control was due to you being dismissive of others opinions. A lot of people spoke up about Snow White's head, which just *might* mean something. Or not. It is your painting, and only you know how you want it to be. And yet, consider that even the viewpoint of a child can offer insight.

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  21. Hello Petar,

    I admire your work, I always did. But there is one thing that leaves me restless. Considering the first frame the head of Snow White measures 7.3 centimeters, that of the Evil Queen 6.8. So her head is bigger, there’s no arguing about that. The effect is magnified by the fact that the old woman stands closer to the viewer than the young one. I do understand, that this might be intentional.

    What I don’t understand is the discussion about teachers and students. This is not an art-class but an open blog, where artists share their work, their thoughts and their approach and viewers - including me and many other artists - are invited to look and talk about it. That's a good thing and shouldn’t be devaluated by offences and sensitivities (on both sides). The work presented here is excellent and inspiring, the level of talent breathtaking. But when it comes to art, we are all students.
    My opinion.

    Sincerely, Thomas Thiemeyer

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  22. "when you want to criticize somebody who knows more or better, whatever the reason or situation is, you should at least be more cautious, unless you want to embarrass yourself, because your criticism reflects your present level of competence."

    I just feel like adding, that this is very true. I'm not one to shy away from criticism, and I in no way claim to be an incredible artist. But sometimes I get critiques that just make me feel annoyed because the critiquer in question obviously don't know what he's talking about. What he says might in some way reflect the current "level of thought" that he's at with his own work. But it's generally something I'm aware of and simply decided to ignore because I felt the picture would work better in a different way.

    I might even be guilty of doing the same things myself. But I usually try to ask before I give criticm to someone if they didn't implicitly ask for it in the first place. And if I don't believe that I know more about the subject than the person I'm critiquing I usually keep my mouth shut.

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    1. I agree with your statement wholeheartedly. However, what caused all the criticism was a reaction to Petar's response to the very first comment on this thread:

      "OK, tell me what is wrong with young woman (Snow White, by the way) according to you?"

      Clearly people took this the wrong way, but it sure got the ball rolling. Petar only wanted to get the opinion of the fist poster, not everyone. The lesson to be learned for all of us is to be cautious about what we say online. Especially any form of criticism. And there are philosophical things to be learned from this thread as well. I know it has given me a lot of thought.

      That being said, I think that Petar is a fantastic artist, and he has a lot to offer the readers of Muddy Colors. I hope he is not overly offended by what occurred on this comment thread, and not be discouraged. I look forward to new offerings from Petar!

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