What Makes a Piece of Art 'Good'

     ( the fat and the lean kitchen by Breugel)





   What makes a good painting? The answer to this question varies between artists and collectors. Each artist has their own definition, some combination between technique and effect. Interestingly, although many artists have different styles and tastes in art they are often unanimously impressed by one piece of work, considering it 'good', whether they like it or not, and dismissive of another. Usually, they have a multitude of reasons for so doing, but almost always it is what it doesn't have that discounts it. The certain something that distinguishes between decorative art and fine art.

   I was having dinner the other evening with a couple of art lovers who are not themselves artists and it was really interesting to hear them talking about art. How they chose art for their collections, etc.. It is certainly different from the way an artist approaches the subject. There was a lot of discussion on key works, works produced as an artist began or ended a collection or changed directions, as well as the consideration of artwork as having a certain scarcity. Well, anyone who is an artist or knows and artist, or lives with an artist knows that scarcity is hardly the problem, yet they, who produce so much, instinctively like certain of their own pieces more than others. So what is it? What is this magic ingredient that makes a piece 'good'? I have been reflecting on this over the last few months while visiting museums and galleries, seeing art posted in artist groups online, and even looking at my own work, and have come to the conclusion that a good piece of art, let us take a painting, for example, is one that transports the viewer, even if only for a moment, to another time, space, or emotional plane.

Let us take an example, there are many paintings that represent battles but they don't necessarily make you feel afraid or tearful, but sometime you will come across a picture so haunting you will feel an instant darkening of the spirit. The way the eyes are painted can project fear or sorrow to such a great degree that the viewer is overwhelmed with the emotion even though the subject of the painting is a portrait. I came across such a painting in an exhibition on the first world war. After whole rooms of paintings with soldiers in all stages of demise, I came to a small portrait of a mother holding a letter announcing her son's death- her look of shock and sorrow were so intense it made almost every person who came to it cry on the spot. It was not complex, nor was it complicated in its composition but it was a great painting. On a slightly less oppressive note, I saw a portrait of a young Venetian nobleman in an exhibition in Italy who looked so arrogant and proud it almost took your breath away, people instinctivly took a step back when looking up into his eyes. That too was a great painting.
   Not all paintings need to be that memorable to be good, the use of light, shadow, and texture can create drama which causes the viewer to be transported to another dimension. As I have been observing the beautiful work done on the Urban Sketchers platform I am a member of I have observed that there is a certain type of sketcher who can achieve that slanting afternoon light so well. When looking at these artists pictures you are immediately outside walking down the street enjoying the sun and the long shadows created by it.

   Some of my favorite artists are those who play with light. I like Vincent Van Gogh for his beautiful colors but I think his use of tonal quality and light are often overlooked in the viewer's delight of the bright palettes.
  Edward Hopper, another painter to whom I was introduced during an exhibition in Salt lake city, is a master of capturing light. His paintings give a feeling both of space and emptiness.  His light is white and northern, empty and weightless while Van Gogh's light is heavy and warm and perfumed.
  When looking at Hopper's work I hear nothing, silence, or wind or maybe a distant train, but in Van Goghs work the scenes are full of noise, even when they are empty. Cicadas, flies buzzing, bees, farmers working, carts, etc... Both of the artists have the power to transport.
  Below are two paintings which draw you in even though the subject matter is quite simple.

There is a painting hanging in a coffee shop I frequent. It is a relatively old still life of, I think, a jar of pickles and either cabbages or cauliflower on a table with a white tablecloth. Although the food is unimpressive, there may even be a lemon or two, the feeling of being at a table where a dinner is going to soon be served causes the cafe visitor to keep looking at it. somehow it adds depth to the bank of tables, bringing past the bread to where the actual feast is in preparation. The tablecloth in the picture dresses up the tables of the cafe. So even though the objects are forgettable, I really can't remember what they are and I look at it quite often, it creates a second reality, a layer behind the layer you are inhabiting. And that is why I think it is such a good painting.

 * All of the pictures in this post are from various museum visits. None are mine. I use them to illustrate what I mean by being drawn into the subject matter, emotion or feel of a piece of art.

   What is good art to you? Feel free to leave a comment.



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