Not Just Scribbles: Art Critique vs Opinion
The other day, I came across a comment that really got me thinking: “Why don’t you like your art being criticised? Surely it helps you grow?”
I couldn’t help but wonder: Can just anyone criticise art without proper knowledge? Or is it simply a matter of casual opinion?
That raised a rather bigger question: What exactly do people mean by “critique”?
And more importantly, do they actually understand the difference between art critique and simply having an opinion?
Years ago, I conducted a little experiment. I showed a group of people, none of them artists, a copy of Cy Twombly’s “Untitled, New York City, 1968”. You might know it: looping, chalk-like marks sprawled across the canvas. In 2015, it sold for over $70 million.
I didn’t give them any background. No name, no history. Just the painting.
Most shrugged: “Looks like scribbles.” One person said, “Anyone could do that.”
That reaction didn’t surprise me in the slightest. After all, I’m an abstract artist and I’m quite used to this sort of reaction.
I haven’t included an image of Twombly’s painting here as I’m not sure about potential copyright issues, but I’ve included some of my own abstract work to give you a sense of what we’re discussing.
I’ve written several blogs about abstract art, for example, “Abstract Art Makes No Sense” and “Abstract Art Myths? Not On My Watch”. But today, I want to go deeper, not into the art itself, but into how we respond to it.
The Snap Judgement – What Is an Opinion in Art?
Let’s start here.
An opinion is that immediate reaction you and I have when we see something. You like it or you don’t. Perhaps it reminds you of something personal. Maybe it just doesn’t “speak” to you.
That’s perfectly fine. Opinion is personal and honest. It’s how most of us begin when looking at art. But it’s also where many people stop.
When I showed that Twombly piece, people were reacting based only on what they could see. They didn’t know anything about the artist, the context or what he was trying to say. They were judging the work without any tools to actually understand it.
That’s fine too and expected. They weren’t professional art critics.
Beyond First Impression – What Is Art Critique?
Art critique is something else entirely. It’s a way of looking more closely. Not just “Do I like it?” but why was it made, how was it made and what might it mean?
I’ve talked about this sort of deeper looking in “The Brain on Art: How We Process and Appreciate Artistic Expression”. It’s not about overthinking, it’s about curiosity.
Professional art critique is methodical. It’s thoughtful. And it takes time, research and effort.
Here’s how it usually works:
- Start with What You Actually See
First, just describe what’s there. What colours do you see? What materials were used? Is it big or small? What’s the subject matter? At this stage, you’re not judging, you’re just taking inventory. Think of it as creating a list of facts before you start forming opinions about them.
- Look at How It’s Put Together
Now you’re asking: How does this thing work? How are the colours balanced? Do the lines lead your eye somewhere? What about the brushwork, is it smooth or rough? This is where you start noticing the artist’s technique and whether they know their craft.
- What Might It Mean?
Here’s where it gets interesting. What story might this be telling? What emotion does it stir up? If you know anything about when it was made or who made it, how does that change what you see? But here’s the key, don’t just guess widely. Base your ideas on what you can actually see or what you know about the artist.
- Does It Work?
This is the big question: Is this piece successful at what it’s trying to do? If it’s meant to be beautiful, is it? If it’s trying to shock you, does it? If it’s exploring an idea, does it do that clearly? You’re not asking “Do I like it?” but “Does it achieve its purpose?”
- Where Does It Fit?
Good critique also asks: Where does this sit in the bigger picture? Is it part of a movement? Does it break new ground or follow tradition? How does it speak to other artworks from its time or our time?
- Stay Professional
Throughout all of this, remember you’re critiquing the artwork, not attacking the person who made it. Be constructive. Point out what works well alongside what doesn’t. And always remember that your goal is understanding, not just having an opinion.
Summary Table: Criteria for Professional Art Critique
| Step | Focus Areas |
|---|---|
| Description | Objective facts, subject matter, medium, visual elements and technical features without personal opinion. |
| Analysis | How elements like line, shape, texture and colour are used; craftsmanship and technique. |
| Interpretation | Possible meanings, themes, emotions and connections to the artist’s background or era. |
| Evaluation | Judgement of success or originality, based on purpose, message and context, not taste. |
| Context/Concept | How it fits into broader art history, movements or cultural discussions. |
| Etiquette | Staying objective, offering respectful and constructive feedback focused on the artwork. |
As you can see, it’s not a simple job. I don’t wish to go deeper but thought to give a glimpse of some of the criteria professional art critique investigates.
