QUOTE (Cees @ Mar 7 2009, 03:37 PM)

These are bad (some are very bad) paintings of
Barack Obama.
Have fun.
Ah, what a great opportunity to discuss the good and bad of art!
The part of the title of this thread that I like is the first part "Bad Paintings". Whether it is Obama or any other subject, the debate is not so much what is "bad" but what is "beautiful". Granted I skimmed through those paintings and for the most part I was cringing.
Looking through those paintings I considered several criteria in evaluating, not that they were bad but, why they were not beautiful. There is a difference for me because sometimes ugly is good. Especially when it is intended to be such.
So what criteria do I use when viewing paintings? I use the 12 points discussed by a guy named Andrew Loomis. I like Mr. Loomis because he was an illustrator and a no nonsense cut the bull kind of guy. The following text is an excerpt from his last book which was published after his death in 1959 "The Eye of the Painter". Much has changed since then but I feel that it is still a good basis for critique.
Unity
The oneness which brings all the pictorial qualities together into a single or whole expression; the organization of design, color, line, values , textures, and subject into a combined an total expression.
Simplicity or clarity
The subordination of all material and detail that is irrelevant to the main thought, the reduction of the subject into the fundamentals of design, form and pattern.
Design
The over all relationship of areas, form and color. Design makes the picture.
Proportion
Harmonious relation of each subject and each part of the picture- Distortion is the opposite of proportion, though some distortion may be legitimate, where an idea or an emotion might need greater emphasis.
Color
This is one of the strongest elements of beauty, and in using it the artist can not simply be guided by tastes, likes or dislikes. The relationship of color to values must be understood, as well as the basic principles of mixing and producing colors for realistic and harmonious effects.
Rhythm
Though this is often underestimated or misunderstood, it is a quality that contributes greatly to the beauty of a painting. There is rhythm in all animate and inanimate life. Without it, form is static and lifeless. The repetition of similar colors or of lines or shapes of increasing or diminishing size will create rhythm in a painting just as it does in nature. For instance there is rhythm in the repeating lines of trees with their branches and leaves, or in the lines of a zebra's back, or in the petals or markings of a flower.
Form
The structure of form in relation to the whole is a fundamental art principle. Everything is either form or space (solid or void) and neither can exist without the other. A painting is said to have "form" when the shapes of the objects contained in it are well outlined, well composed, and properly contrasted with the open areas such as a tree against the sky.
Texture
The rendering of surface. There is characteristic surface to all form, and this is as important as its structure. We can not achieve true beauty by painting all form with the same type of surface, as if all things were made of the same material, which is precisely what happens too often in otherwise good painting.
Values
Values and color are inseparably dependent upon each other. Neither can be true of beautiful alone. The proper relationship of values creates the effects of light and contributes to the unity of the picture. Incorrect relationships can do more than anything else to destroy beauty.
Quality of light
An element of prime importance. The quality of the light in a paining blends with the actual light galling upon the picture and becomes part of it. There are many kinds of light- Indoor, outdoor sunlight, diffused light, reflected light. The source of light must be related to the modeling of form, to the kind of brilliancy of color, and to texture. Without a true understanding of light a picture can become mere places of paint an canvas.
Choice of subject
This offers the artist his greatest chance to exercise individual taste. The limitless sources of life and nature are his to tap and from them he can select, design, and produce a concentrated example of his own appreciation of beauty.
Technique
the means of expression rather than the expression itself. Technique includes understanding of surface and texture, knowledge of medium and its many methods of application. It is the personal rendering by which all the other elements are brought together.