The Jordanian Contemporary Art Criticism. A Methodological Analysis of Critical Practices

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T he Jordanian contem porary art criticism : A m ethodological

analysis o f critical practices
Haddad, Ziyad Salem, Ph.D.

The Ohio State University, 1988
Copyright ©1988 by Haddad, Ziyad Salem. All rights reserved.
300 N. ZeebRd.
Ann Arbor, MI 48106
THE JORDANIAN CONTEMPORARY ART CRITICISM:
A METHODOLOGICAL ANALYSIS OF CRITICAL PRACTICES
DISSERTATION
Presented in Partial Fulfillment of the Requirements for
the Degree of Doctor of Philosophy
in the Graduate School of the Ohio State University
By
Ziyad Salem Haddad, B.A.A., M.F.A.
* * * * *
The Ohio State University
• 1988
Dissertation Committee: Approved by
D r . Nancy MacGregor
D r . Mathew Herban
Prof. Mike Chipperfield

A
Department of Art Education
Copyright by
Ziyad Salem Haddad
1988
To Dr. Mathew Herban
ii
ACKNOWLEDGMENT
I would like to express my deepest appreciation to the members
of my Dissertation Committee. First, I acknowledge my indebtedness to
my advisor, Dr. Nancy MacGregor for her continuous and valuable
support, advice, and guidance throughout my program at the Ohio State
University. With her support and precious ideas, this study has
become possible. I wish to express my gratitude to Dr. Mathew Herban
for his wisdom, valuable ideas, assistance, and encouragement
throughout the process of completing this study. I am also grateful
to Professor Mike Chipperfield for his great care, artistic vision and
comments that considerably contributed to this study. My heartfelt
thanks to my wife, Aida Haddad for her patience, great effort and
lasting support which made this study possible.
Special thanks to my family whose love and emotional support
have given me the strength to finish my study. I am very thankful to
my father Salem Haddad, my brother Jamal Haddad and my friend Mahmoud
Issa for their concerns and tremendous effort in helping me collect
the data for this study. I am thankful to Mahmood Hajjat and Ali Al-
Zahrani for their help and efforts in various discussions. Finally, I
should acknowledge my appreciation to the Yarmouk University for their
financial support.
iii
VITA
September 13, 1955.................. Born - Irbid, Jordan
1979................................. B.A.A.,
College of Applied Arts
Hellwan University, Cairo
1979-1982........................... Textile Engineer,

Jordan Worsted Mills
Jordan, Amman
1982-198 3 ........................... Research and Teaching Assistant,

Fine Arts Department
Yarmouk University
Jordan, Irbid
1983-198 5 ........................... M.F.A. ,

Eastern Michigan University
Ypsilanti
FIELD OF STUDY
Major Field: Art Education
Studies in Art Criticism: Professor Mathew Herban, Professor

Arthur Ephland, and Professor Nancy MacGregor.
Studies in Aesthetics: Professor Robert Arnold, Professor Lee

Brown, and Professor Louis Lankford.
iv
TABLE OF CONTENTS
DEDICATION................................................... ii
ACKNOWLEDGMENTS.............................................. iii
V I T A .......................................................... iv
LIST OF TABLES............................................... viii
LIST OF FIGURES.............................................. ix
CHAPTER PAGE
I. INTRODUCTION........................................... 1
Significance of the study............................. 2

Assumption............................................. 3
Satement of Purpose................................... 5
Character of the Study................................ 5
Background and Settings............................... 6
Summary................................................ 19
II. REVIEW OF THE RELATED LITERATURE..................... 21
Metacritical Methods.................................. 22
Summary................................................ 36
III. METACRITICAL METHODOLOGY.............................. 37
Part O n e ............................................... 38
The Philosophical Nature of Monroe
Beardsley's Metacritical Approach.................. 38
A Theoretical Model of Metacritical Analysis...... 39
Justification for Employing Beardsley's
Metacritical Approach............................... 47
Summary of Part One ................................. 50
Part Two. ....... 51
Research Design..................................... 51
Research Questions.................................. 51
Population and Standards for the Selection
of Representative Jordanian Art Critics............. 52
Data and Instrumentation............................ 55
Data Analysis........................................ 63
The Relevant Research Procedures................... 68
Summary of Part T w o ................................. 70
v
IV. RESEARCH FINDINGS..................................... 72
Discussion and Comparison of the Findings............ 77

Research Question O n e ............................... 77
The Description Theme............................. 77
Description of Elementary and Complex Areas.... 77
Description of the Relationships between
Elementary Parts, Large-Scale Parts and
Small-Scale Parts............................... 83
Description of Human and Nonhuman Regional
Qualities in the Artwork or its Parts.......... 86
Summary of the Description Theme................. 89
The Interpretation Theme.......................... 90
Summary of the Interpretation Theme.............. 96
The Evaluation Theme.............................. 97
Relevant Reasons................................ 98
Irrelevant Reasons.............................. 103
Summary of the Evaluation Theme.................. 107
Research Question T w o ............................... 108
The Biases Theme.................................. 108
Social and Cultural Biases..................... 109
Religious and Political Biases................. 112
Artistic Biases................................. 114
Intentional Biases.............................. 117
Summary of the Biases Theme...................... 123
The Language Theme................................ 125
Summary of the Language Theme.................... 128
The Critical Method Theme........................... 128
Summary of the Critical Mehtods Theme.............. 132
Research Question Three............................. 156
Summary of the Preparedness Issue.................. 135
V. CONCLUSION AND RECOMMENDATIONS....................... 136
APPENDICES
A. Analysis of Critical Writings of Mahmood Issa (MI) 144
Mil. Al-Shaab Newspaper, 12.15.1983.......... 145

MI2. Al-Shaab Newspaper, 3.8.1984............ 147
MI3. Ad-Dustour Newspaper, 7.31.1984;
Al-Shaab, 5.3.1986............................... 149
MI4. Al-Shaab Newspaper, 4.9.1986 and 4.10.1986... 151
MI5. Al-Shaab Newspaper, 8.8.1986............ 153
vi
B. Analysis of Critical Writings of Hussain Da'seh (HD) 155
HD1. Ad-Dustour Newspaper, 3.2.1986.............. 156

HD2. Ad-Dustour Newspaper, 11.17.1983............ 158
HD4. Ad-Dustour Newspaper, 1.16.1984............. 162
C. Analysis of Critical Writings of Ay'yad Nimer (AN) 165
AN1. Ad-Dustour Newspaper, 12.13.1985............ 166

AN2. Ad-Dustour Newspaper, 2.7.1986.............. 167
AN3. Ad-Dustour Newspaper, 2.26.1986............. 168
AN6. Ad-Dustour Newspaper, 10.16.1986............ 172
D. Analysis of Critical Writings of Muhammed Jaalous (MJ) 173
MJ1. Al-Shaab Newspaper, 1.3.1986................ 174

MJ2. Al-Shaab Newspaper, 1.29.1986............... 176
E. Analysis of Critical Writings of Abdel-Ra'ouf

Sham'on (AS)....................................... 181
AS1. Ad-Dustour Newspaper, 10.25.1983............ 182

AS2. Ad-Dustour Newspaper, 5.11.1982 and 11.12.1986 184
F. Analysis of Critical Writings of Adnara Yahqa (AY) 187
AY1. Ad-Dustour Newspaper, 4.8.1986.............. 188

AY2. Ad-Dustour Newspaper, 10.13.1986............ 188
AY3. Al-Ra'i Newspaper, 2.17.1987................ 188
AY4. Al-Ra'i Newspaper, 2.17.1987................ 188
AY5\ Ad-Dustour Newspaper, 2.20.1987............. 188
AY6. Ad-Dustour Newspaper, 4.14.1987............. 188
G. Analysis of Critical Writings of George Seye'ygh (GS) 189
GS1. Ad-Dustour Newspaper, 21.9.1984............. 190

BIBLIOGRAPHY................................................. 196
vii
LIST OF TABLES
TABLE PAGE
1. Occurrence of Descriptors in the Critical Writings 74
2. Comparison of Art Critics.............................. 75
viii
LIST OF FIGURES
FIGURE PAGE
1. Dickie: The Domain of Aesthetics..................... 23
2. Geahigan: Metacritical Activities.................... 27
3. Ecker: Levels of Aesthetic Inquiry................... 30
4. Beardsley: Critical Reasons........................... 62
5. Instrument Chart........................................ 65
CHAPTER 1
INTRODUCTION
The history of contemporary Jordanian art criticism is a short
one. It began in the early 1960's in local newspapers and, since
then, has begun to flourish gradually but noticeably along with the
increasing activity in Jordanian contemporary arts. This flowering
has been noted, in its quantitative increase, by many Jordanian art
critics and writers, such as A. Yahya (1986), Princess Wijdan Ali
(1981), and M. Jaalous (1986). These writers and others demonstrate a
concern, however, as to the quality of this published art criticism,
stating that these writings about art should be astutely monitored and
meaningfully assessed. It is the principle concern of this study to
accomplish this task of critically assessing selected, yet
representative, examples of this criticism. Concomitant concerns are
to ascertain and assess the particular art critic's preparation for
practicing criticism and introduce a metacritical methodology for
scrutinizing art critical writings, in general, and Jordanian ones, in
particular. As this is a pioneering task, the researcher has based
this methodology on Monroe Beardsley's metacriticism. But, for the
longer term, this study also provides reference to other metacritical
1
analyses, which might be adapted to an individual critic's or reader's
approach.
Significance of the Study
The specific importance of this study lies in its implications
for the fine arts education curriculum at Yarmouk University, in
Jordan, where this author teaches.
It is envisioned that this investigation of critical practices
in Jordan will foster greater sophistication in art criticism as it is
practiced and read. It will also result in some fundamental
educational changes, especially in regard to Yarmouk University.
Since the departmental already awards degrees in numerous studio
majors (painting, sculpture, drawing, graphics, weaving, ceramics,
metal and woodwork, crafts, and applied arts, as well as music and
theater), it is apparent that the one criticism course presently
offered is neither sufficient for providing artists with critical
insight nor adequate for developing future critics and art educators.
Insight, study and practice need to be provided as to how criticism
should be approached, the importance of art criticism's role, and what
kind of educational background a critic needs to possess in order to
enhance his activity.
Other changes and course additions are envisioned in order to
foster the students' appreciation of works of art. This would involve
art theory courses that, likewise, do not currently exist in the
program - courses involving methods, theories, and histories of art
criticism.
Assumption
The main assumption of this study is that works of art have
significant value for both society collectively and the individual
human being's experiences of life. Kirby (1978) stated that "a work
of art can be seen as significant to the extent that it tends to
change basically the consciousness of man" (p. 63). In this regard,
art can alter and enhance human attitudes toward a better
understanding of life's organization and basic structure. A good work
of art, said Gotshalk (1966), can give "us a form of self-awareness (a
mirror) not to be found in mere life, contributing thereby to a unique
dimension of man's being" (p. 150). Thus, having such a value, art
functions to educate man and motivate him/her to be more creative.
Furthermore, art provides people with an interpretation of life that
enables them to deal with life's uncertainties. Life then, can become
at least more meaningful and, hopefully, more enjoyable (Hauser, 1966,
p. 274).
The significance of a work of art is dependent on the
relationship between the work and its perceiver or appreciator.
According to Dewey (1966), "The product of art - temple, painting,
statue, poem is not the work of art. The work takes place when a
human being cooperates with the product so that the outcome is an
experience that is enjoyed because of its liberating and ordered
properties" (p. 143). Dewey, as indicated by Gotshalk, is referring
here to the interaction between the artist's products and the
perceiver or appreciator's critical activities. This interaction

4
varies in its breadth and depth depending on both the maker's and
perceiver's aesthetic experiences.
Kirby (1978) indicated, "Thought that is caused, provoked, based
on, influenced, or made possible by an exposure to a work of art is
one of the basic contacts of art with mundane reality and, ultimately,
with significance" (p. 65). Therefore, art works may be ambiguous and
not easy to grasp unless there is a well established approach that
engages its various dimensions.
Thus, art criticism comes to describe, interpret, and evaluate
works of art in order to be more comprehensible to those who are
involved with art works. In this sense, art criticism functions to
educate people about works of art in terms of their aesthetic value,
expression, and significance to one's life (Osborne, 1955; Smith,
1966; Feldman, 1981; Hamblen, 1984; Lankford, 1984; and Eisner, 1985).
Criticism makes aesthetic experience better by making

aesthetic perception more discriminating. It enables us to
see what we had not seen before. We can know, discern, and
therefore respond to all that is richly contained within the
work. Criticism calls our attention to the sparkle or charm
of the sensory matter, the subtlety of form and the way in
which its formal structure unifies the work, the meaning of
symbols, and the expressive mood of the entire work.
Criticism gives us a sense of the work's "aesthetic
intention" so that we do not make illegitimate demands upon
it. Criticism also develops aesthetic "sympathy" by
breaking down the prejudices and confusions which get in the
way of appreciation. It explains the artist's conventions
and social beliefs of the artist’s time. It relates the
work of art to the great world and shows its relevance to
our own experience (Stolnitz, 1960, p. 494).
Stolnitz goes on to explain the various ways in which art
criticism is considered educative. He refers to art criticism as
being a guide to the people's perception of a work's significant
values, enhancing viewers' imaginative powers, thoughts, and feelings.

Criticism, in this manner, thus creates a kind of dialogue about
meanings and values between a work of art and the viewer through a
systematic process that involves description, interpretation, and
critical evaluation. It should be noted, however, that any such
critical evaluation is open to many epistemological questions
concerning the possibility of gaining a meaningful understanding of
art works. However, the above noted commentators, educators and
aestheticians operate on the premise that meaningfulness is possible,
in fact necessary.
Statement of Purpose
The purpose of this study is to assess the writings of a
selective group of Jordanian art critics as well as to examine their
preparedness to be critics in the first place, as indicated both by
their criticism and their educational background and interests. These
questions are asked: How do these critics approach a work of art? Do
they pursue certain critical methodologies in their practice? And, do
they reflect any kind of biases in their writing?
Character of the Study
The study will be conducted in the following manner:
1. Since the two-dimensional work of art is the most dominant
form in the Jordanian art movement, the assessment of the critics'
writings will be limited to those critical writings about painting,
drawing, and printmaking.
2. It will be comprised of an analysis of eight representative
Jordanian critics' writings. Concomitant to this is a background
essay on their preparedness which may affect such writings. The study
is limited to those currently active in popular press publications as
this study not only examines the critics' training and practice, but
the greater educational value their writings convey in both approach
and content.
3. The study is based on and provides a basis for analyzing
Jordanian art criticism and will make a number of recommendations.
Such recommendations will foster increased attention on the part of
Jordanians, in general, and to art educators and artists at the
Yarmouk University Fine Arts Department, in particular, to the
importance of art criticism.
4. The comprehensive criteria and profile of critic selection
are dependent on educational background, special interests, character
of relationship to the Jordanian art movement, and the wide
dissemination of their writings in the local newspapers. The
information collected is derived from available newspaper interviews
with the critics, magazines, biographies, and art catalogues.
5. Issues of the popular newspapers, Ad-Dustour. Al-Ra'i. Al-
Shaab . and A1-Yarmouk Press, between 1980 and 1987 are the sources of
data.
Background and Settings
As has been the tradition in both the Western and Arab worlds,
Jordanian art criticism has been closely related to literary
criticism. Thus, critics are considered the bridge that connects art
to literature. Such a tradition and relationship have a fundamental
impact on the actual practice of art criticism in Jordan. For the
purposes of this study, this impact needs to be set forth,

highlighting the long history of Jordanian literary criticism, its
traditional character and focuses, and its present distinctive
position as an intellectual activity. The character of Jordanian art
critics' writings is strongly marked by the influence of literature,
literary criticism and, particularly, literary criticism of art.
Certain issues have arisen because of this. According to Yayha
(1986), a Jordanian art critic,
Most of us (Jordanian artists and art critics) know that

some literary writers and poets wrote about art. Their aim
was to contribute to the Jordanian art movement and
particularly art criticism. However, these writers have
abandoned such a task to return to their own personal
interests (Ad-Dustour. p. 15).
Then he raises the following questions:
Have those writers noticed how art criticism was practiced

before, and how it is today? Have they also noticed that
art criticism was practiced to underestimate the artists'
creative accomplishments and charge them with different
accusations? Have they realized how the moody relationships
and self-interests were dominating the practices of art
criticism? (Ad-Dustour. p.15).
In these statements, Yahya implies that if the poets and literary
writers had continued writing art criticism, they might have prevented
the Jordanian art movement from experiencing certain problems. Even
though they were providing a necessary function, the literary writers'
influence has not left an impact on art criticism because they
abandoned the field out of their own self-interests and did not really
comprehend whence art criticism evolved and whence it needed to
develop.
The existence of literary criticism in Arabic literature goes
back to the early stages of Arab history. It is influenced by the
changes that accompanied the development and growth of Arabic

literature, particularly Arabic poetry. Such a form of literature is
said to be considered the Arabs' distinctive reference (Amin, 1967, p.
445). In fact, Arabic poetry and its various forms, such as Prose,
Satire, and Ode, are referred to by many Arabic literary people as the
heart of literature; and, it is one of the most popular artistic
activities among Arabs, for poetry is held to best express the Arabs'
life and feelings. Such an artistic expression has been favored by
laymen, religious, elite, kings, and presidents, since the time of
what is termed, the Arab state of ignorance (the heathenism of the
Arabs before Muhammed, prior to the early seventh century). According
to Amin (1967),
There were a number of different places, called "markets"

where the Arabs used to meet to recite their lyrics and
poetry and to criticize each other's. This kind of
continuous social interaction among people and poets
contributed to the enhancement of the linguistic signs,
symbols, and what they mean or denote, as well as the
development of the meanings of speech forms. It also aided
in the advancement of criticism. The most popular of these
markets was the Okadh market (p. 446).
At that time, there were three kinds of poetic criticism - criticism
of word meanings, criticism of poets by making distinctions among
them, and criticism concerned with making judgments about poetry.
This criticism was not based on aesthetic standards. Rather, it was
judged by the spontaneity of the critic. Then, during the Islamic
era, other schools or kinds of literary criticism, known as the
criticism of the Umayyad and Abbasid periods (mid 7th to mid 12th
centuries), appeared. During this period critics started to formulate
certain standards.
By the late Umayyad period, a new kind of criticism had
developed based on the syntax of Arabic language. This criticism was
enhanced during the Abbasid period, a period characterized by the
advancement of science as well. Literary criticism became completely
dependent on scientific and advanced syntactical rules (Amin, 1967, p.
468). Literary critics of this period tried to study and adopt old
and new critical practices and also to broaden their experience by
studying other literature, such as Persian, Indian, and Greek. In so
doing, they started to justify their judgments and evaluate earlier
critics' judgments of poetry. This era, thus, contributed
significantly to both the literature and criticism of following
generations and did so up until recently.
However, the time between the 12th and late 19th centuries,
following the Abbasid period, was one of great decline in the various
fields of literature and science. The decline also affected the
development of literary criticism. After this period of depression in
the Arab World and through active communication between the West
(Europe) and the East (the greater Arab World), literary criticism, as
with the arts and literature, started to regain its importance. Two
schools of literary criticism emerged. According to Amin (1967),
these schools were: 1) the school of criticism that depended on the
Arabic literary heritage such as Al-aghani, Al-aquad Al-Fareed and
Zahr Al-Adab; and, 2) the school of criticism that was influenced by
Western literary traditions (p. 489).
Current literary criticism depends on Western tradition, with
Arab literary critics trying to employ Western standards in judging

