We all know that one way to become a better painter is by studying works of art that, well, work. If you’ve been considering entering your work in an art competition, you’ll want to take note of what these PleinAir Salon judges have said about their First Place choices.
After you read this, take a look at one of your favorite paintings and see how it might match up (or not) to these qualities. Of course, use this as a learning experience to inspire you and remember that everyone is on a personal art journey to greatness. What that means is also personal, but one thing that’s not is putting in the time to learn how you can improve – allowing you to do what you’re meant to do: fully express your vision.
“Whenever jurying a show, I don’t focus on subject matter but rather on the five basics of painting: shapes (drawing), values, color temperature relationships, edges, and composition,” juror and artist William Schneider said.
“This seascape is strong in all five. The design was especially powerful; the lightest light of the wave splashing against the darkest dark of the rocks created a strong center of interest. The ‘arrow’ of dark rocks on the left, pointing to the center of interest, reinforced the composition. The edge treatment is also outstanding, ranging from the softness of the foam and spray (even when shrunken down to thumbnail size) to the razor-sharp edges on the rocks.”
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“First Place is awarded to this painting for its luscious color palette and rich gradations of greens and blues that beautifully illuminate the water,” juror Elaine Adams, Director of American Legacy Fine Arts, said. “The composition and perspective are both fascinating and expertly arranged, drawing the viewer naturally into the scene. Additionally, the anatomy and scale of the lone fisherman are rendered with exceptional accuracy, enhancing the painting’s overall harmony and narrative strength.”
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“This piece gave me an immediate and visceral sense of place,” said juror Abigail McBride, Director of McBride Gallery. “It pulled me to specific memories of being on a beach with cold water swirling around my ankles, looking out at the view. It has a beautiful outdoor light effect. But what sealed it for me is how the composition leads you back to the distance in an entertaining ride of swirls until you reach the ladder of lines: wave and land. Then a little red rocket of a light house launches you up into the sky and drops you right back down on the shore.”
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“When I saw this painting on my first pass, I knew it was one I would have to study more deeply,” juror and artist Natasha Isenhour said. “I ‘felt’ this painting. It drew me in right away with the strong composition and skillful manipulation of complimentary color and overall palette that first invites you to look around, then brings you gently back to the subject.
“But what also makes this painting work so well is the varied edges. The artist is manipulating your eye and showing you what they want you to see. For instance, the leaves in the pot are soft focus, framing the subject by going up, out of the vessel, then guiding your eye back into the light and to the subject again. Meanwhile the leaves on the table have harder edges which add weight to the composition, helping to anchor the subjects on the table. So many lovely attributes here. Masterful work!”
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“A lyrical intersection of prose and poetry elevates this work,” juror and artist Thomas W. Schaller said. “The solidity of an everyday urban scene is secondary to the overwhelmingly beautiful and ephemeral atmospherics. Brilliant editing, outstanding brushwork, intriguing composition, and a deeply affecting understanding of light, color, and the illusion of space and perspective make this painting simply brilliant.”
The next round of the PleinAir Salon has begun so hurry, as this competition ends on the last day of the month. See more winning paintings and enter your best art in the PleinAir Salon here.
