Marc Dalessio’s version of the Hibbard mitten, along with a hand warmer and some winter scenes he painted on location

The temperatures have already dipped below zero in some parts of the country, and many plein air artists are delving back into the studio. But for those who brave the cold and soldier on, Marc Dalessio reminds us how Aldro T. Hibbard kept his technique strong and his hands warm in winter.

Hibbard (1886-1972), the Massachusetts painter who helped Rockport, Massachusetts, become known as an artist’s haven, was famously oblivious to cold weather in his pursuit of plein air painting. He hitched rides with hardy loggers to go on location, or pulled a sled packed with his gear on his own in forays out into the winter landscape.

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Hibbard with his sock-mitten. Photo collection of Rockport Art Association

He had to be outfitted properly for the cold. So how did Hibbard protect his painting hand from freezing temperatures, yet maintain his ability to execute pieces unhindered?

“Named after the painter Aldro Hibbard, the Hibbard mitten is a large knit sock — in my case a folded and sewn-up scarf — you put over your hand and poke the back end of the brush through,” explains painter Marc Dalessio on his blog. “That way you can hold the brush directly with your hand rather than through a glove, which I find greatly reduces my dexterity. Painters are supposed to paint with the shoulder and the elbow, but I use my wrist a lot and using a glove makes detailed work difficult. The Hibbard mitten also means you have to hold the paintbrush at the end of the handle, as they are meant to be used. My Hibbard mitten also has a sewn pocket for an extra hand warmer. I find I still need to take the mitten off from time to time for details, but overall it makes painting much more comfortable.”

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“The Village, Vermont,” no date, by Aldro T. Hibbard, oil, 26 1/2 x 36 in. Courtesy Pierce Galleries Inc., Nantucket and Hinghan, MA


1 COMMENT

  1. As an art teacher, I found your article to be very thought provoking. It is true, as you said, that “Most artists want to improve and grow, but they are also personally invested in their work and are sensitive about the way others respond to it. As every good teacher knows, criticism can be extremely hurtful if it is not coupled with words of encouragement and suggestions for improvement.” The majority of my students will tell you I am a very encouraging, compassionate teacher, “a very, very good teacher”, as one recently told me. Occasionally, however, I run into one who refuses to hear the positive, constructive criticism AND encouragement and blames me for being “insensitive to my needs”, as one person put it, not to my face but in an angry email. I’ve found that there will always be a handful who are so hard on and angry with themselves they feel they must dish out the same to everyone else. And there will be those who are just uneducated in art, decorum, and, as you noted, spelling.
    It’s when I encounter those folks that I dust myself off and surround myself with supportive art friends who I know will impart the truth of my efforts both as an artist and an art teacher.

  2. Steve, I think anyone who asks me for a critique deserves for me to take the time to look intently for what the artist did right before adding any advice about where the artist can improve.

    It’s important for artists to know which parts of their paintings are headed in a positive direction. Many times an encouragement can teach just as much as a negative… and it’s received with gratefulness for the giver.

    There is a time for “negative” advice, but, in my opinion, only after confirmation of the positive. Teachers and artists earn the right to critique – it is a privilege, not an opportunity to belittle others sincere efforts.

    There is always something worthy of praise no matter what level the artist.

  3. One other thought comes to mind: I never offer a critique or even advice unless I am asked to do so by the artist. Unsolicited advice, especially negative is rude.

    If you’re an artist who thinks he or she is doing artists or instructors a favor by sharing advice in someone else’s workshop or a group setting (where you are not the instructor or mentor) it’s wise to keep quiet and let the one who is getting paid to be the only “teacher”.

  4. Steve, I think this topic is an important one for anyone in a creative field. I am a freelance arts writer and I hear and read negative input all the time. When I approach a story about an artist, my goal is to find out what is most significant about that person’s work and to emphasize it, to present them as a whole person working hard to achieve their goals, because that is what I see among professional artists for the most part. We are sensitive creatures striving for perfection in an imperfect world and I feel deeply that anyone doing this displays a certain amount of heart and courage in putting their art out there for others to love or hate. The constant criticism that a writer receives has helped me to deal more positively with the criticism my artwork receives. None of us gets enough applause in our lives, or few do at any rate, so let’s all make a choice to be on the side of lifting others up, selecting who we will respect and learn from, and leave the negative and nasty to the puny-souled folks without respect or compassion for the dedication and journey of the artists of this world.