And by the way, this sort of critique isn’t just reserved for abstract art, it applies to almost all kinds of creative work. But with abstraction, where meaning often isn’t literal, it becomes especially important.
The point I’m trying to highlight is that a proper art critique often goes beyond the artwork itself.
Critics research the artist, look at when and where the work was made and consider its place in art history.
For Twombly, that means knowing he was fascinated by classical myths and poetry and that his “scribbles” are actually carefully considered marks influenced by his travels and studies.
Opinion vs Professional Art Critique: A Quick Comparison
| Opinion | Professional Art Critique |
|---|---|
| Quick, emotional reaction | Slow, thoughtful observation |
| Based on personal taste | Based on specific criteria |
| Doesn’t require research | Involves research and context |
| Often lacks depth | Seeks understanding and meaning |
| “I don’t like it” | “here’s how it works and why” |
When someone says “That’s just scribbles,” they’re offering an opinion, valid, but limited. When a critic writes about Twombly’s connection to ancient poetry and his deliberate mark-making process, they’re providing critique that helps us see beyond our first impression.
The key difference: Opinion asks “How does this make me feel?” whilst critique asks “What is this actually doing and how well does it do it?”
Neither approach is wrong, but they serve different purposes. Opinion helps us connect personally with art, whilst critique helps us understand it more fully.
Cy Twombly: A Real Example
When I first saw Twombly’s work years ago, I didn’t get it either. It looked messy. But once I started reading about him, everything began to shift.
He studied at Black Mountain College, was influenced by classical poetry and ancient history and spent time in Italy. His marks weren’t careless, they were deliberate, referencing ancient myths, languages and the act of writing itself.
Critics picked up on this. They began connecting the visual language to literary and historical ideas. Over time, his “scribbles” came to be recognised for the thoughtful, layered work they truly were.
If I’d stuck with my first impression, I’d have missed that entirely.
Why the Difference Matters – Opinion vs Critique
If we only rely on gut reactions, we risk missing the story behind the work. We dismiss things we don’t immediately understand. But art critique gives us the tools to ask questions and look deeper.
It’s not just about agreeing with professional critics. It’s about trying to see what the artist was trying to say, even if they said it in unfamiliar ways.
In “What is Abstract Art” and “The Art of Abstraction: A Journey Through History and Creativity”, I wrote about how abstraction isn’t random, it’s often a language in itself. But it takes time to learn that language.
Moving From Opinion to Critique
Here’s the truth: you don’t need a degree in art history to think more deeply about what you’re seeing.
You can start by simply asking:
- What do I notice first?
- What materials were used?
- Does it remind me of anything?
- What time or place might this come from?
- Is there any background about the artist?
Art critique doesn’t have to be formal. But it does mean taking your time and being willing to look beyond that first gut feeling.
How You Express Your Opinion Matters
There’s also something equally important I want to address: How do we express our opinion?
Everyone is absolutely entitled to their opinion about art, that’s never in question. But how you share that opinion matters tremendously.
Artists, whether they work in abstract, figurative or any other style, are often quite sensitive people. We spend years developing our skills, learning our tools and pouring our hearts and souls into our work.
Each piece carries personal meaning, countless hours of effort and often represents a part of who we are.
For me personally, my abstract paintings are deeply intertwined with my personality and my life experiences. What might appear as random colours and shapes to others are actually intimate stories to me.
Every single painting you see in this article, all the abstract works on my website and countless others I haven’t shared, each one represents a little personal narrative, an event, a moment that holds profound meaning for me.
There’s such joy in the making process, in reliving those memories as I paint. And afterwards, there’s equal joy in looking at the finished piece and reading its story again, feeling all those emotions and memories wash over me.
What looks like abstract marks to a casual observer is actually a visual diary of my experiences, my feelings, my journey through life.
That is what makes dismissive comments particularly stinging, not because I expect everyone to see what I see, but because each piece is so much more than what appears on the surface.
When someone dismisses all that with a casual “I don’t like it” or “It doesn’t look good,” it can feel rather harsh. Not because we expect everyone to love our art, we don’t, but because it reduces everything we’ve invested to a throwaway comment.