10
Arabic literature (Amin, 1967; Abd Al-Rahman, 1979). At this
juncture, however, it is important to note that in the Arab World
during the 1950's and 1960's, the advancement of literature was
greater than that of literary criticism. The reasons for this lack of
critical activity, as indicated by Amin (1967), are first, that some
critics merely condemn, without justification or without reliance on
articulated standards. Second, critics do not have the political and
religious freedom to criticize and, even if they do write, their
criticism will never be published (p. 492).
In his book, Modern Criticism (1979), Dr. Abd Al-Rahman studies
the modern schools of Western criticism and their philosophical
origins. He first took up this study because he believed that modern
Arabic literary criticism is clearly influenced by European literary
criticism and is thus practiced according to European standards. He
divides his study into two parts, realistic criticism that consists of
neo-classical, historical, formal, and contextual points-of-view and
idealistic criticism that involves romantic, symbolic,
expressionistic, explanatory and objective attitudes. As for Abd Al-
Rahman, he considers himself more appropriately inclined to a literary
criticism of Arabic origin than of European.
Arabic literary criticism has had a long history, one spanning
over fifteen hundred years. This span embraces pre-Islamic, Islamic,
and 19th and 20th century developments, just as explained above for
Arab literary criticism in general. Contemporary European influences
are felt by many Arab philosophers, authors and critics, particularly
many Egyptians who have become the most influential philosophers of

11
art in the Arab World. According to Zakeria Ibrahiem (1966), an
Egyptian philosopher, Al-Acquad was the first contemporary Arabic
philosopher to study the aesthetics of European philosophers and
transmit their ideas into the Arabic thought and translate their
writing into Arabic (p. 371). Al-Acquad's aesthetics is based on a
sought-for integration between beauty and freedom as the unifying
component in a work of art. In this, he was most influenced by
Friedrich Schiller, but differs with Schiller in that he broadens the
concept of beauty to embrace natural objects in addition to works of
art (p. 372).
Since the history of Arabic art criticism dates back to the
initiation of Islam and specifically to the appearance of Islamic
painting, in 622 A.D. (Graber, 1973, p. 7), it is necessary to
understand that the Koran and the Prophet Muhammed's Hadith contain
the fundamental elements for Islamic art criticism. These elements
constitute the Islamic attitude toward art and artists. Analyses of
these works in current literature range from supporting
interpretations that purport that there are Islamic interdictions
against the representation of living beings to the stance that there
are no restrictions against such a thing. Papadopoulo (1979)
indicated that:
If we look at the Koran for a clue to this key problem of

Muslim art, it comes as a surprise to find that there exists
not a single interdiction against images, paintings, or
statues of living beings. The only reference of any kind
concerns solely, and perfectly clearly, the idols worshipped
by pagans, and these constitute no more than three passages,
which happen to be concerned with other prohibitions as well
(p. 48).
12
In this statement, Fapadopoulo rectifies a significant and critical
misunderstanding that has the most serious implications for the
formulation of Muslim attitudes toward works of fine art. It serves
as an answer to extreme Muslim theologians, such as Matazilite and
others, who have brought the interdiction stance into the current era.
These extremists purportedly base their attitude on the Hadith. which
says, "The angels will not enter a temple (bayt) where there are
images (tamathil)" (Papadolpoulo, 1979, p. 49). The controlling
belief behind this is that God does not accept from Muslims any
prayers that are associated with Satan's spirits, the images like
those of non-Muslims. Therefore, fundamentalists expand on this
interdiction in the worship place making it a general interdiction
against all works of fine art that contain images and portray living
beings.
Another Muslim critical attitude towards the arts is discussed
by Sir Thomas Arnold (1965), who states that those supporting total
interdiction, call upon the prophet who
is reported to have said that those who will be most

severely punished by God on the Day of Judgment will be the
painters. On the Day of Judgment the punishment of hell
will be meted out to the painter, and will be called upon to
breathe life into the forms that he has fashioned; but he
cannot breathe life into anything. The reason for his
damnation is this: in fashioning the form of a being that
has life, the painter is usurping the creative function of
the Creator and thus is attempting to assimilate himself to
God; and the futility of the painter's claim will be brought
home to him, when he will be made to recognize the
ineffectual character of his creative activity, through his
inability to complete the work of creation by breathing into
the objects of his art, which look so much like living
beings, the breath of life (p. 5).
But, countering this, Arnold states that the Prophet,

13
After his triumphal entry into Mecca, Muhammed went inside

the Ka'baah, he ordered the pictures in it to be
obliterated, but put his hand over a picture of Mary with
Jesus seated on her lap, that was painted on a pillar and
said, "rub out all the pictures except these under my hands"
(1965, p. 7).
It is such ideas, experiences and controversies that have
resulted in the polarities of Islamic art and criticism. It is under
this dialectic that art criticism in the Islamic world is practiced.
This is further complicated by theologians whose interpretations of
the Koran and Hadith often contradict each other on this as well as
other matters.
In respect to Jordan, as one of the Islamic countries, it was
influenced by such Islamic doctrines until approximately theearly
1950's, when the so-called modern Jordanian art movement emerged. In
her talk about the Fine Arts Gallery in Jordan, Meg Abu-Hamdan
(Sat.8.29.1981) stated that the gallery is unique and remarkable, for
it is "perhaps the only art gallery in the Islamic world...or the
third world that houses a collection of contemporary art from
different Islamic, Arabic and Oriental countries." She says it is
remarkable, also, for it "has been established in a country where its
development has suffered many setbacks due apparently to ancient
traditions that forbade the representation of the human form, and
partly to the general social oppression of 400 years under the Ottoman
rule" (Jordan Times'). The art movement that produced these works
began with Jordanian students who had studied art in Europe in the
early 1950's. They returned in the late 1950's with a rich variety of
attitudes about the fine arts, art movements, and European philosophy
of art. Due to this and since the early 1960's, Jordanian interest in
14
the fine arts has increased along with the number of fine art
students, art exhibitions, and new art establishments, such as art
schools, art galleries and government supported programs. These
developments are referred to in the writings of The Ministry of
Information, Jordan 1978; Simpson, 1982; Issa, 1986; and many others.
Along with these developments in the Jordanian art movement, articles
about artistic activities as they relate to these developments have
been published in the popular press.
In this context, current fine arts criticism in Jordan
(criticism that deals with painting, drawing, ceramics, graphics, and
sculpture) is practiced by Arab artists, literary critics and
reporters as well as foreign critics. It is, therefore, the main
concern of this study to critically assess these writings, by
examining a selective and representative group of art critics. The
most prevalent fine art criticism is practiced by either Jordanian
artists with backgrounds in studio art or art education and artists
with backgrounds in fields such as pharmacy, geography, and
literature. In both cases these critics depend on their literary
skills in writing criticism. Their influence is due to the wide
dissemination of their critical writing in various popular newspapers
such as Al-Ra*i. Ad-Dustour. Al-Shaab. and Al-Yarmouk Press. The
writings of other groups, such as reporters, literary critics, and
foreign art critics do appear but are not the concern of this study
because their writings either are not really fine arts criticism or
else only rarely appear in popular local newspapers. For instance,
reporters are almost exclusively concerned with providing information

15
about an artist in the manner of feature, rather than expostulating on
works of art. They are not artists, nor do they have training in
areas related to the fine arts. Thus, this form of reporting is more
that of feature writing about the artist with some reference to the
work he/she is exhibiting. Such reporting is rejected as art
criticism by Issa (July 5, 1984) in an interview with Omar Shabaneh.
He maintains that "any writing about the work of fine art that takes
various forms, such as newspaper reporting, empty politeness,
advertising, and a kind of irresponsible writing with a constant
bickering, is not helpful at all" (Al-Shaab) .
Fine arts criticism as practiced by literary critics is rarely
carried in local newspapers. The same can be said about foreign
critics who write for only one Jordanian newspaper, the Jordan Times
which is published every other day and is in English. According to
the Princess Wijdan Ali (August 29, 1981), as interviewed by Meg Abu-
Hamdan, "We found it was not good importing critics, as we did for
several of our exhibitions at the gallery, because the press here
would not translate and print what the foreign critics wrote"
(Jordan Times). Thus, the statements of foreign critics appear mostly
in this least popular of newspapers and are limited to an English-
speaking audience.
Yet, Jordanian authored art critical writings published in the
Jordanian newspapers have attracted Jordanian attention. As a result,
concern with how critics approach works of fine art and how they
practice their criticism has been expressed, often in the same popular
Jordanian newspapers, as these newspapers carry art criticism. These

16
articles have been written by artists, art critics and museum
curators, and appear mostly in the form of recommendations. For
instance, Amr (March 29, 1986) states:
The practice of art criticism requires, first of all,

theoretical and practical education in the field, knowledge,
experience, and a more comprehensive study other than the
analysis of the visual experiences of the work. It also
needs a personality that bears no hatred or malevolence that
would stand between the critic himself and the objectivity
and truth of his criticism" (Ad-Dustour) .
Amr believes that critics should be knowledgeable in theories of
art and aesthetics as well as critical theories in order to be able to
justify and support their artistic judgments. He also recommends
experience with artistic techniques and media in addition to
contextual studies, such as history, sociology, and psychology. Such
an educational background, he holds, would prevent critics from
publishing uninformed criticism. In this sense, critics would realize
the greater role of art criticism as educational, rather than merely
functioning from a single perspective or as a collection of opinions.
The American Art Educator gives support to Amr's belief. Eisner
(1985) says, "The function of criticism is educational. Its aim is to
lift the veils that keep the eyes from seeing by providing the bridge
needed by others to experience the qualities and relationships within
some arena of activity" (p. 8). This educational aspect can lead
viewers to better discriminate and visualize the qualities of a work
of art on their own and become more discerning both as to aesthetics
and criticism as well. Further, people will then be able to perceive
their relationship to works of art, and become more creative in and
receptive to their surroundings. Thus, criticism can identify

17
possible roles and the significance of art to society as well as the
role' of the artist and art towards the audience.
This societal idea is developed by another American art
educator, B. Wilson. According to him (Autumn, 1970), "The critic
modifies our experiences with works of art by directing attention to
those aspects which we might overlook, and drawing relations between
the work of art and our existence" (pp. 31-32). Consequently, it
would be beneficial to both the fine arts and society in Jordan for
the critic to try to understand the fullest role criticism can play
and to equip himself with the necessary knowledge and education. If
the critic, instead, reflects his personal opinions, problems and
frequently negative attitudes in his art criticism, he will not be of
any help either to the public or to art in general, and certainly not
to the development of criticism in particular. Princess Wijdan Ali
(8/29/81) indicates that:
One of the main problems with art in Jordan at the moment is

a lack of professionalism. We must now become more
professional, and this applies to the artists' relationships
to one another. Criticism should be brought before the
artists - the present empty politeness, with constant
bickering afterwards is not helping us at all. If we had a
professional attitude, we should all work around one goal
the real aim, namely the promotion of art and culture in
Jordan. There would be none of the personality cult, where
everyone has got to take the credit: where what anyone does
is for their own self-esteem. (Jordan Times)
The princess, with her personal involvement in the art world as
the Director of the Jordan Museum of Fine Arts, bases her view on her
assessment of published art criticism. She also raises many questions
focusing on what should be done to better understand both the role and
nature of art criticism in the country. Thus she calls for more
18
objective and constructive practices in art criticism, so that people
might understand and realize the significance of the works of fine
art. This same idea is emphasized by the American contemporary art
critic Harold Rosenberg. He states (1971-75) that, "The value of
values for art criticism must be the effort to reintroduce art into
the framework of humanly serious concern" (p. 141).
In order for art criticism to be taken seriously, critics need
to realize the significant role they play in fostering relationships
between artists and people. Critics need to provide, through their
discourse, an awareness that enhances and educates people's experience
of art works. Criticism in this sense will serve to reveal the great
value art has and the important role critics can play for both society
and artists. Yahya (10/31/86) suggested that:
Good criticism is not only to commend and condemn, but also

involves the attempts and ability to well discriminate and
logically define the artist's creativities. It is also the
task that depends on the study, search, and analysis of the
different sides of the problem at hand. The role of an art
critic is very similar to that of a painter. They both deal
with illumination and stimulation. (Ad-Dustour. p. 15)
In looking at the nature of and concerns over, Jordanian art
criticism, one perceives a great deal of misunderstanding as to both
the role and nature of art criticism. Yet, there is a persistent
theme calling for a deeper, more educated and professional insight.
In this sense, this researcher's purpose is to study the writings of
the critics of Jordanian fine arts and of the artist-critic in
particular in terms of his educational background, actual practice and
aesthetic biases.
19
Summary
Based on the aforementioned concerns, the present situation of
fine art criticism in Jordan indicates that there is misunderstanding
about the role played by art critics both in society and in the art
world. This misunderstanding creates a dilemma that continues to
widen the gap between the people, the artists, and the critics. Most
of the available published criticism is limited to the forms of
reporting, advertising, and writings that deal mostly with artists'
styles, achievements and biographies. Thus, the work of fine art
itself is ignored in terms of its value, interpretation, and
significance. This is a result of the deficiency of knowledge,
experience, and educational background of the Jordanian art critic, in
particular, and the public, in general. It might be assumed that the
deficiencies are due to the fact that some critics come from
backgrounds unrelated to art, such as geography and pharmacy, whereas
others have backgrounds in studio art. Few have art critical and
educational training. Also, the art critic's biased attitude and
individual interests might have negative influence in these critical
writings.
The next chapters in this study include the following: Chapter
two deals with the review of the related literature which provides
different metacritical approaches and their implications on art
criticism and art education. This chapter also provides a background
to Beardsley's metacritical analysis which is the concern of part one
in chapter three. However, the second part of chapter three involves
the design and procedures of conducting both analysis and the

20
discussion of chapter four. Finally, chapter five is the conclusion
of this study. It also includes some recommendations for the Fine
Arts Program at the Yarmouk University.

CHAPTER II
REVIEW OF THE RELATED LITERATURE
One of the main concerns of this study is an analysis of
contemporary art criticism. Such an approach is referred to as
metacriticism, an endeavor that engages both the philosophy of
criticism and an understanding of the concepts of art criticism. In
fact, there are many writers and philosophers who devote their entire
critical undertaking to the clarification and analysis of the
different concepts, vocabularies, and terms of critical writing on
works of art. These commentators provide distinctive approaches to
metacritical analysis, and each has his own philosophical grounds and
premises for the validity of art criticism.
As to the primary focus of this study, Beardsley's metacritical
analysis is adopted as a means of analyzing contemporary Jordanian art
criticism. It is chosen among other metacritical approaches for it is
comprehensive and has significant implications for aesthetic
education. The appropriateness of Beardsley's method will be further
discussed in the following chapter, Research Methodology.
Consequently, it is necessary here to devote this chapter to a review
of different metacritical analyses in order to present a comprehensive
background and understanding of metacritical inquiry. Such an inquiry
21
22
introduces various Western metacritical methods to Jordanian art
critics, educators, and students. Therefore, this chapter provides,
in addition to the definition of metacriticism, the relation of
metacriticism to aesthetics and criticism, and its implication on art
education.
Metacritical Methods
In support of metacriticism as a basis of analysis in this study
I turn to Aesthetics: An Introduction, by G. Dickie (1971), who
defines metacriticism as the
Philosophical activity which takes as its task the analysis

and clarification of the basic concepts that art critics use
when they describe, interpret, or evaluate works of art. (p.
61)
He goes on to classify metacriticism as one of the three major domains
of aesthetics, which include the theory of the aesthetic, philosophy
of art, and philosophy of criticism or metacriticism (see figure 1, p.
23). Dickie further indicates that metacriticism results from a new
development, based on both "general philosophy" and "the thought of
art critics" (p. 43). The former results from "the widespread
influence of analytic, linguistic philosophy, which conceives of
philosophy as a second-order activity taking as its subject matter the
language of some first-order activity" (p. 44). The latter results
from the new emphasis of I.A. Richards and the new criticism movement,
with its focus on the objectivity of art criticism by the focusing of
"critical attention" on the criticism of works of art, rather than on
the artist.
23
T H E O O U A IN O F A E S T H E T I C S
T h e o ry o l t h e A e s th e tic P h ilo s o p h y o f A n P h ilo s o p h y r f C ritic ism
c o n s is ts of h a s e s its o b j e c t
O s s c r lp tio n o f I h t T h e C o n c e p t of A/1 T h e C o n c e p t s o f C ritic ism

A e s th e tic A ttitu d e
A. T h e G e n e n c B. T h e S u b -C o n c e p ta A. C o n c e p t s u s e d In B . T h e T h e o ry of
C o n c e p t of o f Art: t h e d e s c r ip tio n , th e o b j e c t
A rt T h e o r ie s o f in te r p r e ta tio n , of c r itic is m
lite ra tu r e , e n d e v a lu a tio n o f
m u s ic , tra g e d y ,
com edy, e te .
w h ic h Is th e
b a s i s for b o th o l w h ic h d e p e n d
o n k n o w le d g e o f
A n A e s th e tic O b je c t W o r ts o f Art O b je c ts of C ritic ism
w h ic h a r e th e
o b j e c ts of
A e s th e tic E x p e r ie n c e A e s th e tic E x p e r ie n c e A e s th e tic E x p e r ie n c e
Figure 1 . The Domain of Aesthetics, (George Dickie, 1971, p. 45).
This figure shows the place of the philosophy of criticism in the
aesthetic field.
24
Dickie also points out that there is a dispute between
metacritics and the aesthetic attitude theorists who are "the present
day inheritors of the theory of the aesthetic," such as Bollough,
Stolnitz, and Vivas. Such a dispute is concerned with which one
provides the more appropriate approach to the aesthetic object (p.
47). Finally, Dickie reviews and compares various important theories
of critical evaluation such as the instrumentalism, subjectivism,
platonism, emotivism, relativism, and critical singularism. In this
context, various metacritical approaches will be examined in this
chapter in order to demonstrate their differences.
A critical study of metacriticism is provided by Suresh Raval
(1981). In providing a metacritical analysis of the concepts of art
criticism, he states that
It is important to examine critical concepts and positions

in their own terms, to probe them for internal weaknesses
and difficulties. This, I believe, can help us to acquire a
more adequate and comprehensive understanding of the concept
of criticism. To bring out the insight underlying a given
concept requires, as Hegel would put it, showing what is
false and abstract in its various manifestations (1981, p.
xii).
Raval studies in detail various critical theories such as Kant's
aesthetic, creativity, new criticism, and effective response as well
as the theories of phenomenology, historicism, and deconstructionism.
Throughout these discussions, Raval explains different critical
issues, such as the logic of inquiry in criticism, the nature of
disputes in criticism, criticism as a science, and criticism as a
systematic discipline.
Raval assigns the last chapter of his book to a review of "the
theoretical and methodological implications of the concept of