  5. Steve, I think this topic is an important one for anyone in a creative field. I am a freelance arts writer and I hear and read negative input all the time. When I approach a story about an artist, my goal is to find out what is most significant about that person’s work and to emphasize it, to present them as a whole person working hard to achieve their goals, because that is what I see among professional artists for the most part. We are sensitive creatures striving for perfection in an imperfect world and I feel deeply that anyone doing this displays a certain amount of heart and courage in putting their art out there for others to love or hate. The constant criticism that a writer receives has helped me to deal more positively with the criticism my artwork receives. None of us gets enough applause in our lives, or few do at any rate, so let’s all make a choice to be on the side of lifting others up, selecting who we will respect and learn from, and leave the negative and nasty to the puny-souled folks without respect or compassion for the dedication and journey of the artists of this world.

  6. I appreciate and agree with the sentiments already expressed, all well said. I would only add that it seems to me that the basic problem being addressed here is not art criticism, but is rather the loss of a sense of responsibility for words spoken. Few today know anything of words “fitly spoken.” Casual, flippant (cute), or even sarcastic expression seems prized above all other verbal communication.

    In the face of this sad state of affairs, though, your last words, Sharon, are very good counsel. Thanks to all for sharing thoughts about the problem of “poor” criticism. As for being helpful, maybe we artists through our work can, in turn, help re-connect people to more wholly responsible, perceptive, and beneficial expressions of themselves to others, verbal or otherwise.

  7. Criticism is always fraught and in terms of artistic endeavours an absolute minefield. I find asking the artist ‘What are your aims for this work?” is a great way to have a starting point for relevant remarks.
    The flip side is that if you ask for a critique and someone offers a comment you should not be put off when you hear something you don’t like – rather ask yourself where is this comment coming from and what inherent bias does it carry? I personally find that truly, honest criticism is hard to find and those who offer it should be on your list of cherished friends. I think there needs to be more information on how to decode critical comments. There are always assumptions underlying the comment offered and understanding this helps make the criticism relevant.

  8. Steve, one thing I learned pretty early on about posting articles and paintings on social media sites is that it leaves the author wide open for TROLLS to attack.

    Many people who say downright nasty things on line would never say these things to your face. What they don’t realize is that they are leaving an un-erasable trail of bad karma for themselves.

    In the last couple of years, trolls have dropped off my radar – pretty much because when they tell me things like, “You write ridiculous articles” and “you stole my original idea”, my online friends usually come swiftly to my rescue.

    In one case, the Troll was so antagonistic that the post had to be removed altogether by the editors.

    Any blog or comment area should allow the editor/author to delete comments that are not useful to anyone – including the person who made the “hateful” comment in the first place.

    I don’t see how anyone with a brain could possibly say you are a bad artist or writer. They must have never read your bio – that’s for sure!
    Well, everyone have a nice Thanksgiving!
    Lori

  9. While I do agree many online comments are made in haste. I don’t believe you should discount criticism because of spelling and grammar. It takes a lot of time to formulate and express ones self in print. Not everyone can whip off paragraphs in a few moments, and sometimes when we try it is terse, misspelled and grammatically incorrect. I’ve found this to be very true of artists who often lag in academics but excel with their hands.

    As an artist I find it important to consider the source. Most criticisms are a matter of opinion. Some have more substance than others. The artist must determine which criticisms are useful. Certainly a cubist, or realist would have a different perspective and comment than an expressionist.

