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Originally Posted by Jo*mar
Thanks for the thoughts,
I have it out on the easel in my office so i walk past it often during the day - I 'm hoping it will "speak' to me one of these days....
I'm on the fence with adding anything or leaving as it is..I know I don't want it to be too busy.
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Adding too many additional objects might risk busy-ness . . . but I would think the painting could be much better if you added a center of interest.
Tonight I am attending an artist's reception for a show in which 6 out of the 7 works I submitted were accepted. I show a dozen or more works every year at various juried fine art shows. I have juried one show myself, and a few years back I sat in on the jury while they made their decisions at a show I chaired. I know what jurors look for when selecting works to hang and to award places to. It is basically the same thing others look for when purchasing, viewing, or just enjoying art. It is also the same list artists might use when evaluating their own artwork while it is in progress, and when selecting works to hang in shows:
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1. Composition: does it lead the eye to the center of interest using values and contrast?
2. Do the lines create a flow around the work and back to the interest -- or lead your eye right out of the image?
3. Medium: does the artist display a command of the medium?
4. Color: are the colors balanced between warm and cool effectively? Do the colors appear to have been blended for effect, or are they straight out of the tube? Does the artist use neutrals effectively?
5. Skill: does the artist display skill in the work? Does the work appear confident?
6. Does the painting evoke an emotion, tell a story, or leave you wanting to know a little more? The best art engages the viewer in some way.
7. Has the artist achieved her aim?
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While it is more common that an artist will overwork a piece, it is just as dangerous to stop before you have created your best work. And so what if you change it and don't like it? If you learn from the experience, then you are doing exactly what most artists do . . . learning from each painting what could be better . . . and taking that to the easel with each fresh new canvas.