25
metacriticism" (p. 239). In it, he points out that "Metacriticism and
criticism as well as metacriticism and critical theory are logically
independent of each other, but they are not incompatible" (p. 239).
Accordingly, metacriticism is the philosophical analysis of either the
problems of criticism or problems of critical theory or both. Then
Raval indicates different characteristics of metacriticism. He says
that
[Metacriticism] begin[s] with a descriptive analysis of

concepts of criticism and their logic...[and] it does not
propose a particular definition of literature (p.240).
Genuine metacriticism does not offer an indubitably true
theory of criticism, for its objective is to enable us to
understand the basis of literary criticism, by seeking to
countervail parochial attitudes in criticism and at the same
time by developing fuller and finer responses to literature
and criticism....Metacriticism also examines the premises of
critical response and critical methods and relates them to
what is or can be known, thought, and said....It is not
interested in changing critical concepts....[it] may suggest
how even 'exploded' concepts of criticism can work (p.241).
Metacriticism concentrates our attention on the connections
and parallels and complexities that are often ignored by
critical theorists in search of neat distinctions and tidy
criteria....Intelligent metacriticism should succeed in
resisting and exposing the extremes of skepticism,
reductionism, and subjectivism in criticism, and thus
restore to it confidence that at present seems to be
possible only in cliche's of anarchic self adulation (p.
248).
With this understanding of the validity of metacriticism as an
approach to theory as well as art, we now turn to its importance in
art education. This is clarified by Geahigan in his article
"Metacritical Inquiry in Arts Education", (1980). The importance of
such an inquiry stems from Geahigan's ideas that
The topic of criticism...seems related to a large body of

empirical studies dealing with aesthetic preference and
judgment and studies dealing with perception, although the
relationships between these studies and studies dealing with
criticism have yet to be fully clarified. Upon examination,
one can see that the topic of criticism figures in numerous
26
branches of the literature, from practical articles to

scholarly papers, from text books to scientific studies.
Given this pervasiveness, inquiry into art criticism, or
metacritical inquiry....would seem to be an important part
of the ongoing research of the field, (p. 54)
Geahigan discusses "the nature of metacritical writing" in the
literature of art education. In doing so, he points out the tasks
that face writers when dealing with problems of art criticism. These
tasks are the formulation and presentation of metacritical definitions
and the prescribing of roles for criticism. In clarifying these
tasks, Geahigan provides a table that shows the different "activities
characteristic of metacritical inquiry in arts education" (p. 59), see
figure 2, p. 27.
Geahigan proceeds to discuss educational metacriticism as being
distinct from that of philosophical metacriticism. The difference is
that when critics of the art educational setting become involved in
presenting definitions, they subscribe to an inquiry which is similar
to philosophical metacriticism of aesthetic inquiry in both aim and
activity. In this context both kinds of writing should be considered
metacriticism. But, it should be noted that the aims and activities
of philosophers do not completely comply with those of art critics or
educators. Philosophers do not usually prescribe or set roles for
criticism in either setting.
Corresponding with Dickie's definition of metacriticism, which
is the philosophical analysis and clarification of concepts of
criticism, Geahigan (1983) philosophically analyzes metacritical
concepts of criticism. He starts by identifying the meaning of
criticism. Then, he provides answers to three important questions

M e t a c r i t i ca l A ct ivi ti es
Ferm uU nnt DritrYtxmi

at C n k c k / T r m C m a m mi U « o * o W S * « a ^ p
F « « u 1i& a| Hf^orDvt F— Mh«mNauitmrT F o m u k f t r i F i m k j JM tm h r m ^ i* r | f i i m f —a

Mnun S f ip U ili M u i h n lot C n f e s * m • M i tt t d fca C n q m • • Cod
tfd « ik M k m C o n o r* (nmprvtabOM C^MvkkraForm C a n o n * b u rrp fv tM ai A n iu d t A ltM M l

D rflruouu fv m M iu im u MlbM FormOrirukurw IWl" ~fJv*UtU9 C okii (VffcJ*nUf*4ft|
Co* He»To7 Ap p m u M )
CWmAumm O iM n iv t CunJ<S<Mi Srfinr*1 OtMW* CandikMl

tM n a a m Drfifttoaru Drfin>noni O r tin tk ftt M n ia m DrfuM teru OvAmocn*
Figure 2 . Ac ti v it i e s c ha ra ct er is ti cs of metac rit ica l inquiry in arts
education. (George Geahigan, 1980, p. 59).
It is nec essary to note that:
1. Each act ivity is di ff ere nt than the other, and each needs
a different kind of appraisal.
2. Activities are de pe nde nt on each oth er in the sense that definition
explains roles of criticism, and that roles decide the content of a
given definition.
3. The variou s def in it io ns of fer ed are usef ul in pr ov idi ng comparisons
and contrasts of wri tin gs on the li ter atu re of cr it ic is m (pp. 55,
59-60).
28
that have considerable implication for art education. These questions
are 1) "what do critics do when they criticize works of art?" 2) "what
should teachers or students do in criticizing? 3) "What is the
relationship between what critics do and what teachers or students do?
(p. 10). According to Geahigan "Criticism is a nominalized verb, the
relevant meanings of which can perhaps best be elicited by examining
various ways [such as occupational, speech, and general activity uses]
in which the verb ’criticize' is used" (p. 10). Thus, he refers to
the meaning of criticism as an occupation, an "illocutionary act in
ordinary language", and as a "general action concept which consists of
different sub-acts such as describing, analyzing, interpreting,
explaining, evaluating, and judging" (pp. 12-13).
The implications of criticism on art education as indicated by
Geahigan are 1) educators should consider the educational value of
methods of criticism and 2) educators should understand that some
methods of criticism are more appropriate than others in certain
educational circumstances. In support of this, he states that
Since the circumstances surrounding the practice of

education are changing it also seems reasonable to expect
that existing formulations of critical activity might well
require modification in the future. A proper understanding
of the nature of criticism, then, should help educators to
focus on questions of educational value and to advise
methods of criticizing that are appropriately responsive to
the needs of the schools, (p. 21)
Geahigan's metacritical inquiry embraces most methodologies of
criticism of art educators such as Mittler (1973, 1976, 1982); Smith
(1967, 1973); Feldman (1970, 1980); Clement (1979); Madeja (1979); and
Silverman (1982). In the same context, Nancy MacGregor (1970)
examines three selected concepts of art criticism from the work of

29
Frank Sibley, who discriminates between aesthetic and nonaesthetic
qualities, Charles Stevenson who uses scientific and nonscientific
characteristics, and Morris Weitz who refers to criticism as a field
of aesthetic inquiry in a form of "studied discourse" about art works.
MacGregor speaks about the possibility of using a combination of two
or more of these approaches in terms of a cultural age, and other
relevant circumstances. She states, "The purpose is finally to enrich
understanding of art objects and events. All of these ways can serve
teachers in that each concept provides a solution to the problem: How
can one talk critically about a work of art?" (1970, p. 33).
Ecker (1974) considers metacriticism as the principal element in
building up any art education curriculum especially in aesthetic
education programs. Aesthetic education in Ecker's view is "the
result of aesthetic inquiry" (p. 113) which contains a sequence of
five steps: the creation and appreciation of art objects or events,
criticism, metacriticism, theory, and "meta-theory". Here,
metacriticism constitutes the third level of aesthetic inquiry in
aesthetic education, see figure 3.
Thomas Munro (1958) introduces an outline for analyzing art
critical writing. This outline consists of fifteen different points
or questions, and it aims at gathering information about the critic,
the artist, the work under criticism, standards of evaluation, and
other related topics. Munro's outline is open to rearrangement,
incorporation of additional questions and exclusion of some of the
original points. It is important for students of art because it

1
meta-theory
theory
impli ci t Explicit
st ru ct u re m e ta - c r i ticism structure
of of
criti cism
knowledge k n ow le dge
obj e c t /e ven t
Figure 3 . Levels of Aesthetic Inquiry
(David W. Ecker, 1974, p. 113).
This figure shows the place of metacriticism in the aesthetic

inquiry.
31
provides, when carefully applied, "a balanced, comprehensive, and
preliminary study" of art critical writings (p. 197).
In his book Aesthetics and Philosophy of Art Criticism. (1960),
Stolnitz devotes his effort to the discussion of the philosophy of art
criticism. He concentrates on both the aesthetic experience and the
aesthetic attitude. In this context, Stolnitz sees a connection
between the philosophy of criticism (metacriticism) and aesthetics.
According to him, philosophy of criticism deals with evaluation which
"estimates the aesthetic goodness or badness of the work", and
criticism which provides reasons for the value judgments of art works
(p. 370).
Philosophy of art criticism, like all branches of

philosophy, examines the beliefs and concepts which underlie
our thinking and doing. It does not argue for or against
specific judgments...But it calls our attention to what such
judgments take for granted. [It deals with questions such
a s :] What exactly are we trying to do when we analyze the
work? Why do we want to analyze?" What do we mean when we
say that the work is "aesthetically valuable"? Are we
talking about the work itself? or are we merely reporting
our own response to it? Can criticism enhance aesthetic
enjoyment? (Stolnitz, 1960, p. 370).
Stolnitz also discusses and reviews artistic and aesthetic
concepts, which include theories such as Imitation, Formalism,
Emotionalism, and artistic truth. He also reviews the aesthetic
categorization theories. The former theories offer various standards
for art judgment, and the latter ones provide definitions of various
terms and vocabularies used in art criticism. In addition, he
distinguishes between aesthetics and philosophy of criticism stating
that
[aesthetics] deals with the experience of valuing - taking

interest in an object and finding it delightful. Aesthetics
studies the distinctive attitude which governs this
32
experience, the objects toward which this attitude is taken,

and their structure. Philosophy of criticism deals with the
process of evaluation - analysis and judgment of the
aesthetic goodness of the object. The discussion of
aesthetics has important implications for philosophy of
criticism. Still judgment and criticism are not the same
activities as artistic creation and aesthetic perception.
Philosophy of criticism treats systematically the problems
of judgment and criticism (p. 372).
Accordingly, Stolnitz reviews theories, educative functions, and kinds
of criticism. He bases his discussion on critical philosophy and
aesthetics to clarify the concepts associated with our beliefs about
art and beauty.
Harold Osborne also provides a metacritical inquiry of theories
and concepts of criticism in his book, Aesthetics and Criticism
(1955). Contained in the book are discussions examining the nature,
function, aims, importance of aesthetics to art criticism, and the
appropriateness and benefits of various critical methods. The major
theme in his analysis of concepts of criticism is that he considers
appreciation as a true and valid fact that empirically and
analytically is self-evident. Judgment,' according to Osborne, is the
critic's statement about the goodness or badness of works of art.
What the critic can give of most value to his readers is a

stimulation of interest, a heightening of insight, and the
education of his ability to make his own appreciative
judgments from direct experience; what he can do of most
damage is to impose the yardstick of authoritation
pronouncement in the way of direct experience (p. 22).
Osborne maintains that both criticism and aesthetics are
dependent on each other, for there is no single critical judgment that
does not rely on aesthetics. Thus, he refers to the "criticism
proper" as that which deals with the aesthetic excellence of a work of

33
art. Any assumption that does not deal with a work's aesthetic merits
is not of any help in elucidating its excellence as a work of art.
Finally, Osborne reviews the various schools of criticism in terms of
their apparent differences and, to some extent of their mutual
agreement, which while not appearing in theoretical writings do appear
in the actual literature of written criticism. In doing so, he
discusses the most important aspects of criticism's function
(appreciation, interpretation, and judgment or evaluation) upon which
most critics are agreed.
The above discussion implies that there isboth agreement and
disagreement as to the characteristics of metacriticism, its relation
to aesthetics, the nature and role of art criticism, its philosophical
grounds, and in its use in the analysis of critics' writings about
works of art. Whether philosophical analysis of concepts of criticism
is dependent on aesthetic or metacritical inquiries or both, they are
the main concern of many philosophers, more so even than those
mentioned above.
The following review introduces some of the important writers
who are concerned with the analysis of concepts of criticism.
Joseph Margolis dedicates his efforts to a fruitful discussion
on the possibility of critical concepts. His most comprehensive study
of criticism is presented in The Languages of Art and Art Criticism
(1965). Throughout this book, Margolis studies concepts such as
description, interpretation, intention, evaluation, appreciation,
aesthetics, language, and evaluation of works of art. In another
study, "Puzzles Regarding the Cultural Link Between Art Works and
34
Criticism" (1981), he reviews various writers, such as Beardsley,
Hirsh, Ricoeur, Gadamer, Iser, Heidegger, Eagleton, Derrida, and
Feyerabend and their views concerning such a linking of art work and
criticism. He praises the theory of Eagleton because it demonstrates
a relation between artworks, criticism, and contemporary aesthetics.
However, he indicates that all writers agree on the premise that
interpretation of art work is fairly possible when it is influenced by
the cultural conditions. Thus, the puzzlement between art and
criticism can be solved by focusing on the importance of human history
and nature.
Other philosophers, such as Stevenson, Ziff, Isenburg, Black,
and others, study various concepts of criticism ranging from reasons
for critical interpretation to a critics' metaphorical language.
These writers are introduced in Margolis's 1962 edition of Philosophy
Looks at the A r t s . This anthology provides a review of twelve writers
who are concerned with important questions in contemporary aesthetics,
ones that hold great implications for critical practices. Another
survey of writers on the nature of interpretation is Stephen David
Ross's Art and its Significance (1984). The selection consists of
philosophers such as Pepper, Gadamer, Ricoeur, Derrida, Foucault, and
Hirsh. For each there is an individually distinctive theory of
interpretation. Pepper, for instance, says works of art determine the
conditions of their interpretation; Hirsh claims that the authority of
interpretation is given by the author and others consider the
historical and social context as the authority of interpretation.

35
This leads us to Beardsley's metacritical approach, which is the
most1 comprehensive, and will be reviewed in the next chapter. His
ideas are used as the criteria and methodology for analyzing the
critical writings that are the concern of this study. But, it is
important here to refer to Beardsley's metacriticism, for it has
favorable implications on a study made by George Stiny and James Gips
(1978). The study is called Algorithmic Aesthetics: Computer Models
for Criticism and Lvjien in the A r t s . Both Stiny and Gips think of
aesthetics as the inquiry that deals with both questions of criticism
based on description, interpretation, and evaluation, and questions of
the nature of artistic creation. According to them,
This concept of aesthetics is similar, in many respects, to

Beardsley's conception of aesthetics as "metacriticism".
However, Beardsley conceives aesthetics to be just the
philosophy of criticism; we conceive aesthetics to be the
philosophy of both criticism and design (p. 3).
They distinguish between their approach and Beardsley's, indicating
that Beardsley, in order to analyze and justify statements about works
of art, classifies these concepts into critical description,
interpretation, and evaluation. But, they propose an explanation of
the "relationships and common foundations of criticism and design" (p.
3). They consider aesthetics as the basic principle in their concept
of algorithm which is "an explicit statement of the sequence of
operations needed to perform some task" (p. 3). Such an algorithm
consists of two presumed structures, one for criticism and one for
design. For each, they provide a definition of aesthetic concept
which consists of description, interpretation, and evaluation. These
three concepts of art criticism can be introduced by the formulation

36
of such an algorithmic system which functions to scrutinize issues in
aesthetics. Therefore, the importance of this approach is that it,
first,
Provides a common framework in which a number of central

issues in aesthetics, which traditionally are treated
separately, can be investigated uniformly and can be
related. Second, just an attempt to represent aesthetic
ideas or specific approaches to understanding and evaluating
works of art in terms of algorithms is salutary.
Algorithmic representations require an explicit awareness of
underlying assumptions and details that may remain hidden
using less rigorous methods. Further, completed algorithmic
representations of ideas provide a test of their consistency
and soundness and a means of identifying their consequences;
completely specified algorithms can be run on a computer (p.
6).
Summary
Accordingly, this review of metacritical literature provides
significant study of metacriticism, its definition, characteristics,
and its implications for and relations to art education, aesthetics,
art, and art criticism. The presentation of these thoughts, in
general, and Beardsley's in particular, may significantly help
Jordanian art critics, art educators, artists, and scholars in
developing further and broader understanding of the nature of art
criticism and aesthetic education.

CHAPTER III
METACRITICAL METHODOLOGY
The previous chapter, a review of the related literature,
provides a general background for the adoption of a metacritical
assessment of Jordanian art criticism. It also broaches the relevance
of metacriticism in relationship to aesthetics, art criticism, and art
education. This background facilitates the present inquiry into
Beardsley's metacritical approach, the approach adopted as a basis for
this study. Consequently, this chapter on metacritical methodology is
divided into two parts. Part one involves the nature of metacritical
analysis, the theoretical basis of Beardsley's metacriticism, and
justification for applying Beardsley's approach. This part involves
theoretical bases for analyzing Jordanian art critical writings. Part
two includes the research design and procedures. This part is
designed to establish two operative standards for 1) selection of the
art critics and their critical writings and 2) metacritical assessment
of the selected writings. The following is a review of Beardsley's
metacritical approach and the fuller reasons of adopting it.
37
38
Part One
The Philosophical Nature of Monroe Beardsley*s Metacritical Approach
Various philosophers and educators (Dickie, 1971; Ecker, 1974;
Raval, 1981; Beardsley, 1958, 1966, 1974, 1981; Geahigan, 1980, 1983;
and others) define metacriticism as a philosophical analysis and
clarification of art critical concepts. They, however, differ from
each other on how it should be approached and related to philosophy
and aesthetics. Being a philosophical activity, metacriticism engages
the controversial subject of the nature of philosophical inquiry
itself, especially the realm which consists of both analogues and
contrasting ideas. Specifically, the philosophical dispute about the
nature of metacritical analysis raises arguments concerning the range
and limits of metacriticism. Issues such as Semantic descriptivist
[the meaning and use of technical terms of criticism as they appear in
the critic's language], Semantic revisionist [assumes that the
metacritic's task is to point out, define and clarify the ambiguity
and vagueness of critical vocabulary], and prescriptivist [suggests
that criticism "would be improved and much less discussion wasted if
critics could use their key terms in the same clear and explicit
senses"] constitute the core of these arguments (Beardsley, 1974, p.
954).
In addition, metacritical evaluative endeavor concerns critical
"reasoning". Therefore, it engages the philosophical disputes
concerning the relationship of criticism to philosophy, as in the
views of heteronomists' and autonomists' who raise questions such as,
"Does criticism rest on philosophical (aesthetic) foundations?, and

39
does it require to be justified...by philosophic arguments?"
(Beardsley, 1974, pp. 954-55). In 1974, Beardsley assumed that:
As philosophy of criticism, metacriticism deals with all

aspects of criticism: its language, its procedures, its
presuppositions, its functions and values. It may undertake
a systematic classification of critical "approaches" or
methods, or even devise and propose new strategies....But
its central concern is with the logic of criticism, whose
problems... fall into two large groups: those arising in the
attempt to understand and clarify the meaning of the key
terms in which criticism is conducted, and those arising in
the attempt to analyze and appraise the logical soundness of
the critic in support of his statements (p. 954).
In 1967, John Wise, Robert Nordberg and Donald Reitz stated that
"Although fundamental disagreements among philosophers do indeed
exist, the totality of philosophical speculation bears witness to the
truth and at the same time reflects the abiding and crucial concerns
of mankind" (p. 184). Thus, these writers attest to the important
implication of philosophical research on science and education; for it
inquires "into the truth of the ultimate propositions about existence,
life, reality, good, and so forth" (p. 172), and it "relentlessly
investigates the substrata of our empirical inquiries" (p. 173).
A Theoretical Model of Metacritical Analysis
The significance of Beardsley's metacritical method, according
to Dickie (1971), who offers a complete analysis of this method, is
that it is "the only one which is fairly completely worked out" (p.
61). This makes Beardsley the leading advocate of metacriticism, and
the one who advances his entire theory of metacriticism without
reliance on aesthetic attitude theories such as "psychical distance",
"disinterested attention", and "seeing as definitions" (p. 40). What
Beardsley does is base his metacritical analysis on an aesthetic