    Artists come in all flavors. Some are nurturers others are not. If you are exposing yourself to all, you will get some criticisms that are mean spirited. You could choose to delete those posts but then you are censoring. It’s a decision… I’ve participated in a few art industry blogs, some of what I’ve seen written could go to court for libel. Point being, toughen up. If you think critiques can get bad among artists wait till you hear what the public has to say. I sell my work primarily through outdoor Art Festivals, we hear it all, mostly with a smile plastered to our faces.

  10. Great article!

    Posting on facebook is always a gamble. Either unsolicited criticism or unfounded praise abounds. Either way, most comments are made in haste. It is a powerful tool with no accountability.

    As an artist and an instructor, I offer criticism only to students who attend my workshops, or to peers who ask for it. The relationship there suggests the recipient respects what ever message they might hear from me. Whether or not they choose to follow my advice is up to them.

    My personal way of offering critique, is to look not only at the academic aspects of the piece, but also at the success of the artist’s original intention. Many times all I have to do is ask a student the right questions. The student learns to self-critique and learns much more in the process.

  11. Great article!

    Posting on facebook is always a gamble. Either unsolicited criticism or unfounded praise abounds. Either way, most comments are made in haste. It is a powerful tool with no accountability.

    As an artist and an instructor, I offer criticism only to students who attend my workshops, or to peers who ask for it. The relationship there suggests the recipient respects what ever message they might hear from me. Whether or not they choose to follow my advice is up to them.

    My personal way of offering critique, is to look not only at the academic aspects of the piece, but also at the success of the artist’s original intention. Many times all I have to do is ask a student the right questions. The student learns to self-critique and learns much more in the process.

  12. As a teacher, I found something to say thT appreciated their effort so far, then something to push the student to a higher level. When one came to me with a question, I knew they were not yet finished and helped them solve their own problems through questioning.
    Some said I was too tough and not fair, but all came back to thank me for the lessons they learned. Now on FaceBook, former students still ask for my opinion, with respect and hoping for a push. It just isn’t as easy to write what I mean as to say something aloud, with emphasis and tone. Text doesn’t have the impact of eye contact and might appear flippant or nasty.
    Online comment sites often seem to be what I call a ‘mutual admiration society,’ (I’ll say nice things if you do the same for me.) therefore I prefer to have an artist and their art in real time to discuss work and try to avoid anything but positive comments for the Internet.
    Kathy

  13. Thanks Steve, here how I faced the issue:

    As an artist I launched my own ‘Critic for a Day’ contest. I wanted to draw attention to my website new Portfolio, but not collect useless wows. So I set the rules (no flatters but technical and expressive points) and the audience respected me, at least for I openly solicit the critique. The prize I offered – a free painting – only motivated people to reflect and make sensible comments. I’ve learned a lot (and it was fun!)

    As a workshop instructor I find that the positive reinforcement is the way. All of us need confirmation of our value. So tips to improve are always welcome if they are received like a possible addition to an existing value, even if little. Additionally I allow my student to give me feedback on my work. It’s a challenge for my ego but so valuable! Obviously I set the rules (please put it in hand-writing on your own) and they feel responsible for what they say. Again, I learn a lot.

    As far as Facebook — to be honest I find an excess of wows, rather than valuable analysis. FB it’s a game, and I take it for what it is. Except for I envy those who get 100s of Likes whatever they posts. But that’s another story!

  14. good morning,, we donot use the title art club here ,,insted we use painting group,, it lets ever one understand that we are all learning with every painting we do…

  15. This is a great discussion, one of the best I’ve seen on this site (whoops, is that a crtique 😉

    Starting with my blog in 2005, 99% of my blog comments where positive. I think it’s in an artist’s nature to be supportive, and that blog (Life Plein Air) was primarily read by artists. Facebook is different, as you have a broad population using the site to connect and express.

    I try to have a thick skin (and my skin is pretty thick now, since I also manage social media at a big bank–Wells Fargo). I personally find that when I specifically ask for a critique, I’ll get a nice balance of praise and constructive criticism—but I must ask. If I simply post a painting, it’s generally “thumbs up” and nice comments. I actually wished I got a bit less of that and a bit more critical thinking. If you want more critical thinking, you do need to ask.