There’s a more considerate way to express the same honest reaction:
Instead of: “I don’t like it”
Try: “This style doesn’t resonate with me personally”
Instead of: “It doesn’t look good”
Try: “I’m struggling to connect with this piece”
Instead of: “Anyone could do that”
Try: “I’m curious about the technique used here”
Instead of: “It’s just scribbles”
Try: “I’m not sure I understand what I’m looking at”
The difference? These responses acknowledge that the disconnect might be about personal taste or understanding, rather than dismissing the work entirely. They leave room for dialogue rather than closing it down.
This isn’t about walking on eggshells or being dishonest about your reaction. It’s about being professional and considerate, qualities that benefit everyone, whether you’re reviewing art in a gallery, commenting online or talking directly with an artist.
From Opinion to Understanding
Here’s the key. Giving an opinion is simple, subjective and limited.
Art critique, on the other hand, is completely different as it needs researching, time and a great deal of effort. It indicates a different approach.
It indicates:
“I care to find out more about the artist, his/her life, background, likes, dislikes, interests and everything else in between. I care to understand the artwork”.
The artwork is a deep reflection of the artist.
Art critique is a lot more meaningful than just a simple matter of opinion.
So the big question is:
How many of us ordinary people are qualified enough to make an appropriate art critique?
Final Thoughts on Art Critique vs Opinion
As an abstract artist, I know how difficult it can be when your work is brushed off as meaningless. What most people don’t see is the hours, thought process and emotion that go into every piece.
Everyone is entitled to their opinion. That’s not in question. But there’s a big difference between “I don’t like it” and “Here’s what I’ve learnt about it.”
So next time you’re in a gallery or even scrolling online and you see something that looks like “just scribbles”, pause. Ask yourself what you might be missing. Look it up. Read about it. Or even better, ask the artist.
It might not change your opinion. But it might change how you see it.
Over to You
Have you ever changed your mind about an artwork after learning more about it?
Do you think art critique is helpful or just fancy overthinking?
Let me know your thoughts in the comments section below.
2 June 2025 @ 2:37 am
This was an interesting read, Suhail. Thanks for taking time to write about the differences. While I can appreciate the approach to the process of art criticism, I don’t think that many people take time to do what the steps suggest. I know that I, as an artist, will often look deeper at someone’s art because I am moved to do so due to my initial encounter with it. Knowing a bit about the artist certainly helps. While I looked at this article, I could see the Japanese influence in some of your pieces. Is that because I know that bit about you, or is it because it stands out so well, and so, no explanation needed. For example, the one you file named, “How-to-critique-art-the-lone-Samurai-by-ezeeart.jpg,” spoke immediately to me of that. Even before I read the file name I knew this had a Japanese influence. I could see it in the strokes, the color, and the texture. It immediately made me want to know more. Why you painted it, what your connection to Japan is, what you were thinking as you created it, and what it speaks to you about, etc.?
Perhaps it is my baggage about being judged that makes me seem more of a reactionary than a critic, in the sense that is being discussed here, but alas, I can agree that my views might very well be wrong, or not critically correct. That said, it is my opinion that I write from below. Feel free to delete it, or all my comments from your blog post if it does not fit with what you are after.
I feel that art must have enough of “something” to first engage the viewer, and if that engagement is enough, a viewer might just take the time to dig deeper. If I compare your art, specifically the ones seen in this article, with that of the one you mention by Cy Twombly, yours all spark something that makes me want to know more. Those spirals on the chalkboard by Cy Twombly do nothing for me. As I read what you wrote about him and the meaning behind this painting, I thought about one of the earlier abstract pieces I made called Ancient Text. Mine, in my opinion, at least gives something recognizable to the possibility of being text, and the possibly that it might be saying something. It also has some contrast which hints at something more. Would mine sell for $70m at the same auction as those spirals on a chalkboard? Not likely, as I am not famous, as deemed so by the art critics. It is my opinion that once an artist has their work in the trophy case, as Banksy made note of in one of our other discussions, they can paint anything and the critics rave. Twombly is an example of this.
When I discussed this blog post with my wife and showed her the Cy Twombly piece, she asked me if I would have felt the same if I didn’t know that it sold for $70m, if I had just come across it as I surfed the net looking at art. I found that an interesting question. For one, I thought I wouldn’t have even slowed down long enough to look. On the other hand, I thought that knowing what I had learned, I noted that a wall went up in me and I couldn’t see past the outrage I felt at the insanity of the prices pieces like this receive.