40
theory grounded in principles of distinctness and perceptibility.
Both principles assist in distinguishing aesthetic from non-aesthetic
objects. Thus, the connection between aesthetics and Beardsley's
metacriticism comes from the idea that both concepts are identifiable
in each other (Beardsley, 1982, p. 316). In addition, this identity
has a strong relationship to art criticism. However, Beardsley (1966)
considers that criticism must come before aesthetics in the sense that
aestheticians should be concerned with what is written about the
artwork by critics. This provides the aesthetician with the
opportunity to improve one's thinking about artworks by raising
philosophical questions concerning the value of critical statements.
According to Beardsley, aesthetics functions best when avoiding
"nonsensical utterances" and opinionated evaluations. He also deals
with questions as to what kinds of presuppositions critics make about
perception, value, reality, and knowledge by examining them to test
their premises. Concluding that "philosophical aesthetics must be
conceived as having a very intimate connection with art criticism"
(Beardsley, 1974, p. 952; 1982, p. 316). His justification of
relative dependency is that: 1) Art criticism is a source of
meaningful philosophical discourse, 2) Art criticism provides
"important evidence for testing the truth of proposed aesthetic
theories", and 3) Aesthetics enhances our understanding of works of
art through the practice of art criticism (pp. 317-318). The main
purpose of art criticism, according to Beardsley, is the revelation of
the characteristics for the "admiration" or "condemnation" of an
object. Thus, in their activity, art critics should provide critical

41
judgments and critical reasoning of artworks from a certain point-of-
view [this is an aesthetic point-of-view] (p. 319).
Such a philosophical stance, according to Beardsley (1982), is
based on the aesthetic valuing of an object in terms of a
philosophically astute aesthetic point-of-view. This is necessary in
order to first, mediate certain types of dispute. That is, the critic
should take a point-of-view as well as seek a related philosophical
value corresponding to such a view. Second, the result is to broaden
the concept of art, to make it useful for greater applications (pp.
16-19).
Beardsley, thus, defines aesthetic point-of-view in the context
of the aesthetic valuing, by which the value of an object is in a
"capacity to provide aesthetic gratification when correctly and
completely experienced (p. 21). According to Beardsley, this is not a
definition of value, but a critical distinguishing of aesthetic values
from other values in terms of a particular application. One's
aesthetic gratification with an object can be judged by considering
that part of its value with the highest degree of application or
capacity. Then, the discrimination between one kind of gratification
and another is possible within the context of what Beardsley terms the
"intentional object," meaning
Gratification is aesthetic when it is obtained primarily

from attention to the formal unity and/or the regional
qualities of a complex whole, and when its magnitude is a
function of the degree of formal unity and/or the intensity
of regional quality (p. 22).
The aesthetic valuing of an object "depends on the highest degree
obtainable under optimal circumstances" (p. 32). Fundamentally,

42
Beardsley's concept of art critical evaluation is that it is a
judgment of aesthetic value. And "estimating capacities is both the
least and the most we can ask the critical evaluator" (pp. 23-24).
Thus, the aesthetic object provides an aesthetic experience which is
the "locus" of aesthetic valuing from an aesthetic perspective.
Accordingly, Beardsley defines the aesthetic experience as
having the following characteristics: 1) object directedness, 2) felt
freedom, 3) detached effect, 4) active discovery, and 5) wholeness.
This criteria, as Beardsley says, "show[s] how, and in what ways,
aesthetically characterized experience overlaps with experiences
obtained in areas of life quite removed from art; [it] allow[s] for
the evident fact that we even find the aesthetic character in
unexpected places" (1982, p. 295). Furthermore, "the proposed account
of aesthetic character does enable us to admit numerous clear-cut
cases of artkind instances to the class of things capable of providing
experience with this character." Such a criteria also "shows us how
to rule out other phenomena that either have some pretensions to
provide aesthetic character or may be expectedly or mistakenly
believed to do so" (p. 296). It should be noted that components of
this criteria are to be considered as a family, always consisting of
object directedness and embracing at least three of the other concerns
(p. 288). It is also important to realize that the "wholeness"
component is as essential to an experience as the aesthetic one. It
is "so much so that it may well deserve to be ranked with the first as
essential" (p. 293).

43
In dealing with the distinctive relationship between aesthetics
and art criticism, Beardsley (1982) refers, in his discussion of
"Critical Evaluation", to art criticism as "one species of a generic
and fundamental activity of evaluating selected portions of our
surroundings in order to make reasonable choices among the thing they
have to offer" (p. 318). He also emphasizes that the important goal
of art criticism is to reveal and unfold features of admiration and
condemnation in an object.
Thus, the critic's task is to state the aesthetic value of
objects and provide normative explanations which reveal the degree of
aesthetic value an object possesses. These normative explanations
provide a justification to one's general judgment. In addition,
critics, as Beardsley indicates, "would do us a service to distinguish
the kinds of value they are remarking and the kinds of criticism they
are engaged in, especially when several kinds are combined in the same
critique" (p. 324). He does place some conditions on this activity
which are of importance to critical judgment. They are:
1. "Critical judgments are not predictions" (p. 326) in the
sense of a critic deciding what people might appreciate, or should

«
appreciate.
2. "Aesthetic value is not a tendency" (p. 327) because the
main task of a critic is to approach the work of art in terms of its
"capacity to provide aesthetic experience, not its tendency" (p. 327).
3. "Critical judgments should not be confused with verdicts"
(p. 327) because verdicts are appropriate to situations such as
competitions.
44
4. "Critical judgments are not the same as aids to
apprehension" (p. 328).
5. "Critical judgments are not necessarily personal
endorsements" (p. 328).
6. "Critical judgments are not truth valueless" (p. 330-331).
In his discussion of the "Generality of Critical Reasons",
Beardsley looks at critics' justifications of their judgments. He
states that critics can provide value judgments when properly
supported by adequate reasons that are based on descriptive or
interpretive propositions. Critics consider such propositions as
criteria of value that can be merits or defects. He refers to these
merits and defects asthe critical criteria, features revealing
whether a work isgood or bad and thus affect the work's aesthetic
valuing.
Then, Beardsley Introduces his theory of general criterion. In
this theory he explains the logical connections among propositions
that are used as reasons to support other reasons. To him, logical
connection means relating general concepts in an abstract way. Such a
concept of generality is logically necessary to critical reasoning,
because the critical criteria are considered "suitable". Thus, the
existence of these reasons supports critics' judgments which in turn
indicate that there is an underlying general criteria of evaluation.
Beardsley examines his general criteria theory in terms of the
"problem of the universalizability and ethical judgment." In doing
so, he calls for providing an "adequate criterion of relevance,
without circularity." Then, in terms of the relation between

45
"singular causal statement and general laws," he refers to the
aesthetic problem as a special case of the causal problem. The
aesthetic goodness of a work of art has the capacity to provide
certain experiences with favorable qualities, and the critical
criteria of evaluation may contribute to, or detract from, this
capacity in the work itself. In this way, critical criteria consist
of causal relationships supported by some generalized lawful
relationships that are necessary to individual causal actions.
Further elaboration on this subject was made by Beardsley in
1967. In "Aesthetics and the Classifications of Critical Reasons", he
categorized the critical reasons for artistic value judgments. He
classified only the relevant reasons, in the form of descriptive or
interpretive statements, that provide support and function for the
truth of the value judgment. Then he suggested a "scheme" of
Intensity, Complexity, and Unity (ICU) as the basic criteria for
formulating relevant critical reasons. Also, he classified the
various kinds of value that exist in a work of art: 1) cognitive,
which provides new knowledge; 2) moral and social values, not viewed
as relevant to the value judgment but they are adequate as social
documents and as aids to sorting out reasons; and 3) aesthetic, the
capacity to provide aesthetic experience by referring to features
existing in the work of art, a value that can support the judgment.
Beardsley defends his (ICU) scheme stating that it has a
sufficiently well-defined meaning that can operate across the arts.
The scheme is always supportive of the work's regional qualities and
never opposes them. It also covers the entire range of relevant

46
critical reasons in terms of supporting and explaining why a critical
judgment is true. Beardsley limits critics' statements about works of
art to three issues. One is a statement of a work's antecedent
condition which deals with an artist's intention, sincerity,
originality, and/or social condition of a work of art. It is
considered as a general reason that does not directly explain why the
work is good or bad.
The second is a statement of a work's effects on individuals or
groups, such as being popular or shocking. This is not a relevant
critical reason because it does not explain what it is in the work
that makes it good.
And, the third is descriptive and interpretive statements.Such
statements are considered as objective reasons, for they direct
attention to what exists in the work itself.
All of these statements are in the appropriate realm of the
critics. Every time a critic makes a valid judgment of a work of art,
he must rely on relevant critical reasons that have the capacity to
support and explain his judgment.
In conclusion, the logical structure of Beardsley's metacritical
methodology starts with a distinct point-of-view that is an endeavor
as such criticism is aesthetic. The implications of such a view
reveal an examination and understanding of why aesthetics is important
to art criticism, how aesthetics can help the improvement of critical
practices, and how it can be related to art criticism.Thus,
Beardsley introduces his theory of the aesthetic valuing of works of
art as one based on the relationship between the works of art and the
47
art critic in terms of an experience with a marked aesthetic
character. He also provides general criteria that direct critics as
to what to look for in criticizing works of art. In addition, he
offers criteria for aesthetic evaluation and standards of justifying
critical judgments of works of art. This inquiry into aesthetics and
the examination and analysis of critical terms helped Beardsley to
introduce a well studied and complete theory of metacritical analysis.
Justification for Employing Beardsley*s Metacritical Model
Even though Beardsley has completely focused his metacritical
inquiry on aesthetics, more-the-less he establishes the ground for
aesthetic education in the arts. Aesthetics to Beardsley constitutes
the initial inquiry into art as exemplified by the examinations and
analysis of art found in critics' writings. Whether termed aesthetics
or metacriticism, either one can be the philosophical understructure
of what art critics say about works of art. Thus, art criticism as
well, occupies a primary place in art education. Ecker (1974)
supports this concept when he says that "the practice of art criticism
...can provide the necessary bridge between studio art activities and
the higher levels of inquiry that educators say they want in aesthetic
education programs" (p. 113). Ecker also assumes that "the making and
justifying of aesthetic judgments may well become the core of
education, whether these activities are exemplified in linguistic or
nonlinguistic behavior" (p. 114). Therefore, Beardsley's metacritical
method encompasses the prerequisite of embracing both art criticism
and aesthetics and holds fundamental implications for aesthetic
education programs. Beardsley (1982) says that:

48
In the longest run and widest view, the greatest thing that
aesthetics can do for us is to help us devise the very best
aesthetic education....(He takes) criticism to cover a lot
of talk about artworks, and that includes the important talk
of aesthetic educators as well as teachers of the arts. And
even if we want to add that in the end we hope aesthetics
can contribute to the flourishing of the performing arts,
the spread of creativity, the improvement of the
environment, and the growth of a spirit of community in the
world, I suppose these contributions would come about
through its influence on criticism, broadly speaking. For
criticism just reflects our understanding of what the arts
are, what their point is, why they are worth having; and to
improve criticism is to improve this understanding (p. 318).
Such a concept of aesthetic education helps foster attitudes
supportive of enhancing peoples' perceptive and appreciative faculties
through involvement in aesthetic discourse.
In addition to the significant implications of Beardsley's
metacriticism for aesthetic education, his approach to metacritical
analysis has been supported and defended by many philosophers. Smith,
for instance, states that
The humanistic quality of Beardsley's thought can be noted

in the measured tone of his philosophizing, in his
willingness to entertain and accommodate responsible
criticism....1 was originally drawn to Beardsley's work
because I perceived how his theory of aesthetic value could
help correct an imbalance in the theory of art education
(1984, p. 141).
Geahigan (1980) considers Beardsley's Aesthetics important for
it "has been very influential in the writings of educational
metacritics" (p. 56). This text has become a source book for a number
of writers and educators who use it to define critical terms such as
description, interpretation, and analysis. In their forewording
remarks to The Aesthetic Point Of View. Michael Wreen and Donald
Callen (1982) show the importance of both Beardsley's Aesthetics
(1958) and The Aesthetic Point of View (1982), stating that

49
In the ensuing years the book [Aesthetics] has become

something of a classic in the philosophy of art, having
acquired almost the status of a reference work. More than
any other single text, it set analytic aesthetics on its
feet and made the philosophy of art a respectable area for
contemporary Anglo-American philosophers to work in....The
present book [Aesthetic Point Of View], in fact, is ample
testimony to his willingness to keep an open mind, to stay
abreast of the latest developments in several fields, and to
meet criticism honestly, by modifying or by abandoning
earlier views when necessary (p. 7).
Likewise, Harold Osborne (1986) one of the influential aestheticians
for his numerous publications on aesthetics in both Europe and
America, states that
[Beardsley's] candid generosity in the face of criticism and

his never failing readiness to accord consideration to those
whose views conflict with his own have led some writers to
exaggerate the extent to which he was prepared to modify or
abandon his own earlier views in response to criticism or in
the light of general developments in philosophy, and some
among them have in consequence found difficulty in pinning
down his considered position on certain points. Rather, I
believe, as John Fisher has noted in EA (Essays on
Aesthetics) with his usual perspicacity, we should admire
Beardsley's pertinacity in wrestling with the same key
problems over the decades, reorchestrating, enriching, and
renovating his formulation but rarely deviating from a
consistent path (p. 98).
Corresponding with this conception of Beardsley's excellence,
and recognizing that Beardsley depends on both aesthetic and
nonaesthetic standards, Smith (1986) says that
Apart from viewing works of art themselves, there is no

better way to renew faith in the powers and delights of art
than to read what our most perceptive writers have to say
about its special qualities. What we have learned,
moreover, is confirmed by Monroe C. Beardsley's discovery
made in his effort to clarify the nature of critical
evaluation of art: judgments of art tend to feature
cognitive, moral, and aesthetic reasons (p. 11).
According to Smith, Beardsley considers the function of art as
noncognitive in large part. If there is a cognitive character to art,

50
it constitutes theaesthetic experience provided by works of art and
is indirect rather than being direct as the noncognitive is.
Concerning moral reasons, Smith (1986) states simply, "even
though aesthetic experiences tend to be self-contained, they have
potential for influencing other important values of life" (p. 14). In
this context, Beardsley (1966) affirms that
As a field of study, aesthetics consists of a rather

heterogeneous collection of problems: those that arise when
we make a serious effort to say something true and warranted
about a work of art. As a field of knowledge, aesthetics
consists of those principles that are required for
clarifying and confirming critical statements. Aesthetics
can be thought of then, as the philosophy of criticism, or
metacriticism, (pp. 307-308)
Summary of Part One
Accordingly, for this study, Beardsley's metacritical analysis
has been chosen for its comprehensiveness, and completeness, and for
its significant affects on art education as well. Beardsley's
continuous effort in the study of aesthetics and metacriticism is
considered commendable for it resulted in thematic improvements in his
thoughts on both subjects. The validity of Monroe Beardsley's
metacriticism is due on the one hand to its influence on a great
number of aestheticians, such as: Frank Sibley (1983), who says that
"There is a vast amount of his work [Beardsley's] with which I agree,
and I doubt that I can say much that he has not himself already
thought of, even if he may have rejected it as unsatisfactory" (p. 3);
Stephen Barker, (1983); and, Charles Dyke (1983), who confirms that "I
am exercising my sovereign judgment that his [Beardsley's] theory is
the best of its kind on any standard" (p. 116). On the other hand,
its validity in the philosophical nature of aesthetics can be assumed

51
from the fruitful disputes among philosophers on the concepts or
issues raised by Beardsley. Thus, the adoption of Beardsley's
metacriticism as a method in this study is, in large, an attempt to
introduce sound metacritical inquiry to Jordanian art critics,
scholars, art educators and others who are concerned about
improvements in art criticism.
Part Two
Research Desipn
The research design of this study depends on both qualitative
and quantitative techniques for analyzing the content of eight
Jordanian contemporary art critics' writings about works of art and
their preparedness toward such writings. Such techniques are
conducted in this way in order to answer the research questions that
are raised in this study.
Research Questions
1. How do Jordanian art critics approach the work of art?
A. Do they describe the work?
B. Do they interpret the work?
C. Do they make judgments?
D. Do they justify their judgments; and if so, what reasons do
they employ?
52
2. What are the major conclusions that can be drawn from the
analysis of Jordanian art critics' writings?
A. Are they biased, and if so, what are the biases-social,
religious, political, artistic?
B. Is the language they use clear as they describe, interpret,
or evaluate?
C. Do they follow any specific methodological approaches in
their writings?
3. How does the preparedness of the critic affect his writing
approach and formulation of opinions?
In response to these questions, the researcher employs a descriptive
technique for analyzing the content of thirty-three critical documents
by eight representative Jordanian contemporary art critics. In
addition, an assessment of the content of these critics' biographical
documents is also undertaken in this study. The critics are selected
according to certain criteria.
Population and Standards for the Selection of Representative
Jordanian Art Critics
Certain criteria served to control the representative group of
Jordanian contemporary art critics selected for this study. These
criteria are:
1. The art critical writings available in the Jordanian newspapers,
such as Yarmouk Press. Al-Ra'i. Ad-Dustour. A l -Shaab. determined
the material and critics involved in this study. According to
Yahya (Oct.31.1986), "anyone who reads published art criticism is
introduced to names such as Mahmoud Issa, Muhammed Jaalous,

53
Muhammed Abu-Zraique, Adnan Yahya, George Seye'ygh, Hussain
Da'seh, Abdel-Ra'ouf Sham'on, and Ay'yad Nimer. These names
continuously appear in the Jordanian newspapers and are identified
as art critics" (Ad-Dustour, p. 18). Thus, these are the
Jordanian critics known by readers and artists, and their articles
constitute what both readers and artists believe art criticism to
be.
2. The critic's connection and/or familiarity with the Jordanians in
general is relevant. Such associations are established in accord
with the critic's career, education, and interests. The eight art
critics selected are all artists who reveal a significant interest
in literary writing and have a long career as either art teachers
or designers.
As professional artists, the critics are divided into two major
groups. The first group consists of those with no degrees in either
studio art or art education. They are:
1) Abdel-Ra'ouf Sham'on, who, graduated in 1968 with a degree in
geography from Jordan University. He started his artistic experience
as a poet and short story writer. Then he became involved in drawing,
painting, and writing criticism as well. He currently works as an art
teacher (Ay'yad Nimer, Ad-Dustour, 4.22.1986). 2) Muhammed Abu-
Zraique graduated from the Arab Beirut University with a degree in
Arabic Language. He became a literary writer and established various
art exhibits. Currently he works as an art teacher in the UNRWA
schools (Adnan Yahya; Ad-Dustour, Tues.4.8.1986; p. 18; Second Annual
Fine Arts Exhibit, 1980). 3) Mahmoud Issa is a pharmacy graduate from