    The social networks that are most anonymous (eg, Twitter, YouTube, blogs, etc) are almost always the less productive and most apt to have “this sux” type comments–YouTube, especially. That network is a mess, full of trolls and generally useless chatter. So if you want a balanced critique, networks like Facebook and now Google+ should generally be more balanced, because those sites are based on a real person’s identity.

  16. Well written and thoughtful. I’m glad that Ed Terpening posted it on FB! It got my attention.

    I think it’s always best to avoid REALLY critiquing another’s work unless they ask.

    Personally, I’ve found the most useful critiques come following group paint outs when the painting is really fresh and the artists are not TOO invested in their own work as they might be after spending days or weeks on a studio painting. … At least that’s my feeling.

  17. Well written and thoughtful. I’m glad that Ed Terpening posted it on FB! It got my attention.

    I think it’s always best to avoid REALLY critiquing another’s work unless they ask.

    Personally, I’ve found the most useful critiques come following group paint outs when the painting is really fresh and the artists are not TOO invested in their own work as they might be after spending days or weeks on a studio painting. … At least that’s my feeling.

  18. A very interesting subject, Steve.

    I’ve heard it said that a criticism of any kind is more likely to be heard when it is “sandwiched” between two compliments. For example, “Your use of color is wonderful here. I’d put more emphasis in this area to strengthen the composition, but overall you’ve done a great job capturing the subject” or variations to that effect. It softens the criticism so that the individual is more able and willing to accept it. It takes a lot more work, especially in a painting critique, because something that might be awkwardly presented in a painting tends to jump out and grab one’s attention first. So the tendency is to mention it first. It’s almost a re-learning process to “sandwich” the criticism between two compliments, but it is supposed to work more effectively to achieve the desired result.

    It’s impossible to plein air paint where lay people are passing by and not have comments, good, bad, and unsolicited. Or, at least, that’s been my experience. As the saying goes, “consider the source.” If an opinion is solicited, as in an instructor/student relationship, it is more meaningful than something written on Facebook, for example.

    With regard to these “Comment” sections, one has to take both the good and bad with a grain of salt. One might never know the abilities of the individual leaving the comment. I think in a lot of cases, the “Comments” can be turned off if one doesn’t want to solicit them.

    In short, if a critique is solicited, it is one thing and if it isn’t it’s another.

  19. Great article, and superb comments as well. My keyboard is acting up, so writing is harder to correct today.

    I write an art column for the local paper here, and my goal is to help artists, buyers and galleries/venues thrive. In terms of criticism, that is such a tough one I don’t go there except if I really like a show or pieces in a show I’ll mention that in a visually descriptive way such as,”…the subtle colors show off her skill for lights and darks (in this twilight scene).”

    After all is said and done, we can only paint with the skills we have and improve those. Honestly, if I don’t like a painting, I sure do not need to say so even if the people are in a class I am teaching.

    Even for kids at 5 years old, I truly respect their efforts and say,”…well, if it were my painting, I suppose I would consider…..” I don’t think a person’s age in years corresponds to their “art age” or art maturity, and we can intuit by what people leave out of a dialog some things.

    Lots of comments mean lots of attention, and that is almost preferable to no comments or “likes” after all that hard work. If I see that nobody has made a comment on someone’s uploaded painting, I’ll comment on at least something I like (color, a part of it) because that is my way, to encourage. Nobody ever writes “critique and be brutal” under their painting.

  20. Having to deal with unsolicited critiques of my work became a problem on a forum I belonged to, and some of the other members felt the same way. We finally agreed that we would ask for critiques if we wanted them, and otherwise requested that members refrain from making them.

    I’m at a point where it’s more useful to me if I figure out for myself what I’m doing wrong. If someone points out a problem to me, I learn less and feel that the artwork is not completely my own anymore if I incorporate the suggestion.

    In a workshop situation or a class, critiques are wonderfully helpful, and I wholeheartedly endorse them. And I agree that offering a compliment about something in the art gives the artist some encouragement and a pat on the back even if part of the work is some sort of disaster.

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