Having said all that, I do get the act of critiquing a piece as you describe, and as CoPilot did when I asked for its thought on the subject.
Again, a great read and discussion!
2 June 2025 @ 6:55 pm
Thank you so much, Don. I always appreciate you taking the time to read and add valuable comments and discussions.
You’re absolutely right, Don. Not many people have the knowledge to properly critique art because the process requires effort, knowledge and willingness to learn more about the artwork. This really highlights how the professional art world separates itself from everyone else.
But some of us can critique art well. You’re already doing exactly that when you identify pieces that “must have enough of something to first engage the viewer” and “spark something that makes me want to know more,” as you put it.
Professional art critique, in many cases, is also closely linked to the value of art. So what actually influences a piece to sell for millions?
This is where the professional art world comes into play again. Just like they’ve created professional art critique criteria, they’ve also established another system for valuing art.
They consider several factors, but I strongly believe people like Peggy Guggenheim can completely influence an artist’s career and the value of their work.
They’re the ones who start creating these amazing dialogues about how incredible the artist and their work are. These conversations escalate and get continuously reinforced until other people begin using the same language when discussing that particular artist or artwork, just like I did when talking about Cy Twombly. Does that make sense?
Your wife’s question about the Twombly piece was spot-on, would we react differently if we didn’t know about that $70 million price tag? It’s fascinating how context can either open our minds or put up walls.
I actually created two paintings of that same “Lone Samurai” shown in this blog and also in my “Painting Your Feelings” blog that you commented on, where you mentioned “Don Quixote, ready, posted for battle with the windmills of his discontent.” That was also “The Lone Samurai on a Horse.”
Your descriptions and comments about those two paintings show how you’re already going through the process of proper art critique, with all your questions and the way you link your knowledge of the artist’s background to the artwork. I have to say, you surprised me by seeing so clearly beyond the surface in both paintings. I’m not sure anyone else has ever picked up on that.
“The Lone Samurai” carries a deeper story, one for another day, perhaps.
The other paintings are mainly about raising awareness of heart problems and cancer and how these can have such profound effects on people’s lives.
Your thoughtful engagement with art, whether it’s seeing the Japanese influence immediately or asking those deeper questions about meaning and connection, shows that meaningful art criticism comes from genuine curiosity and careful observation, not just formal training. Great discussion, Don, and thanks again for always bringing such valuable insights to these conversations.
2 June 2025 @ 8:19 pm
Thank you for the great reply, Suhail!
You seem to have a well-rounded view about art and art criticism. I appreciate how you mentioned that the critique works, in part, as a way to value the art itself. Same with your mention of what role Peggy Guttenberg played in helping artists get recognized. It made me realize that my typical negative gut reaction to such people is not very open, in fact it is quite narrow-minded. This is a good reminder that I need to reframe my thinking, once again, while knowing that I can, and will surely try. As you noted, my wife’s questions/comments had the same effect, that of making me take a look at where my thoughts were coming from – a place of recovery, or from my baggage? Although she never judges or lectures me, I continue to learn a lot from her, by her example, and through our continuing dialog. And, as hinted at, from you as well.
Thanks for mentioning the Lone Samurai on a Horse! I remember it well, and now that you have elaborated on it here, I can see that was/is the case. Very cool, and very identifiable as so.
I loved hearing about how the other paintings were mainly about heart problems and cancer. Knowing that, I can see that in the painting when I look now. Both Denise and I have suffered much in the heart realm, so I will have to bring Denise back to this blog post and have her look at those pieces and we can delve deeper together. I just had a very close friend die from cancer, so I will review those other pieces with that on my mind as well.
Keep on writing, keep on painting – you have a real gift for both!
2 June 2025 @ 9:24 pm
Thank you, Don. I really appreciate your openness to reframing perspectives, it’s something we all need to do from time to time. I find myself doing it too, especially when it comes to the art world and all its complexities.
Your wife sounds like she asks the right questions at the right time. Those kinds of partnerships, where someone can gently challenge our perspectives without judgement, are so valuable.
I’m sorry to hear about the struggles you and Denise have faced and the recent loss of your friend. When you both take another look at those pieces with your shared experiences in mind, I’d be curious to hear what you discover. Sometimes art reveals different things to us depending on what we’re carrying at the moment.