54
Damascus University. He works as a pharmacist in addition to showing
a great interest in literary writing, art criticism, and painting. In
1986, he published a biography and an art critique of the late
Jordanian artist Muhammed Mrashe and his works respectively. Also, he
is a member in both the Jordanian Artists' and Writers' Associations
(Fatimeh Abu-Serdaneh, Al-Shaab, Tues. 31.7.1984, p. 10).
The second group of art critics is comprised of critics with
degrees in studio art and art education. 1) Ay'yad Nimer has a
degree in fine arts from the College of Fine arts in Cairo. He held
different solo and group shows in Jordan and Egypt. He works in
design and advertising in Amman. According to Salameh Ne'matt
(10.4.1985), "Ay'yad Is a mature artist whose work will leave a
positive impact on the art movement in Jordan" (Jordan Times). 2)
Adnan Yahya has a two-year degree in art education and is a graduate
of fine arts from the Fine Arts Center in Amman. He participates in a
number of solo and group exhibitions in Jordan (The Second Annual
Exhibition of Fine Arts, 1980). However, it is Jaalous, who is the
most productive writer on art; he has commentaries about art, artists,
history of art, and art criticism in his series "Fasil Tatbiqi Fi Al-
Harakah A1 Tashkeeliah". There is no available information about
Jaalous' educational background. The available information indicates
that he is a professional artist and contributes various writings
about art and artist. However, no information at all is found about
the art critic Da'seh and Seye'ygh. Therefore, no indications about
their educational backgrounds can be provided, especially about the

55
latter critic, although there is some information proving that Da'seh
is a professional and active artist.
3. Geographical distribution of the critical activity is also an
important factor in this selection. Since art is a centralized
activity in Jordan, the art critics are selected from the two
major centers of art activities in the country. Amman, the
capital of Jordan, exemplifies the most active, accessible,
nucleus of the Jordanian art movement. It accommodates numerous
cultural centers and galleries that were established to hold
Jordanian and foreign artworks. The second major center is the
city of Irbid, located in the northern part of Jordan. The
significance of this center emerged after the opening of the Fine
Arts Department at Yarmouk University which is the only
institution that offers a Bachelor's degree in studio art. Both
centers, in fact, provide the Jordanian public with the different
writings about art, artists, and art criticism that are published
in the local newspapers.
It is important to note that this selection is not based on a
random sampling of art critics because it deals only with a
representative group of art critics as stated by Issa and Yahya
(1986). So, it seems that the random sampling is not a necessary
condition for this selection.
Data and Instrumentation
The data needed for this study are basically gathered from the
four major, local newspapers in Jordan. These major newspapers are:

56
Al-Ra'i. Ad-Dustour. A l -Shaab. and Al-Yarmouk Press. They are
published daily and widely disseminated to every part of the country.
After reviewing the available published criticism of the
selected art critics between 1980-1987, a number of critical documents
were selected from the writings of each critic in the following
manner. The thirty-three writings are divided into: five writings by
the art critic Mahmoud Issa, five writings by Hussain Da'seh, six
writings by Ay'yad Nimer, five writings by Muhammed Jaalous, four
writings by Abdel-Ra'ouf Sham'on, five writings by Adnan Yahya, and
three writings by George Seye'ygh. Because the writings of the art
critic Muhammed Abu-Zraique are not available, it is worth noting that
the above mentioned writings represent those of seven art critics
only. Therefore, Abu-Zraique will be excluded from this study. To
facilitate reading of this study, these art critics are coded as
follows:
MI refers to Mahmoud Issa

HD refers to Hussain Da'seh
AN refers to Ay'yad Nimer
MJ refers to Muhammed Jaalous
AS refers to Abdel-Ra'ouf Sham'on
AY refers to Adnan Yahya
GS refers to George Seye'ygh
MZ refers to Muhammed Abu-Zraique
The above mentioned selection is conducted in this manner for a
number of reasons that prevent the possibility of random sampling,
sampling based on a systematic publishing of criticism, or occasional
writings. First, the published criticism between 1980-1985 seems very
difficult to collect because some of the critics do not file their
writings, and others do not seem to be interested in doing so. A few
critics helped by sending their published art criticism, but some of

57
these writings were not dated and lacked references to the publisher
and the source of publication.
These remarks are concluded from different phone calls and
letters requesting such data. For instance, in Nov. 16, 1987, the
researcher called the Jordan Bureau of Information in Washington D.C.
Muhammed Slaybi, one of the two representatives in that office,
assured the researcher that there was no possible way of getting such
data. He indicated that this Bureau has no interest in filing
newspapers published in Arabic. He also added that the publishing
agencies of these newspapers have no interests in helping the Bureau
in this matter. Regarding the same issue, a number of phone calls
were made to the Jordanian Embassy in Washington D.C and the Ministry
of Youth in Amman. The response of the cultural consular, Dirar
Jarrah, was that the Embassy cannot provide such data. However, the
Ministry in Amman tried very hard and it assigned a person to collect
the required data from publishers. But the answer was that these
publishers refused to cooperate. Likewise, the response of Yarmouk
University Library was negative because the library rules did not
allow the photocopying of newspapers. Thus, these different endeavors
have failed in gathering data that are necessary for random or
systematic sampling.
Second, the published criticism between 1985-1987 is more
accessible and easier to collect. This is clear in the great amount
of critical publications that are received and now available to the
researcher. However, most of these writings are either written about
art activities, groups of artists, and the art movement, or written by

58
art critics, who are not considered representative. Thus, the random
or periodic sampling becomes unapplicable in selecting the data
necessary for this study. Therefore, the selection here is conceived
as a "convenience sample" of the writings of the representative art
critics. According to Chava and David Nachmias (1981) who state that
"a convenience sample is obtained when the researcher selects whatever
sampling units are conveniently available" (p. 299).
Consequently, for making this selection of data in the way it is
presented applicable in this study, the researcher employs a
descriptive technique that consists of both qualitative and
quantitative content analysis of the available documents. Ole Holsti
(1968) says that
Content analysis may...prove useful when data accessibility

is a problem and the investigators data are limited to the
messages produced by individuals. Restrictions of time or
space often do not permit the social scientist to gain
direct access to his subject. In such cases the subject
must be studied "at a distance", with the consequence that
other social-science research techniques (interview,
questionnaire, observation) are not applicable (p. 603).
Content analysis is not only helpful in justifying the use of
available data but also compatible with Beardsley's metacritical
analysis. Both the qualitative content analysis and Beardsley's
metacritical analysis of critic's writing are dealing with an
assessment of documents. Thus, this method of content analysis
involves three developed categories such as description,
interpretation, and evaluation, as well as their sub-categories.
The criteria used here to analyze Jordanian art critics'
writings conform with those Beardsley employs in his critical analysis
and critical evaluation categories. In doing so, Beardsley uses

59
objective definition to best distinguish aesthetic from non-aesthetic
objects. According to him,
The safest and most informative way of distinguishing

aesthetic objects from other perceptual objects would not be
by their causes or effects or relations to people, but by
their own characteristics.... Such a definition of "aesthetic
object" would be an objective definition (1981, p. 63).
The ways of establishing such a definition, as suggested by Beardsley,
are: 1) "aesthetic objects have some noteworthy features in common",
and these features "present themselves as bounded segments of
phenomenal fields, and have internal heterogeneity but with enough
order to make them perceivable as wholes" (p. 63), and 2) To consider
the distinction among perceptual objects in terms of their sensory
fields - sound and vision (p. 64). It should be noted that artworks
are included under the aesthetic object category. Corresponding with
this definition, Beardsley sorts out critical statements from non-
critical ones. He, then, defines critical statements as those dealing
with the internal properties of an aesthetic object by means of
describing, interpreting, and evaluating it. This is called the
internal statement; and it differs from the external statement which
concerns the cause and effect of the aesthetic object. External
statements can be ignored, but they can be helpful in revealing some
truth and verifying internal statements.
Thus, in order for the critic to know what the aesthetic object
is, he initially involves himself in a critical description of the
object. Interpretation or evaluation, in this sense, requires the art
critic to describe the object by discriminating between, and
articulating its details and by giving insight into its nature.

60
Description, in this way, becomes the critical analysis of an
aesthetic object (pp. 75-77). Accordingly, the proper categories of
Beardsley's critical analysis are:
The Categories of Painting Criticism. We have sorted out

the following kinds of nonnormative critical statement about
paintings. The question is whether there are other
nonnormative statements that critics would make about
paintings, for which no category is provided here.
I. Description: statements about the characteristics of the
painting in itself.
A. Statements about the parts of the work
1. Statements about elementary areas ("This is blue")
2. Statements about complex areas ("This is an oval
shaped array of pink dots")
B. Statements about relations between parts
1. Statements about relations between elementary areas
("This blue is more highly saturated than that")
2. Statements about relations between complex parts:
these are statements about form, which include
a. Statements about large-scale relations ("This
side of the painting balances that side"):
structure
b. Statements about recurrent small-scale relations
(This shape of brush stroke appears
throughout"): texture or, roughly, style
C. Statements about regional qualities of the whole or
parts
1. Statements about nonhuman qualities ("This has a
triangular dominant pattern" - which can also be
considered a structure statement, or - "This is
unified")
2. Statements about human qualities ("This is
vigorous")
I I . Statements about likeness of the painting to other
objects in the world
A. Statements about representation, including
1. Depiction ("This represents a horse")
2. Portrayal ("This represents Bucephalus")
B. Statements about suggestion ("This suggests a
windmill") (Symbol-statements are subclasses of
representation-statements and suggestion-statements)
C. Statements about mere likeness ("This line is similar
to a line on a human palm")
Note that all true statements about the relation of the
painting to other things, other than its causes and effects,
are here understood as similarity-statements. Those in
groups A and B are generally called "interpretations" of the
painting, and there seems to be no serious danger in this
usage. (Beardsley, 1981, pp. 398-399)
61
In his critical evaluation category, Beardsley (1981) sorts out
the critical reasons that are used by critics to justify their
judgments of works of art. Critical reasons are divided into
aesthetic and nonaesthetic groups (See figure 4, p. 62).
Beardsley, then, refers to relevant aesthetic reasons as the
only objective reasons that can justify art critics' evaluation of
artworks. These reasons include three general critical criteria:
intensity, complexity, and unity; each of which has its own canon and
range. These three criteria, according to Beardsley
can be meaningfully appealed to in the judgment of aesthetic

objects, whether auditory, visual, or verbal. Moreover,
they are appealed to constantly by reputable critics. It
seems to me that we can even go so far as to say that all
their objective reasons that have any logical relevance at
all depend upon a direct or an indirect appeal to these
three basic standards. This may be too sweeping a claim; at
any rate, it is stated explicitly enough so that it can be
attacked or defended (pp. 469-470).
Following is a listing of Beardsley's three suggested groups of
relevant aesthetic reasons:
1) Reasons that bear on the degree of Unity

X is good (or bad) because...
...it is well-organized (or disorganized).
...it is formally perfect (or imperfect).
...it has (or lacks) an inner logic of structure and style.
2) Reasons that bear on the degree of complexity
...it is developed in a large-scale.
... it is rich in contrast (or lacks variety and is
repetitious).
...it is subtle and imaginative (or crude).
3) Reasons that bear on the degree of intensity:
... it is full of vitality (or insipid).
...it is forceful and vivid (or weak and pale).
... it is beautiful (or ugly).
...it is tender, ironic, tragic, graceful, delicate,
richly comic (1981, p. 462).
62
CRITICAL REASONS
Aesthetics I NonaestheticsH
Relevant Irrelevant
Reasons Reasons
Objective Subjective
Reasons Reasons
Genetic Affective Cognitive Moral

Reasons Reasons Reasons Reasons
Unity Complexity Intensity

Canon Canon Canon
Figure 4 . This model illustrates the distinction between the type of

reasons that belong to the aesthetic domain and those that do not, as
explained by Beardsley. It shows also the difference between the
relevant and irrelevant reasons within the aesthetic domain.
63
These three categories of objective critical reasons are used by
Beardsley as the major principles in his theory. Through them he
raises an argument that seeks certain critical evaluations of art
critics' statements about works of art. Based on the proposed
categories of Beardsley's analysis and the relevant aesthetic reasons,
an instrument chart is developed and refined in order to facilitate
the assessment of the selected writings (See figure 5, p. 65).
Data Analysis
The source of data used in this study consists of two types of
documents. The first is the critical document which involves a
selection of thirty three art critical writings of seven Jordanian
contemporary art critics. These critical documents are all selected
from the four major Jordanian local newspapers - Al-Ra'i. Ad-Dustour.
A l -Shaab. and Al-Yarmouk Press. The second is biographical documents
of art critics that include information about their educational
backgrounds, personal interests, and preparedness for practicing art
criticism. This information is collected from sources such as
newspaper and magazine interviews, exhibition catalogues, and critics'
biographies. Thus, the analysis, here, depends primarily on the
content of these documents.
As stated earlier, the content analysis of critical documents in
this study is compatible with Beardsley's metacritical approach. Such
an analysis is based on Beardsley's assessment of critics' statements
about works of art. Thus, the analysis allocates the content of each
critical document into categories and sub-categories as shown in the
attached instrument chart (figure 5).

64
For the purposes of this study, qualitative and quantitative
techniques are applied to analyze the content of selected documents.
A qualitative analysis is used as a descriptive tool for making
inferences from these documents. Such a tool focuses on the presense
or absense of specific content concepts or themes such as description,
interpretation, evaluation, conclusion, and their sub-themes (sub
categories) . The sub-categories are utilized for inferring the
occurrence of predicates like the description of local and regional
qualities of artworks, the relationship between them, and others, that
depend on Beardsley's metacritical analysis. It is also employed,
h e r e , for making proper inferences of the symbols and themes of the
nonfrequency- content-indicators in accord with the proposed
categories (Figure 5). Moreover, the sub-categories are conducted in
a ranking order which starts with a basic critical concept to general
ones. This ranking order has a significant character in the analysis
of critical documents. The description category in the chart for
instance, starts with describing the elementary area which, according
to Beardsley (1981) is the departure point in any critical practice.
Then, the last category - conclusion- is a general and broad one that
is built on the findings of the preceding categories and the context
of the critic's writings, or biases. Thus, it is important to note
that this qualitative analysis of documents is the main method of
answering the questions raised here.
Consequently, a quantitative technique is employed to complete
the response to the research questions. Alexander George (1959) says

The Haddad Modification
of Beardsley's Metacritlcism Categories
Nap* of tha Critic i
Nap* of tha Artlat i
Sourc* aad oat* i
Till* or ilia Artvorxt
Tltla of tha Articlai
Cifttnurf
fAITS A f at
D Coaplax
K Araaa
S Elaoantary
C IELATIONJ Parti
1 BETWEEN Larga«Seal*
1 SAITS Co«p. partt
F S»all-Scaia
T C o « d . Pirta
I Nun-Hu*in
0 REGIONAL S u a l l t l O
N QUALITIES Hupan
OuaitMaa
1 Dipletlon
N REPAESBN-
T TATION Portrajral
I
1 SUGGES- Sypbol
P TJON
R LIKENESS Mara
E Llhintat
T OTHERS A Plctur*
A. or
Good
EXPLICIT
JUDGMENT ■ AD
Good
IMPLICIT
E JUDGMENT Bad
V
A Intana1ty
L
U RELEVANT Coaplaxlty
A SEASONS
T Uni ty
I
0 Ganatlc
N
IRRELE A f tactlva
VANT
REASONS Cognltlva
Moral
Social
Ral Igloua
C BIASES Political
0
N Artistic
C
L Intantlonal
U
s Cl«ar
I LANGUAGE
0 Not Claar
N
Syataaatie
HITHDO
Not
_ SrttiPitlc
Iducatloo
PIIPAIEDHISS Isparlaoc*
In
Figure 5 Instrument Chart

66
that "The value of non-frequency indicators... depends upon the
frequency of their occurrence" (p. 32). This technique depends on the
frequency of inferences and the number of times an individual
subcategory appears under the main category theme. Such an approach
is employed to emphasize the absence or presense of the proposed
categories in an individual art critic's practice. Thus, the greater
the number of frequency within a certain category, the greater the
assurance of its presense in the art critic's practice, and vice
versa. Also, the appearance of all categories listed in the chart in
the selected critical documents of an individual critic is an
indication of the critic's systematic and consistent approach to art
criticism. This in turn leads to describing his method of criticizing
works of art. Based on such grounds, table 1 will be developed in
order to demonstrate the categorical occurrences of descriptors (see
p. 74). It should be noted that the number of occurrences of the sub
categories and their descriptors can be influenced by the critic's
approach in dealing with a work or works of art in each critical
writing. Therefore, the art critic's statements about one work of art
are to be considered here in order to evaluate whether his approach is
systematic or not.
These analytic techniques of qualitative and quantitative
analysis will facilitate comparisons among the selected Jordanian
contemporary art critics. Comparisons will be based on the findings
of each critic's practices in consequence to Beardsley's approach. In
addition, comparisons when applicable will be established between two

67
critical documents of two different critics about the same artist for
further clarifications of critics' biases. In relation to this,
another table which consists of the different critics' critiques of an
artist or a specific work of art is produced (table 2, p. 75).
Based on the above described technique of content analysis, the
validity of this method depends upon some distinctive elements. First
of all, the application of Beardsley's metacritical analysis increases
the validity of this method. As indicated in part one of this
chapter, Beardsley's method is the most complete and refined method of
metacritical analysis; and it is supported by different aestheticians
and educators such as Osborne, Ecker, and Smith (see pp. 47-50). The
reliance on this method allows the researcher to implicitly compare
between the critical statements explained in Beardsley's book,
Aesthetics. and those raised by the Jordanian art critics. In this
regard, metacritical analysis is employed here to describe the content
of the selected data directly by inferring their descriptive,
interpretive, and evaluative statements. In dealing with such direct
descriptions of data, the researcher "is in large part freed from
problems of validity" (Holsti, 1968, p. 610).
The second element of validity is provided by the comparison
made between the aforementioned themes and the themes that describe
the art critic's biased attitudes. Such biased statements are
presented in forms of assumptions that are made by the art critics
about the artist and the work of art. Thus, a clearer description of
the critic's writings is established; and a fuller perspective is

68
portrayed by relating the described features of the data to the art
critic's educational background and interests. In so doing,
descriptors or statements are both described individually and in
relation to the written context.
This allows for connecting the critic's intended meanings with the
palpable meaning of the descriptors.
Finally, the analysis of these writings is validated by the
independent work of two judges, Ali Al-Zahrani and Mahmood Hajjat.
These two judges were chosen for their interest in art. Zahrani is a
Ph.D. graduate of art education and Hajjat is a Ph.D. student in
marketing. They both speak the Arabic and English Languages. Before
they started their task, the researcher trained them on the
explanation and definitions of the proposed categories and the
standards of analysis. In addition, they were introduced to the data
and the art critical writings selected for this study. They were also
introduced to the procedures and methods of analysis. Then, each of
them was provided with the complete analysis to evaluate. Interjudge
reliability was 100% and when the researcher's analysis was scaled
against that of the judges, its validity was found to be 95%.
The Relevant Research Procedures
In this context, the research design should be conducted under a
number of necessary procedures for answering the questions raised in
this study. These procedures are:
1. An analysis of selected critical writings should be carried
out in terms of the proposed metacritical standards. It involves the
inferences of descriptive, interpretive and evaluative attributes of

