Guidelines for Jurors
In an attempt to fairly and properly judge representational paintings, it is recommended that the juror consider both sides of the painting, the objective and subjective.
Idea/Concept: The first consideration might be about whether the piece speaks on an emotional level. Does it create a convincing mood? Is there some intriguing mystery or does it achieve an intangible richness? What’s the story? Is the artist’s vision generally evident, or are they just copying what they see like a human Xerox machine? What vision or story is the artist showing us that we might not have seen on our own?
Opinions on these more subjective considerations may vary widely from one juror to the next, depending on personal taste, and the level of understanding and experience of the juror. A good juror should be able to tell at least if the artist had a vision, or was just copying nature, though still subjective.
The technical considerations are only a little more easily determined. From a more objective standpoint, the juror can now begin to assess the technical merits of the painting.
Design and Composition: Is the design interesting or static? Does the composition support the design effectively and is there an interesting division of positive and negative space? Is there a simple arrangement of the main masses with a clear dominant feature? Is there an effective lead in to the focal point? Does the design support the story or concept?
Values: Has the artist controlled the values or manipulated them in an interesting or effective way? Do the values contribute to a sense of depth or atmosphere in the painting? Does the value plan direct you to the focal point effectively?
Drawing: Is the drawing good? Is the perspective correct and consistent throughout? Is there good proportion from one mass to another? Good shapes? Is the position of the focal point effective or distracting?
Color: Is there a convincing sense of depth, perhaps richer in the foreground and more grey in the background? Does the color scheme support the overall mood of the painting? Is the color exciting or is it simply out of control? Are there interesting combinations of warms and cools? Are the temperature relationships believable? Could all the colors exist under the same light source? Complimentary, analogous, dominant….etc.
Paint Application - Edges and Brushwork: What about the surface treatment? Are the brushstrokes confident or tentative? Are all the brushstrokes the same, causing a static effect, or is there an interesting variety in the length and size of the strokes? Does the brushwork lend itself to the subject, does it create a believable sense of light and atmosphere? Is it robust or formulaic? Is there a variety of different edges? Are there some wonderful thick and thin passages? (Oils and Acrylics).
It is recommended that a summation or final assessment be made from the proper viewing distance for the size of the painting being judged. Step back and see if it works on the whole.
In the end, the jurying/judging process will always be quite subjective. None of us can escape our own personal preferences or current levels of understanding. However, a responsible juror can attempt to assess from all the major vantage points for each work being considered, both objective and subjective. Anyone who says art is purely subjective, isn't qualified to judge any kind of serious representational show.
A great concept poorly executed is painful to look at for the missed opportunity.
A great technical effort with no soul is lifeless and has nothing to say.
Ultimately, the juror must answer the question, how well did the artist achieve that delicate balance between inspiration and skill?
Both must be evident for a painting to succeed as art.
Copyright - Cody DeLong.
CodyDeLong.com
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