We all have our baggage and maybe that’s what makes these discussions worthwhile.
Thanks for the encouragement about the writing and painting, and for always bringing such thoughtful perspectives to these conversations.
3 June 2025 @ 2:03 am
Thanks for the kind words and further discussion, Suhail.
I shared our discussion with Denise and she came to look at all the artwork in this blog post. Although she always tells me that she has no artistic sense, I see another side in her that says otherwise. That said, when we reviewed the paintings, she was able to see or experience the expression of illness in those that had the red components. For the most part, she felt that the red was the seeds of cancer while the black expressed the spread of the disease. Different from her, I experienced the red components as representing the heart, in amongst the “black” chaos of suffering. The one you file named, Elements-of-art-critique-one-of-those-two-series-4-by-ezeeart.jpeg, was the one that allowed me to experience both heart and cancer issues. I see the red as the heart, the blue and pink as the cancer, and again, the black as the suffering. I think, in this case, it was very helpful to know your intent of the paintings to really dig into it. Very expressive, indeed!
On a different note, Denise found the first image, the top feature image, representative of joy, of spring, the upper portion a colorful bird, and the lower portion a colorful nest. I concurred readily. Thinking about that now, I wonder if that image is representative of a better outcome, after the suffering of ill health pictured in the others.
Lastly, Denise could also see the Japanese expression in The Lone Samurai, that based on the things I too had seen earlier – the strokes, the color, etc.
3 June 2025 @ 9:53 am
Thank you, Don and Denise.
What a wonderful way to engage with art, seeing those different layers and meanings together. Denise’s interpretation of the red as cancer seeds and the black as the disease’s spread is fascinating. And your connection to the heart amidst the chaos of suffering shows how the same piece can speak to different experiences. That’s exactly what I hoped for with the “One of Those Two” series.
I created this series about cardiovascular disease and various types of cancer after learning that, according to statistics, one in two people in developed countries like the US and UK might face cancer in their lifetime. But it was really Bill, our neighbour across the road, who inspired these paintings.
Bill was 34 years older than me. A tall, healthy retired man who loved working in his garden during spring and summer. Being new to gardening myself, I’d pop over for chats in his back garden, usually with a cup of tea in hand.
Years later, in his usual cheerful way, he told me he was having heart problems and needed an operation. But it became two operations. Within a year, I couldn’t believe the transformation from an energetic, healthy man to someone so frail he could barely manage a few steps with his Zimmer frame. One evening, there was a knock at our door. His daughter was in tears, telling me that Bill had passed away.
The feature image is inspired by a bird called the Sandgrouse. They live in arid regions and have this remarkable ability to collect water in their belly feathers. The males soak up water and carry it back to their nests for their young. I saw a programme about this years ago and it stuck with me. What a genuinely amazing survival adaptation for desert environments where water is so scarce.
Sandgrouse aren’t actually as colourful as I’ve painted them. They’re mainly light brown and sandy-coloured for camouflage. I used vibrant colours to reflect joy, hope and optimism. Perhaps that’s why Denise saw spring and renewal in it.
And that’s how I paint my stories.
3 June 2025 @ 5:13 pm
Thank you, Suhail, for sharing your experience. I was sorry to read about the death of your neighbor. I can relate to how things like that give us pause to think about death, ours and others, and about mortality in general. As we get older, we seem to get more and more chances to deal with that. Just today, not five minutes ago, my wife headed out on the hi-way to go to her uncle’s funeral, leaving only one from a family of I think eight brothers/sisters on Denise’s mom’s side. I stayed home to be available for my daughter who gave birth to our third grandchild last Sunday. He (Luke Paul) is spending a few days in the NICU as a precaution from a bit of struggle coming out, but he will be fine and home in the near future. I mention this, because it is so obvious all part of being human – birth and death – the circle of life.
Thanks for the details about the Sandgrouse. I am pleased that both Denise and I were able to pick up on the bird in that painting. 👍😊
3 June 2025 @ 9:58 pm
Thank you, Don. I’m sorry for Denise’s loss. It’s quite something, isn’t it, how life gives us these moments of goodbye and hello all at once.
Congratulations on little Luke Paul’s arrival. You’re absolutely right about it all being part of the human experience, that circle of life playing out right in front of us.
Wishing you and your family all the best during this time of mixed emotions.