69
the selected critical documents. This kind of assessment depends on a
qualitative technique for describing the critic's practice.
2. An analysis of biases (if there are any) should be
approached in accord with the same qualitative technique used in the
first step. The appearance of social, political, religious, and
artistic meaning in the selected critical documents infers the
corresponding bias of an individual art critic in this study. These
inferences are to be carried throughout the selected critical
documents of each individual critic for making valid inference of the
appearance or absence of biases. A comparison is to be established,
when applicable, among those critics who criticize the artworks of the
same artist for inferring the kind of biases in the critic's writing
(see Table 2).
3. The clarity of the critic's writing is to be decided upon
the researcher's continuous reading and analysis of the various
concepts of the critical writings.
4. A quantitative technique is used for counting the number of
appearances and absenses of predicates that result from the findings
of qualitative method in steps one and two. This approach is designed
to examine every distinctive sub-category for clarifying the thematic
appearances of these sub-categories in the critical documents. Theme
examination indicates the existence of the assigned categories in the
criticism of specific works of art.
5. Corresponding with the above findings, an art critic's
methodological approach to artworks becomes viable for assessment.
The assessment of art critical methodology is basically dependent on

70
the consistency of the first three major categories in the chart. In
addition, the clarity of the critic's language helps in ascribing this
character to the critic's method.
6. An assessment of the preparedness of Jordanian critics for
practicing art criticism will be undertaken. This will be based
primarily on an essaying of the critic's educational background and
special interests. Such information will be collected from newspaper
and magazine interviews, art exhibitions, catalogues, and biographies.
In addition, the art critic's preparedness will be related to and
explained by means of his critical approach and his biases.
7. As a result, this study will demonstrate the character of
Jordanian art critical activity and make certain recommendations based
on the findings. It is hoped that these recommendations will
encourage Jordanian art educators to pay more attention to art
criticism, especially those teaching in the Yarmouk University Fine
Arts Department.
Summary of Part Two
This part demonstrates the descriptive technique employed to
assess the writings of a representative group of Jordanian art critics
in terms of their critical approaches, biases, interests, and
preparedness. This research technique is essentially based on the
categories of Beardsley's metacritical analysis and the researcher's
suggestion of additional categories that involve biases, language, and
method. These different categories are presented in an instrument
chart that will be used in facilitating the conduct of the analysis.
The technique also depends on both qualitative and quantitative

71
content analysis for describing contents and characteristics of the
critical writings. Finally, this part embraces the selection of both
the representative art critics and their critical writings in addition
to a number of procedures. Such procedures explain the distinct way
through which the analysis and discussion of the research findings
will be conducted.
CHAPTER IV
RESEARCH FINDINGS
It is now the time to answer the questions raised in the
preceding chapters about the nature of contemporary art criticism in
Jordan. As previously stated, the content of the critical writings of
representative Jordanian art critics were carefully analyzed (see
appendices A -G). This analysis was based on Beardsley's
metacriticism, focusing on the critic's descriptive, interpretive, and
evaluative statements. In addition, the critic's biases in approach,
language, and critical method were identified.
For comprehensive and comparative facility, two different
analytical tables were developed. Table one was structured for
examination and comparison of the critics' critical methods in terms
of consistency in and comprehensiveness of their individual
approaches. The insight is achieved quantitatively by counting the
number of critical descriptors and placing them into appropriate
critical categories (see table 1, p. 74). Table two was set up in
order to facilitate comparison and examination of individual biases.
It is usually founded on one artist's work as critiqued by several
critics (see table 2, p. 75).
72
73
Thus, the commentary in this chapter will be divided into three
major parts. The first part concerns the first research question, the
critic's consistency and comprehensiveness of approach in criticizing
works of art. An approach is defined as the steps, acts, or processes
that are undertaken by the art critic in criticizing a work of art.
Conceptually, these steps may vary in number and name. For instance,
Feldman (1987) calls them "art-critical performance[s ]" which he
classifies "into four stages: Description, Formal Analysis,
Interpretation, and Evaluation or Judgment" (p. 471); while Lankford
(1984) sees them as a "critical dialogue" (p. 53). And, Hamblen
(1985) reviews them in the context of their implications for art
education curriculums. In her review of them, Hamblen defines each of
these critical steps (p. 3). In so doing, it becomes apparent that
even though these approaches and their names may vary depending on the
commentator, they all correspond with Beardsley's three major
categories: description, interpretation and evaluation.
The second part of this chapter focuses on the second concern -
individual critical biases, language, and methods of criticism. The
third part concerns the last research question, the critic's
preparation for criticism. The information about the critic's
background and preparation is obtained from available biographical
data. On the other hand, each critic's views about art are arrived at
by the analysis of their critical writings.
The questions pertinent to each section will be stated and
discussed according to a number of specific themes and one issue

Table 1
Occurrence of Descriptors in the Critical Writings
Critic's Name MI HD AN MJ AS AY GS
Appendix # 1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 6 1 2 3 4 5 1 2 3 A 1 2i 3 A 5 1 2 3
D Elementary * * * * * * * * * • • * * * ft •
E PARTS Complex * • * * • * « * • * * ft « • * ft
S RELATIONS Elementary * * * * * * * ft * * *
C BETWEEN Larqe-Scale * • * * * * • * ft * * *
R PARTS Small-Scale * * * * * ft
I REGIONAL Non-Human C * • *
P. QUALITIES Human Q * • * * * * • * * • ft * ft * *
1 REPRESEN Depict ion * * * * • *

N TATION PORTRAYAL
T SUGGEST. Symbol *
E LIKENESS Merelikene. *
R. OTHERS Picture of *
E EXPLICIT Good * * * ft • ft *
V JUDGHENT Bad * * * 1 ft * *
A IMPLICIT Good •
L JUDGMENT Bad • ft
U Intensity • • ft * ft • * * ft * •
A RELEVANT Complexity * * * • «
T REASONS Unity * * « * * ft * • ft * *
I IRRELE Genetic « * • * • • * * • ft ft * ft 1 ft
0 VANT Affective ft * * « • * i * ft * «
N REASONS Coqnitive * • * ft
Moral • ft 1 t
C Social ft * 1 ft • *
0 Reliqious ft 1 ft
N BIASES Political * • * • •
C Artistic ft • * * * * * * * 1* ft * • * ft •
L Intentional ft • * * * • • * * ft * • ft •
U Others ft 1 1
S LANGUAGE Clear ft * * * * 1* * * * * *i i* * * 1* * •
I Not Clear i * 1
0 Systematic
N METHOD Not System. i ~-j
■P'
75
Table 2
Comparison of Art Critics
A T X S T S SHAH'ON AL-RABADHY UFEHIA SADXQUE ABU-SHXNDI NE'WASH AHMOURA
Kits Survival • Aaalah, Yafa,

Ran T i u - 3, 7, It, 23 Shapa (X),
Ht Ran, and Void m
Wasl'yat-
S.8.1986 S .3.1986 4.10.1986 3.8.1984
MX 5. HI 3. HI4 . HI 2.
Tatalo'at
Nahva
Kovkabina
Confront works of
HD ation, 1981-1983
3.2.1986 11.17.1983
A HD1. HD2.
Bahth
R 1 .16.1984
HD4.
T
Jerusalem,
C Village, Him
4.22.1986 2.26.986 violin 2.7.1986 10.16.1986 Portrait,
R AN AN5. AN3. Player. AN 2. AN6. Child Face.
lyka•a , 12.13.1985
I Turath AN1.
3.20.1986.
T AN4.
X
Hessar,
c Waal *yat-
Ru *lleb. (X], Death
s Darveesh, Eyka'a, of tha Holly
Rita, AL- Icons.
G5 Ran Yaata- Forsaan, Xttijah
Ran, Tadhad. Nahva Al-
Haleh, 3.30.1986 Dakhil,
Takvean, CS2. Raksa,
Al-Dhid. Hamaoatan
4.30.1986 12.9.1984.
CS3. CS1.
AS 10.20.1986 5.11.1982
AS3. AS2
4.20.1966 (XJ
HJ 4.27.1986 1.29.1986.
M J 4 , HJ5. HJ2.
76
relevant to the overall question of consistency, comprehensiveness,
biases and preparation and relevant sub-questions. These themes and
sub-themes are used as the organizational bases for discussing and
comparing the research findings. Each theme depends upon a number of
descriptors, or sub-themes, that indicate its presence or absence in
every critical writing of the selected art critics (see appendices A-
G).
This thematic approach involves six different themes. They are:
description, interpretation, evaluation, biases, language, and the
critic's method of criticism. The first three themes are addressed
under the first research question. The other three themes are covered
by the second research question. Finally, the findings will be
related to the issue of the critic's preparedness and educational
background with the intention of clarifying any deficiencies in his
writings. By proceeding in this manner, the issues should be fully
explored.
To facilitate reading this study, the critics will be referred to
through the use of the following codes: MI for Mahmoud Issa, HD for
Hussain Da'seh, AN for Ay'yad Nimer, MJ for Muhammed Jaalous, AS for
Abdel-Ra'ouf Sham'on, AY for Adnan Yahya, and GS for George Seye'ygh.
It is necessary to point out that appendices (C-AN2, C-AN3, C-AN5
and C-AN6; D-MJ4 and D-MJ5; E-AS2, E-AS3 and E-AS4; F; and B-HD2) are
excluded from the discussion because they do not deal with the
criticism of artworks. Rather, they focus on issues concerning the
nature and character of the Jordanian art movement in general and its
present and future status. These writings are provided in the

77
appendices with the other critical writings because they represent a
fuller view of the selected art critics' concerns. They will be
employed in the art critical discussion when appropriate.
Discussion and Comparison of the Findings
Research Question 1
How do Jordanian art critics approach the work of art?
A. Do they describe the work?
B. Do they interpret the work?
C. Do they make judgments?
D. Do they justify their judgments, and if so, what reasons do
they employ?
A. The Description Theme
This question divides into three focuses. They are: 1)
Description of elementary and complex areas; 2) Relations between
elementary parts, large-scale parts, and small-scale parts; and 3)
Human and non-human regional qualities of the whole or parts of the
artwork. These focuses concern the descriptive statements found in
the various critical writings (see table 1, p. 74).
1. Description of Elementary and Complex Areas. In looking at
table 1, we find that there is a greater reference to the use of
elementary and complex areas in the writings of both MI and HD than in
the writings of the other critics, all of whom provided some
description of both elementary and complex areas (see appendices A - B ) .
Even so, these descriptors appear in only three out of five of MJ's
articles (see appendix D-MJ1, D-MJ2, and D-MJ3) and two out of five of
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AN's (see appendix C-AN1 and C-AN4). In the criticism of GS,
elementary area descriptors appear only in G-GS1 and G-GS3 and complex
area descriptors in G-GS1, G-GS2, and G-GS3. The least use of these
descriptors is made by AS, where mention of parts descriptors was
limited to the complex areas, and this in only one of his articles
(see appendix E-AS1).
In assessing Jordanian art critics' use of area descriptors, it
appears that they provide the reader with only a generalized, often
ambiguous and incomplete, description of areas. For instance, MI
(1983) describes five different artworks as containing the Arabic
letters - ra, alef, dal, miem, and waw (see appendix A-MI1). But, in
fact, MI is reviewing 22 artworks that are comprised of Arabic
letters, therefore, he should specify and closely describe the letters
that belong to each work separately. Similar custom descriptions
appear in the writings of MJ. In his 1986 article (see appendix D-
M J 3 ) , he describes the elementary areas, Arabic letters, in the work
[X] without identifying them. The same could be said about GS's
description of dots and letters as elementary areas in his 1984
article (see appendix G-GS1). In this context, critics should be more
careful in dealing with the description of parts because it is the
primary descriptive step for explaining and understanding the
artworks. According to Beardsley (1981),
Critical descriptions are of all levels of precision and

specificity, but they are most helpful when they
discriminate and articulate details, and thus give us an
insight into the inner nature of the object (p. 75).
This requisite of specificity in Beardsley's statement identifies what
it is in the artwork that needs to be described and why. The

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significance of description lies in its importance as being the first
step in critical practice, one recognized by other aestheticians and
art educators, such as Margolis (1968), Feldman (1987) and Howard

..... i
Risatti (1987).
For instance, concerning comprehensive specificity, HD (1986)
offers more precise and complete descriptions of both elementary and
complex areas than MI, MJ and GS. He starts his criticism of the work
by describing the elementary areas (the straight lines, broken angles,
circular shapes, and the blue colors in the background) and the
complex areas (the background of blue color gradation) which complete
the critic's primary descriptions of the work's parts (see appendix B-
HD1) .
By contrast, AN (1986) is not as direct as HD in 1986 (see
appendices C-AN4 and B-HD1), but he provides an almost comprehensive
description of five different artworks in one article. It is notable
that he also integrates his description of elementary and complex
areas (as shown in appendix C-AN4). And, he pays more attention to
the description of the work "Violin Player" than to the artist's other
works. AN's description of the "Violin Player" is similar to the Mi's
description of "Survival #3" in completeness and the integration of
elementary and complex areas (see appendix A-MI3).
On the other hand, the writings of the other Jordanian art
critics' provide insufficient or unclear descriptions of the artwork's
parts. In his description of the work's parts, Ml (1984) addresses
only the curved and circular lines (considered elementary areas as
shown in appendix A-MI2). However, viewing the accompanying copy of

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the work, one perceives other elementary and complex areas that are
worthy of and necessary to identification. The same deficiency is
revealed in Mi's description of works #6, #4, and #14 in the article
of 12/15/1983, and work #23 in the 5/3/1986 article (see appendix A-
MI1 and A-MI3). This non-comprehensiveness in description is also
noticed in the writings of HD (appendix B-HD2-B-HD5), and GS (appendix
G-GSl and G-GS3). In addition, AN in most of his writings (C-AN1-C-
AN3, C-AN5, and C-AN6), and AS in all of his writings (appendix E),
offer no criticism of artworks, but are concerned only with the nature
of the Jordanian art movement.
This analysis of descriptors reveals a confusion on the part of
these critics that is carried into their critical statements. For
instance, in his description of the elements of the work "Survival
#23", MI (1984) considers "the bomb shape" as an element in the work.
Such an indication carries two possible meanings. The explicit
meaning concerns the descriptor's abstract and direct reference. In
this case, MI describes the elementary areas of the work. And, the
implicit meaning which should be treated as a part of the whole
written context. When MI refers to the dead mother in the same work,
he implies that the death of the woman is caused by the exploded bomb.
Therefore, the bomb shape after the explosion is not as the same as
before. Since the elementary area is a single part, the shape really
is a complex one. Thus, we should consider this shape a complex but
not an elementary area (see appendix A-MI3). Mi's description of
elementary and/or complex elements in a work of art, should be clear
and more specific, thus avoiding such confusion.

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Similar instances of this sort of confusion are not repeated only
in Mi's criticism but also in the writings of the other critics; for
instance, one's description of a woman's headdress (appendix B-HD3) is
similar to another's of thorny wires in (B-HD5 and E-AS1). Such
elementary areas can be understood as complex areas because they are
comprised of more than one part. In the case of the thorny wires,
they are formed by at least two twisted wires and small sharp wires
which are knotted around them. Although, they are complex areas, both
critics, AS(1) and HD(5) referred to them as elementary parts.
Consistently, this same confusion appears in GS's description of
the human and horse figures (see appendix G-GS2). The figures
containing the different parts such as hands, legs, and heads would be
more appropriately described as being complex rather than elementary
areas. In this context, the elementary area is only one part while
the complex area is formed by a combination of at least two elementary
areas or parts (Beardsley, 1981).
Thus, it becomes obvious that the confusion, incompleteness, and
generalizations of the critic's description of the work's parts are
caused by different reasons. First, critics must put forth a great
deal of effort and employ considerable less space in criticizing an
entire show. Thus, the number of artworks being criticized in one
article can be enormous leaving no adequate space for further
elaboration and deeper description of each work's parts. Therefore,
the critic begins with a generalized and broad description of the
artist's style, technique, treatment, and handling of the works
materials and formal elements. In addition, most of these critics

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tend to classify the exhibited works of art into different sub-groups,
(see appendices A-MI1, A-MI3, B-HD3, C-AN4, and G-GS3) giving a
description of each group as if it were a work of art.
Second, the main intention of these critics is primarily focused
on issues that go beyond the descriptions of elementary and complex
areas. Some of these issues are clearly stated in the titles of the
critics' articles. Take, for instance, GSl's "The Interaction of Man
and Society", GS3's "Ethos..in the works of Abdel-Ra'ouf Sham'on",
ANl's "The Hard Way..and the realistic Vision of Aziez Ammoura",
MJ3's "The Search for the Formulation of Horizon and Absolute," and
HDl's "Ufemia Soars in the Space Searching for a Better Life to
Humanity". Through these articles, critics emphasize the identity of
the Jordanian art movement, the desirable influence of the Jordanian
environment on the artists' works, and the troubled artist and his
concerns about humanity. Thus, the greatest endeavor of the critic
focuses on such issues rather than on fuller and more insightful
descriptions of the work's parts.
Even though, there are some art critics who depend on the Gestalt
theory of unity to describe the artworks' formal qualities and parts,
they have failed in providing a comprehensive description of works of
art. The reason for such failure is that they appraise the
psychological reflections of the work's formal unity as integrated
with the artist's intentions (see appendices A-MI4, B-HD3, and D-MJ2).
Thus, the critic's attention to the artist's intention and personal
sufferings results in a lesser attention to the description of
artworks.
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The above stated reasons not only affect the critic's description
of the work's parts, but also may have a similar influence on the
other aspects of his criticism.
2. Description of the Relationships between Elementary
Parts. Large-Scale Parts, and Small-Scale Parts. In scanning table 1,
it is apparent that there is even less emphasis on the relations
between the parts of an artwork than on that of describing them. The
least ascription to these relations is made by AS and AN; more
reference is attributable to MJ and GS. However, the greater
indication of attention to such relations is found in HD and MI, who
seem to have the most concern about them among the critics. Table 1
also shows that the more attention critics paid to the description of
artwork's elementary and complex parts, the more emphasis they put on
the relationships between these parts in their writings.
It is worth noting that a step-by-step format for art criticism
is suggested in the arrangement of Beardsley's critical categories
(see p. 60). In such an arrangement, description comes first, then an
interpretation of the work, and last, an evaluation. Thus, in the
first step, critics should start with the description of elementary
and complex parts, then move to the analysis of the relationship
between these parts.
In this context, the elucidation of parts relationship in the
Jordanian art critics' description of artworks demonstrates an
infrequent analysis of such formal aspects. To demonstrate this, my
discussion of these critics handling of formal relationships is
applied only to those artworks that are cited in the assessment of

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their critical description of parts. A-MI describes the large-scale
relationships of work #3 in which he refers to the harmony of color
gradations on the work's left and right sides (see appendix A-MI1).
Under small-scale relationships he refers to a different work, "#13",
which contains repetitive diagonal shapes. Since MI describes the
elementary and complex areas of both works, the comprehensiveness of
his description would be completed by describing the work's
elementary, large, and small scale relationships. But, his
description lacks details and discrimination among the work's parts.
It may seem that the harmony of color gradation is the only important
quality to A-MI in "work #3". If this is true, color gradation should
be mentioned in the preceding step (see appendix A-MI1). Similar
instances appear throughout the critical writings of the other art
critics, (see appendices).
A-MI provides the most comprehensive article, one containing all
three relational descriptors - elementary, large, and small (see
appendix A-MI2 and A-MI4). In his description of "Asaleh", he (1986)
writes about the relationships between both the elementary and small-
scale parts, but he makes no reference to the work's large-scale
relationships because the work may lack these formal relations or has
no value of this sort to the art critic. We do not know which. But,
in either instance such a reference should be stated in order to
support the critic's judgment. Likewise, further discriminations
should be made by MI in his description of the artwork "Kan Yamakan".
He purports to describe elementary and large-scale parts, but in

85
reality he is actually attributing these qualities to what would
better be small-scale relationships, since there are attributes of the
work's texture (see appendix A-MI5).
Parallel to these problems in Mi's description of the parts
relationships are the approaches of both HD and M J . HD confines his
description of "Confrontation" only to the elementary and large-scale
parts relationships (see appendix B-HD1). MJ also circumscribed his
descriptions of artworks only to elementary and large-scale relations
as HD did (appendices D-MJ1 and D-MJ2). However, according to
Beardsley (1981),
To analyze an aesthetic object is precisely to get

acquainted with its finer details and subtler qualities, to
discover, in short, what is there to be enjoyed - to be
responded to emotionally (p. 76).
Thus, analysis of the relationships of a work's parts is requisite;
and, to do so, an art critic facilitates the work's accessibility to
the viewers and their enjoyment.
In examining the appendices governing other critics, it is found
that even lesser emphasis on analysis of parts relationships can be
noted. For instance, the art critic HD infers elementary
relationships in a group of three art works, a circle which is drawn
in the upper part of each and the decoration of the lower part of each
(see appendix B-HD3). But, in so doing, HD does not discriminate
between the three works as unique artworks. If he had, further
discriminations would have been necessary. Therefore, the analysis of
large and small-scale relations would be useful, as can be noted in
other HD's articles as well (B-HD4 and B-HD5). Evidence of the
usefulness of analysis of both elementary and small-scale

86
relationships is readily found in four articles (A-MI3, C-AN4, G-GS2,
and G-GS3).
Obviously, Jordanian art critics ascribe to the description of
the formal relationships, but to different degrees and with different
emphases. The range of descriptors varies from those who use three to
those who use only one (see table 1). And, their description of parts
relationships proves insufficient and lacking specification and
discrimination.
3. Description of Human and Nonhuman Regional Qualities in the
Artwork or its Parts. The critical attribution of regional qualities
in a discourse about artworks is dependent on parts and parts
relationships (Beardsley, 1981, p. 87). Thus, the presense, absence,
or insufficiency of element and form statements significantly affect a
critic's further description of an artwork. Strictly speaking,
discussion of regional qualities as revealed in the writings of
Jordanian art critics must focus on artworks that are usually
described only in terms of their elemental and relational qualities.
Since it is apparent that Jordanian critics have failed to provide a
complete description of one work of art in their writings (see
appendices A-G), some examples will still be cited here in order to
explain the nature of the critics' description of regional qualities.
In Mi's description of work "#3", he implies that the composition
is both confused and unstable (see appendix A-MI1);’ this is a regional
quality. And Mi's prior reference to the work contained the
description of its diagonal shapes and curved lines, its Arabic
letters, composition, and lack of harmony in its middle part. As a

87
regional quality, unstability reveals the lack of aesthetic values
such as balance and steadiness; in addition, confusion implies a sort
of disorganization among the work's large-scale relations. Such a
citation of regional qualities may seem sound, providing some insight
to the work's deficient values. However, a deeper, more profound
insight would be provided if the critic had referred to the qualities
of small-scale relationships through which more specific descriptors
of the work's middle and other parts would have been provided. One
realizes that large-scale qualities are partly dependent on small-
scale qualities, "comparatively" (Beardsley, 1982, p. 247). Similar
approaches were adopted by MI in describing "Yafa", "Survival #3",
"Shape and Void", and "Kite" (see appendix A-MI2-A-MI5).
In fact, Mi's dependence on descriptors of regional qualities is
assimilated by the other art critics in various degrees. But, as
shown in the appendices, some art critics establish their descriptors
of regional qualities only on large-scale and elementary relations.
This is so of HD's criticism of "Confrontation", MJ's of "Ayet Al-
Kurci", and GS's of "Al-Forsan" (see appendices B-HD1, D-MJ1, and G-
GS2). Other critics depend on the relation of elementary parts (see
appendix B-HD3, B-HD4 and B-HD5). The rest do not state regional
qualities, as in the case of AS and AY, or they just refer to these
qualities without a single reference to relational qualities (see D-
MJ3 and C-AN1).
However, one might claim that inferred description on the part of
Jordanian art critics is sufficient and makes sense. But, what
becomes more important from this is that the art critics tend to
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unveil the most obvious qualities that make up the work of art or that
reveal the artist's intention. In the long run, the educational value
of this critical practice fails to achieve the value that a more
detailed description and clear discrimination among the artwork's
parts and relationships would provide. For instance, in his
description of the work [X], MJ's reference to regional qualities
appeared in the statement: "the woman and horse figures are the
dominant patterns" (see appendix D-MJ3). He has made no reference to
any of the relationships among the work's parts. He failed to mention
the Arabic letters, elementary areas descriptors, and made no
connection between them and other elements in the work, especially the
woman and horse. Thus, the dominant pattern may be these figures, but
what is the value of the Arabic letters in the artwork?
If these figures are the most obvious and the strongest features
in the work, they still may not be of the most noteworthy qualities.
Therefore, further ” and more extensive discrimination, and more
detailed descriptors are needed. What needs to be discovered and
acknowledged is of more value than these more salient qualities. This
would be achieved by the critic's discussion of parts and their
interrelationships. At least, the critic MJ should refer to the value
of the Arabic letters in the work [X]. According to Beardsley (1981),
"the dominant pattern of a design is not a set of relations, but a
regional quality that depends upon those relations" (p. 170).
Finally, in dealing with the description of regional qualities,
art critics should realize that, as Beardsley (1981) puts it
"statements about perceptual conditions of regional qualities do not

89
imply anything about ends and means" (p. 87). In other words,
regional qualities do not intentionally depend on what the artist did
or how he did it, but are emergent qualities that depend on the
relationships between parts. For instance, MJ (1.3.1986) says that
"it was clear in this experiment [the artwork] of line and space that
the artist was trying to find a formal balance between the masses and
their space" (p. 6). A more objective restatement would be: In this
work, there is a balance between masses and their background.
Balance, it should be remembered, is a regional quality that is caused
by the relationship between the parts of a work.
Other examples can be cited in Mi's critical writings. In his
criticism of the "work #19", MI (15.12.1983) says that "The artist
achieves the harmony of his work by using the geometrical letters with
hexagonal shapes." This statement ought to have been written: In
"work #19" there is a harmony between geometrical lines and the
hexagonal shapes. The lack of following a systematic approach (steps)
in describing artworks has obviously resulted in a lack of regional
quality discussion on the part of Jordanian critics.
Summary of the Description Theme
The above discussion of the three descriptor sub-themes reveals
that the critics' emphases on what they selected to discuss and how
they decided to describe the work of art lack comprehensiveness and
focus. Most Jordanian art critics tend to describe artworks in terms
of the artist's most obvious treatment and his skill in dealing with
materials and techniques. Even with this, their description of art
works is incomplete and inadequate. Such descriptions are not

90
concerned with specific and detailed discriminations of what is in the
artwork. In addition, their descriptions appear to be incompatible
with the proposed Beardsley's systematic - approach (see chart 1).
This lack is certain to influence the art critic's interpretation and
evaluation, and in a significant way.
B. The Interpretation Theme
This focus is primarily concerned with the interpretive
statements concerning artworks on the part of Jordanian art critics.
Corresponding with the discussion of descriptive statements, the
elucidation of this focus is chiefly confined to the interpretations
of those artworks that are specifically described by the art critics.
Therefore, a number of critical writings are excluded from this
discussion. These include those articles that provide 1)
interpretations of a group of artworks, 2) interpretations of artworks
that are not described by the critic, 3) interpretations that induce
critical evaluations of artworks, and 4) interpretations based on the
artist's assumed intentions and skills in technical treatments. The
reason for such limitation is that sound critical interpretation can
improve the description of the regional qualities and the visual
aspect of an artwork by relating it to the surrounding world. As a
result, artworks become available for direct inspection. They also
appear to be more enjoyable, understandable, and possess a greater
significant value for people as well.
In this context, table 1 provides a general review of the art
critics who interpret artworks and those who don't. It indicates that
the critics most concerned about an artwork's meaning are MI and HD;
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and the least concerned is MJ in only one of his articles. Even so,
the interpretation of specific artworks is not found in the writings
of AN, AS, AY, and GS (see table 1), for their discussions must be
classified as the aforementioned interpretive statements. To clarify
this, selected examples will be discussed.
The first examples illustrate the nature of interpretive
statements. In his interpretation of "Yafa", MI (1984) says that it
misrepresents the Palestinian city Yafa (see appendix A-MI2). But in
fact, MI provides satisfactory justifications for his interpretation.
Based on his description we know that the work is not realistic and
has no depth due to the extreme distortion of shapes and forms.
Distortion, according to Beardsley (1981), is "misrepresentation" (p.
286). Although such thinking seems justifiable, confusion may arise.
Obviously, the work is titled by the artist. Both the artist and the
art critic have certain knowledge and information about this city.
Then the question of who is more correct than the other may need an
answer. MI says that there is not a single sign that distinguishes
"Yafa" from other Palestinian and Jordanian cities; yet, his claim is
not correct because the title, "Yafa", is a sign. In addition, the
work is understood to represent the city in the sense that a single
line in a work of art might represent something. It appears that the
critic completely ignored the title as a sign and disvalues
distortions in the work itself. So, too, if the title is so important
to M I , why then did he not refer to those of other works critiqued in
the same article?

Two more examples of how MI causes confusion can be sighted from
his writings. He (1983) refers to some Arabic letters as picturing
movement, body, mouth, and so on. Corresponding with the term,
"picture", these Arabic lettersseem, then, to represent certain
objects. Or, in contradiction, they can be understood as Mi's
interpretation of the shapes (see appendix A-MI1). But, in a totality
these statements are best understood as descriptive statements,
articulating various qualities of Arabic letters. So instead of
saying that the letter "meim" is picturing a beautiful mouth, the
letter does inherently have a mouth-shape. Looking at appendix A-MI2,
under the sub-category, "other interpretations", we find that MI
defines movements of lines in a very broad interpretive sense. For
instance, when a line curves, it is a woman's breast or a human face;
when it bends it is a dome. Such an inference is not useful and may
obviously be misleading. At best, it causes confusion by either being
descriptive statements of line and shapes or interpretive ones. To
avoid such confusion, art critics should abandon the use of general
and broad terms.
Another sort of confusion is found in the writings of HD, who
interprets the circle in group #2works as suggesting the sun or the
moon (see appendix B-HD3). But, in order to clarify whether it is the
sun or the moon, the circle as an element in the visual design, should
have some notable characteristics that belong to either one. This
would have been accomplished if the critic had provided more specific
descriptions of colors in addition to the lines and shapes which he
described; then, the decision could clearly be made and supported. In

93
this sense also what suggests the relationship between man and his
land in the group 1 works to HD is not mentioned by him (see appendix
B-HD3). The critic did not describe these works or even refer to the
objects from which he makes such a connection. HD's description of
the artwork "Confrontation" (see appendix B-HD1) does not support his
interpretation of the symbolic meaning of the artwork either. As
Beardsley (1981) puts it,
An object or pattern does not become a symbol in the full

sense until it enters into human activities so that it is
perceived not as a bare sign of something, but as having
valuable qualities in itself, in virtue of its symbolic
function (p. 290).
This can be seen in HD's interpretation of "Nabatine Woman" and
"Casser Umra" (see appendix B-HD4). Both the woman and the palace
have historical and natural connections with the people in Jordan.
This appropriate practice is also found in some of Mi's
interpretations of the symbolic meanings of the artworks found in
appendix A-MI3, A-MI4 and A-MI5. Laudatorily, it is important to note
that the depiction statements in the writings of MI, HD, and MJ seem
credible and useful.
Evidently, one of the notable inferences in these writings is
mainly concerned with the relationship between an artwork's subject
and the work's integral unity. This is clearly stated in the writings
of critics such as GS (1984, 1985, and 30.4.1986), AS (1983, and
1986), MJ (1986), AN (1985 and 1986), HD (1983, 1984, and 1986), and
MI (1983, 1984, and 4.10.1986). The indication of form-subject
coherence is referred to by these art critics as an evaluative
statement and as a determinant in the valuing of the work of art and

94
the artist's skill. This will be discussed under the topic of
evaluation later. However, there are some aspects worthy of further
explanation here.
In describing form-subject coherence, GS (1986) says that
The movement in group #1 works depends on biomorphic lines.

These lines express the existence of a combat man through
the perpetual impulse that crystalizes the meanings and
continuity of life. This is reflected by the construct of
void that extends from the bottom towards the depth
(infinity) in the upper part of the painting. The reality
of such a void raises in us the sense of fear that increases
[intensifies] the expressive content (drama) of the patient
and great struggling people (Ad-Dustour Newspaper).
In reading this statement, one assumes that GS is writing about three
things. First, he discusses the design in terms of its lines and
their movement in addition to the work's regional qualities, such as
drama, depth, fear, and expression (see appendix G-GS3). Second, he
describes the events in terms of their psychological affects and
intensity. Then, he explains the strong regional qualities that
correspond with the qualities of depicted events, events carried out
in the lines, movement, and depth. In a similar way, such form-
subject-content relationships in the sense of the work's dramatic
effect are shown in MJ's interpretation of the work [X] (see appendix
D-MJ2).
This coherence of form-subject relationship is plausible because
it is shown to incorporate qualities of design, subject, the relation
between them, or their presentational equivalent distributed among
various qualities. But, there is something awkward about the
achievement in the writing of GS. This results from the fact that his
statements are based on a group of artworks rather than on single

95
works. In so doing, he makes no distinction among works in terms of
the degree of coherence between design and subject or the range of
their dramatic effect. It is impossible for these works to have the
same design, same representation, and same values. Furthermore, he
does not provide or imply a clear sense of the foundation of coherent
elements of design, such as focus, balance, and harmony, or other
similarities of design; nor the parts that constitutes the design,
such as colors, shapes, and lines of one work of art (see appendix G-
GS3). The same can be said of the critics MI and HD as well (see
appendix A-MI1 and A-MI3). Beardsley (1981) says,
Perspective, perceptual mass, and compositional convergence

back up the subject by focusing attention on important
characters; but also recognition of subject helps in some
cases to intensify and stabilize the qualities of the design
itself (p. 302).
This is where the importance of a prerequisite comprehensive
description of the artwork's parts, their formal relations, and
regional qualities becomes a necessary attribute of critical writings.
When based on these qualities, a clear interpretation can be provided
which in return provides support for the described qualities of an
artwork.
So, too, art critics should not rely completely on external or
contextual evidence unless there is a useful application for them.
Such evidence, in the applicable sense, does not have anything to do
with the artist's intention or on the estimation of meanings imposed
by'the art critics. But, this practice most often appears in the
writings of Jordanian art critics. For instance, HD (1983) says that
the artist, Dwake, was trying to express his sufferings through the
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suffering of man. Or, in reference to the artist Ash'sure's work, MI
(1983) proposes that by using the blue color marker the artist freed
the composition from the killing harmony in the work. And, AN's
writing of 22/4/1986 suggests that the artist Sham'on expresses his
concerns about reality and the troubled world. Many examples of this
sort can be gleaned from the writings of Jordanian art critics. These
examples reflecting the artist's intended meaning will be discussed
under the "biases" category, in the second part of this chapter. This
actually explains the absence of descriptors of interpretation in
table 1 and the appendices.
Summary of the Interpretation Theme
Based on the above discussion, the character of the interpretive
statements of Jordanian art critics can be divided into three groups.
The first group includes interpretations that depend to some extent on
the descriptions of certain artworks (see appendices A-MI2, A-MI3, A-
MI4, A-MI5, B-HDl, B-HD4, and D-MJ2). These statements seem to provide
the most useful indications of the artworks' meaning; and, they can be
tested on the basis of the critic's descriptive statements. But, it
is apparent that this characteristic constitutes only a small portion
in the writings of the Jordanian art critics. The second
characteristic involves interpretive statements that deal with the
artists' intended meanings, expressive medium, and the necessity of
content to the unity of artworks. The latter aspect takes on an
evaluative approach that consists of a judgment on the success and
failure of the artist in addition to the evaluation of artworks in
terms of their significant value. This characteristic, in fact, forms

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the most frequent approach of Jordanian art critics. Interpretation
of this sort may have important implications on the people who read
these critical writings. Such interpretations unveil the distinctive
values and issues that are communicated by works of art. However, it
may cause confusion and problems between artists and art critics when
the latter reveal or talk about the failures of the former. In
return, this subjective approach might misdirect people's attentions
by attracting them to the problems that exist between artists and art
critics, but not the work of art itself.
C. The Evaluation Theme
This focus is on Jordanian art critic's evaluation of artworks,
and how they do or do not support their judgments, and upon what sort
of justifications they base their critical writing. A brief review of
these inquiries is found in table 1 (p. 74). It plainly indicates
that these art critics judge artworks, and that such judgments are
either made directly or indirectly by using terms such as good, bad,
or their synonyms. The implicit bases of these judgments can be
inferred from the context of the already analyzed writings. In
addition, table 1 shows that the critics justify their normative
judgments through either relevant or irrelevant reasoning, or both
together. To facilitate my discussion, this focus is divided into two
sub-themes; relevant and irrelevant reasoning. Each is discussed in
the context of the artwork's aesthetic value, specifically, and of
aesthetic experience, in general. This is done with the aid of
Beardsley (refer to chapter III). In other words, both sub-themes are

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concerned with ascription in the way normative terms are justified and
used in the writings of the art critics.
1. Relevant Reasons. In the context of this sub-theme, the
discussion is concerned with statements that are given about an
artwork's intensity, complexity, and unity. Of necessity, a number of
writings are excluded from the discussion because they do not involve
any of the three relevant reasons. These writings are A-MI5, B-HD4,
and C-AN1. The remaining writings involve evaluative statements
founded on relevant or objective reasons. As stated by Beardsley
(1981), an objective reason is one that
refers to some characteristic - that is, some quality or

internal relation, or set of qualities and relations -
within the work itself, or to some meaning - relation
between the work and the world. In short, where either
descriptive statements or interpretive statements appear as
reasons in critical arguments, they are to be considered as
objective reasons (p. 462).
Objectivity then, depends on the critic's use of the three relevant
reasons in support of the artwork's aesthetic value.
In respect to the context of the critical writings, most of the
evaluative statements formed by the art critics take a subjective or
intentional approach. But, as shown in the appendices, these
statements exist in an abstract way that only corresponds with the
occurrences of both judgments and reasoning in the aesthetic context.
Thus, the critic's relevant reasons for their evaluative statements
are discussed in terms of the described and interpreted artworks. To
clarify this, a number of examples must be sighted in the writings of
Jordanian art critics.

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In his criticism of Ash'sure's works #3 and #4, MI (1983)
evaluates work #3 as a bad work of art because itsbackground and
calligraphical composition do not fit together. But, he refers to #4
as a good work of art because it is beautiful, rich and vivid (see
appendix A-MIl). Thus, on the one hand, he adequately relies on
description as reason for justifying his judgment of the artwork. By
indicating these reasons he points out aesthetic values in terms of
the aesthetic qualities that reside in them. In so doing, it is
understood that artwork #4 has more aesthetic value and thus provokes
more aesthetic experience than does work #3. On the other hand, the
context of his writing, strictly speaking, indicates that the critic
is dealing primarily with the artist's treatment of medium, shapes,
and lines in his aesthetic judgment. Since this is so, the critic is
really concerned with an intentional but not aesthetic approach.
A similar situation occurs in Mi's evaluations of the artwork
"Yafa" (appendix A-MI2) and the works "Survival #3, #4, #7, #22, and
#23" (appendix A-MI3). He, in fact, combines his reference to the
artist's treatment ofcolors, lines, and perspective with the
description and interpretation of the artwork's elements and
qualities. Other examples of Mi's evaluative statements reveal a
lesser reference to the artist's treatment of colors and lines. For
instance, he (1986) tries to direct attention to the pure aesthetic
values of Sadiq's works as involving harmony, contrast, balance, and
other qualities, as when, in his evaluation of the artwork "Asaleh",
he says that the work is good because it is very organized and
formally perfect (see appendix A-MI4). In the context of Mi's

100
judgment here, he claims that the artist's expressive language does
not ’ exceed the works formal qualities and aesthetic values.
Therefore, he directs our attention to those qualities that can be
aesthetically experienced. This does not mean that he abandons the
reference to the artist's treatment of colors, lines, and shapes. But
he shows here a clearer focus on the works' aesthetic value more than
he does on any of the aforementioned examples.
Other examples of this can be provided from the writings of HD,
who repeatedly raises evaluative statements, generally saying that all
works are either "good" or "bad". It appears then, that HD's
statements provide an invitation to visit a specific exhibition
because all the exhibited artworks are good ones. But, whether good
or bad, he should provide the reader with persuasive evidence of such
normative judgments. When he does, he offers either relevant or
irrelevant reasons or both at once. Here, we shall discuss his and
other critics' relevant reasons. Their irrelevant reasons will be
discussed in the following section.
Although HD describes and interprets artworks in his different
writings, he does not base his judgment of these works on relevant,
descriptive, and interpretive reasons (see appendix B-HD1, B-HD4, and
B-HD5). He should make use of either activity at least, or both at
best, in his judgments for them to be more objectively conducted.
However, the only indication of objective evaluations, on his part, is
in his assessment of "Fellaha" (see appendix B-HD3), where he (1983)
cites that it is good because the lines are perfect. Such a judgment
is based on his description of the lines' regional qualities which

101
imply a certain degree of aesthetic value and which, in turn, leads to
an experience with marked aesthetic character. This, however, is the
rare instance when HD's evaluative statements are approached in an
objective way.
Comparatively, AN's evaluative statements about a whole show are
more successful than HD's about single works. The difference is in
that AN makes more useful and objective evaluations even though the
reference is to a number of works being judged according to their
collective aesthetic qualities. In his judgment of Sadiq's work, AN
(1986) says that all the works are good, then he provides examples of
some, such as "Jerusalem" and the "Violin Player" (see appendix C-
AN4). "Jerusalem" is good because it has strong structure. The
work's strength shows the intensity of the work's structure as a
"good-making" aesthetic quality, one worthy of a viewer's attention.
In a more elaborate case, he evaluates the "Violin Player" as being a
good work be cause, in addition to its strong structure (intensity,
stability, and balance) it has unity. Since the critic cites more
aesthetic qualities for "Violin Player" than for "Jerusalem", the
"Violin Player" seems to have more aesthetic values than "Jerusalem".
In this context, AS (1983) indicates that "T.N.T" is good
because its design is strong, and "Drawing Behind Bars" is bad because
its elements are simple (see appendix E-AS1). One may ask the
question of what makes the design strong or the elements simple. The
critic fails to answer this question because he does not provide
either description or interpretation of these works of art. In order
for art critics to provide objective evaluation, the artworks should

102
be closely described and carefully interpreted. It is important to
note that the only evaluation made by both AS and AN are those
discussed above (appendices C-AN4 and E-AS1).
The above discussion reveals that the normative judgments made
by the art critics imply some concerns about the aesthetic values of
the evaluated artworks.The judgments were made by constant
ascription to the artist's technique and treatments of materials and
elements of artworks. For instance, MJ (1986) states that
After he divided the surface (background) into three spaces

and created equality of numbers from the bodies (villagers)
which were distributed on two spaces, the earth and the
dusty desert, the artist kept the general balance of the
work. Along the distance of the two spaces he drew a line
connecting the color parts of the first space and the
dramatic existence (which was emphasized) of the
bodies/background relationship. In order to establish the
unity of color and subject in the two spaces which had the
same aim and expression, it was necessary for the artist to
emphasize the expanded depth of the second space. This
emphasis was necessary for the creation of the third body's
state of diminishment, entering into the desert (Al-Shaab
Newspaper, p. 12)
If this paragraph is objectively restated, the reference to the artist
should be altered to one of reference to the artwork (see appendix D-
MJ2). Thus, this sort of writing can be adjusted to escape not only
describing what the artist did, or tried to do and express, but also
the evaluation of his actions. What is of a great concern here is
that not only MJ and MI evaluate the artist's actions but also other
critics, such as HD, AN, AS, and GS. Therefore, the art critics' use
of normative terms are not objectively employed to infer the aesthetic
values of works of art; but subjectively, to evaluate the artist, his
technique, and his method of dealing with the artworks.

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2. Irrelevant Reasons. Comparatively, table 1 shows that the
Jordanian art critics are more inclined to judgments that are
justified by irrelevant reasons than to those based on relevant ones.
Irrelevant reasoning is basically employed by all the art critics and
in each critical writing in this study. Such an appeal to irrelevant
reasons gives support to the above stated conclusion that the art
critics' inclination is to the intentional justification of their
judgments. However, this discussion provides a clearer sense to the
intentional approach adopted by the art critics. To clarify, terms
which constantly appear under genetic, affective, cognitive, and moral
justifications will be discussed here.
The first set of ambiguous judgmental terms are those that are
to be understood as genetic reasons. They are haste, originality,
successful expression, failure and success of the artist, skillful and
poor workmanship, genuine, and concerns for affect. Beardsley (1981)
attests that the genetic term is irrelevant to the critic's
justification of normative judgments because
it refers to something existing before the work itself, to

the manner in which it was produced, or its connection with
antecedent objects and psychological states (p. 457; see
chapter III).
The term "haste" is used by the art critic MI, who judges the
artwork "Yafa" as bad because it is "hasty" (see appendix A-MI2). It
is obvious that MI is talking about the value of Abu-Shindi's sketches
as being done in haste. It is true that the sketches are quickly
drawn, but it is not true that all sketches are bad. Also, the
caricature-like drawings of the Jordanian artist Ne'wash might be
drawn faster than Abu-Shindi's "Yafa". Why, then, are they not
104
criticized as being hasty? Thus, the term has nothing to do with the
value of the work because it deals only with the artist's action and
the time he spends in drawing such a work of art. Therefore, Mi's
judgment is irrelevant.
The term "originality" appears in the writings of MI, MJ, and GS
(see appendices A-MI3, A-MJ1, and G-GS1). It might be used as an
evaluative term in judging the uniqueness of a work of art, for each
work of art has its unique identity unless it is a reproduction or a
forgery. This does not have anything to do with the artwork's
aesthetic value or value in general. As it is provided by Beardsley
(1981), originality can be attributed to both good and bad artworks.
Thus, it cannot be used to discriminate between good and bad works of
art. But it is actually used to discriminate between successful and
unsuccessful artists (p. 460). However, the judgment of originality
has greater implications for the creator than the artwork itself. In
this context, originality can be understood best as an intentional
inference by which the art critic condemns or commends the artist but
not the work of art. In order for the Jordanian art critics to be
more objective they should avoid using such a term in their critical
writings.
Other terms such as "successful" and "unsuccessful" cause
further complications and ambiguities. These terms and similar ones,
such as "achieve" and "fail to achieve" the artist's intention, appear
extensively in the writings of Jordanian art critics. The trouble
with such terms is that they are intentionally approached and cannot
be objectively inspected in an artwork. To improve on the judgment of

105
whether or not the artist achieves his intention, art critics have to
gather enough data about what is going on in the artist's mind before
and during the creation process. Then, such data should be compared
with, let us say, the visual data, elements of design, in order to
prove the artist's success or failure. Beardsley (1981) assumes that
"When we speak of a ’skillful work,' this is a judgment about the
producer, and is logically irrelevant to the question [of] whether the
product is good or bad" (p. 459).
The second set of reasons that appear in the writings of
Jordanian art critics are affective reasons. These reasons are
considered by Beardsley (1981) as "inadequate" for critical
evaluations of art objects because "they are uninformative in two
important ways" (p. 461). The first is that affective reasons do not
distinguish the effect of artworks from the effect of other objects.
The second is that the affective reasons do not determine the features
that cause the effects of artworks on people. But, an art critic may
point out those regional qualities that are appealed to in his
description of an artwork or that describe the artwork's intense
qualities (p. 461). In this case, the critic's evaluation can be
objectively justified and further inspected in the artwork (see
chapter III).
This is found in the writings of GS, who bases his judgment on
the intensity of the work's dramatic effects on him (see appendix G-
GS2 and G-GS3). Although such an evaluation seems objective, it still
holds that he reflects his attitude on such works. However, if the
critic does not single out the features that give the artwork its
106
effect on people, his judgment is clearly subjective, for it is based
on his attitude toward the aesthetic object.
In this context, some examples of the Jordanian art critic's
affective statements will be explained here to demonstrate the
relevance of such statements to the critic's evaluation of artworks.
In his criticism of "Al-hurriah", MI (1983) states that the work has
strong implications (see appendix A-MI1). The confusion here is that
the term "implication" is a broad one. It is also not distinguished
from other implications in the work. If MI refers to the literal
meaning of the word "freedom", (Al-hurriah) he still needs to specify
that meaning as depicted in the work itself. What must be said here
is that MI had many and unlimited implications to reflect on the
work's composition. Such a personal selection makes the art critic's
judgment of art objects inadequate and misleading or ambiguous.
Such ambiguous affective evaluations appear in the writings of
many of these art critics (see appendices A-MI3, A-MI5, B-HD2, B-HD5,
C-AN4, E-AS1, and G-GS1). In their evaluative statements these
critics use affective terms or reasons, such as "anxiety", "pleasant",
"it gives hope", "admiration", "stimulation", "expression", and
"desirable emotional feelings". These are ascribed to the artist's
intention or the art critics's speculation on such an intention. In
so doing, these evaluative statements can be regarded as inadequate
because they bear either on the critic's attitude toward the painting
itself, or toward the artist's intention.
The last set of irrelevant reasons employed in the evaluative
statements of Jordanian art critics is statements that involve both

107
cognitive and moral reasoning. Based on analysis, these reasons are
the least depended upon by the art critics. Cognitive reasons appear
in four writings (see Appendices A-MI3, B-HD2, B-HD3, and G-GS1) and
moral ones occur in three (see appendices A-MI2, B-HD1, and G-GS3).
Both the cognitive and moral are irrelevant reasons and should not be
used for evaluating works of art in a sound or objective way by art
critics. It is, in fact, very difficult to inquire about the truth
and falsity of such justifications. Thus, the truth of cognitive
reasons relies basically on the truth of the artwork's cognitive
values, if there is such a thing. According to Beardsley (1981),
Paintings and musical compositions are not, and do not give,

knowledge about reality, whether nature or supernature,
whether in propositions, by revelation, or for intuition.
Nor is this to be regretted, on any just estimate of the
arts themselves or of the plural values of life. For
knowledge is not the only thing the possession of which can
dignify and justify the place of the arts in the life of man
(p. 391).
Beardsley also considers moral judgments of aesthetic objects
irrelevant reasons for critical evaluation (p. 457). According to
him, there are moral and aesthetic judgments, and they exist
independently of each other (p. 561). The aesthetic judgment is
mainly concerned with the direct effect of aesthetic objects on
people, and the moral judgment with the side effects of art objects on
people. In evaluating an aesthetic object from a moral point of view,
art critics are subjecting it to their attitudes and values.
Therefore, such judgments are irrelevant and art critics need not
focus on them when making critical evaluations of aesthetic objects.

108
Summary of the Evaluation Theme.
In making critical evaluations, art critics should approach the
aesthetic object from an "aesthetic point-of-view". Such a view is
the most useful one because it deals with the object's aesthetic
values and thus evoke an aesthetic effect. In estimating such
aesthetic values, art critics are pointing out both good and bad
features of an artwork for inspection and appreciation. Thus, the art
critic's ultimate task is to objectively analyze and evaluate
artworks. In other words, critical evaluation lessens the involvement
of art critics in evaluating the success, failure, techniques, and
intentions of the artist. However, it is just this, that appears
mostly in the critical statements of Jordanian art critics.
Acknowledging and remedying this, Jordanian art criticism can be
refined and objectively conducted.
Research Question 2
What are the major conclusions that can be drawn from the analysis of
Jordanian art critics' writings?
A. Are they biased, and if so, what are the biases - social,
religious, political, artistic?
B. Is the language they use clear as they describe, interpret, and
evaluate?
C. Do they follow any specific methodological approaches in their
writings?
A. The Biases Theme
Based on the findings of the first research question, it appears
that the art critics distorted aesthetic "point-of-view", or did not

109
adequately consider the view in their writing. Consequently, such
writings include different points-of-view, ones that contradict the
aesthetic one. These views advance social, religious, political,
artistic, and intentional effects of the artworks as they are clearly
stated by the art critics. Thus, the essential concern here is to
identify such views.
As broadly shown in table 1, a constant reference to social,
artistic, and intentional viewpoints appear. Lesser emphasis is
assigned to political viewpoints as they appear in only five writings
by MI, AS, and GS (see appendices A-MI2, A-MI3, A-MI5, E-AS1 and G-
GS3). The least is religious, found in those of MI and GS (see
appendices A-MI1 and G-GS1).
Social and Cultural Biases. Social point-of-view, however, is
one of the prevalent views that occur in the writings of the art
critics. It involves social and cultural issues that have important
implications for the way MI, HD, MJ, and GS formulate their opinions.
These implications affect the critics when criticizing aesthetic
objects or when making assumptions about the artist's intention for
achieving the social significance in his artworks.
Corresponding with the previous analysis, the writings of the
above-mentioned critics reveal an interesting view about the problem
of Arabic or Jordanian identity. The identity problem is raised in
terms of artist's concerns about: 1) the Arabic culture and Jordanian
environment, 2) Arab sufferings and human existence.
In the context of the first issue, MI (1984 and 1986)
concentrates on the value of relationships between the artist and his

110
Arabic environment by discussing the influence of traditions,
preservation of cultural values such as representations of literary
stories, and expression of the spirit of cultural strengths (see
appendix A-MI3, A-MI4, andA-MI5). Related to this, HD (1983-1986)
refers to the significance of social-artistic relationships. In his
criticism of Ufemia's work, he says that she pays attention to the
social, cultural, and political effects not only on the development of
modern art but also on her works. In another writing, he shows that
Ufemia emphasizes both traditional and human values in general and the
Jordanian treasures (historical places) in particular. In a broader
sense, HD (1983) refers to the work of Ne'wash as being characterized
by the artist's concerns about troubled society and local and
international events. MJ also confirms these concerns, but in a more
particular way. For example, MJ (1986) states that the use of Arabic
calligraphy connects the artist with her traditional Arabic history.
The importance of this calligraphy is to provide the artist with rich
sources of new discoveries in Arabic figurative art (see appendix D-
MJ1). Finally, GS demonstrates an equal emphasis on the social-
artistic relationship. But his approach is closer to that of MI. For
GS is more inclined to the spirit of Arabic traditions in their
simplicity, humanity and warmth, and treats these more than HD and MJ
(see appendix G-GS2).
The second issue of identity is focused upon the influence of
Arab suffering and human existence. In his reference to Ammoura's
works, GS (1984) indicates that the artist expresses the suffering of
a man which iscaused by another man, the tortured man, and the
Ill
injustice of one man to another (see appendix G-GS1). He also refers
to Sham'on's concerns about the troubles and tragic life of the Arab
people which is filled with death, loss, migration, and struggle (see
appendix G-GS3). In addition, MJ (1986) assumes that the artist Abu-
Zraique intended to raise an existentialist question about life and
what its end is (see appendix D-MJ3). The problem of human existence
also appears in the writings of MI through which the concepts of the
poor and the troubled world are assumed to be the artist's intentions
(see appendix A-MI3, A-MI4, and A-MI5). In a more delicate manner
than Mi's, HD (1986) recites Ufemia's intention which aims at
emphasizing human values, such as love, passion, freedom and the
invitation for building a universe full of love and peace (see
appendix B-HD1).
In fact, both issues of the social-artistic view are either
invoked by an appeal to artist's intentions or by the projection of
beliefs or attitudes of the art critics themselves. In the first
case, the role of these art critics is to indicate the artist's
successes or failures by comparing what was intended with what is
actually in the work of art. In the second case, the critic's task is
to defend his attitudes by searching for the presumed cultural and
social identifications. As such, the criteria of judgment would be
conditioned by the way human suffering is felt or expressed in that
work. If not, the artist fails and his work is a bad one. Or if the
work does not have cultural or social identity, it is a bad one. Such
criteria are too hypothetical; but, they are, in fact, those most
employed by Jordanian art critics. For further clarification about

112
"adequate" evaluation refer to chapter III and the evaluation
discussion (pp. 97-108).
Religious and Political Biases. As cultural aspects of the
Arabic society, both religious and political views add to the issues
of identity that are raised by Jordanian art critics. The critic's
discussion is based on their assumed role in strengthening people's
beliefs. Thus, the integration of language, history, land, economy,
religion, and politics enhances the individual's beliefs and helps
formulate his attitudes towards others and life in general. However,
the religious views that appear in the writings of Jordanian art
critics are not sufficient to establish a theme of biases that makes
the discussion possible here. The occurrence of a religious viewpoint
is attributable to GS, who perceives it in the context of an artist's
intention (see appendix G-GS1), and by MI, who endows it with more
significant values. MI (1983) indicates that the "Islamic attitude
towards painting and sculpture made Muslim artists more creative and
innovative in developing Arabic calligraphy until it has become an
important sign of Arabic and Islamic culture" (Al-Shaab Newspaper).
This is then used in paintings as an artistic element. But, its use
does not mean that such designs are always good. Instead, the works
should be objectively evaluated in the context of their aesthetic
values, those that have the capacity to evoke aesthetic experience
first and after which can be reflected upon by the spectator in terms
of the significance of such signs.
Evidently, political views are usually raised by the very same
art critics who reveal religious biases. These are G S , MI and in one
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of AS's writings (see appendix E-AS1). However, they reveal a greater
emphasis on political views than on religious. The political view as
reflected by these critics and by other people is focused on the past
and present war and political conflicts in the area. This is done in
regard to an artist's intentions or knowledge of their personal
sufferings from the effects of war (see appendices A-MI2, A-MI3, A-
MI5, E-AS1, and G-GS3). To clarify this, AS (1983) assumes that "The
artist has successfully achieved his ideas and skillfully connected
his educational and political interests with the developments of the
Palestinian problem". In the same article, he also says that "the
artist points out the Israeli attitudes towards Palestinian artists in
the occupied land" (Al-Shaab Newspaper). In this sense, these
political biases of the art critics correspond with other religious
and social biases in terms of their intentional implications. As
stated, such implications lead to a more subjective rather than a more
obj ective approach in evaluating artworks. This, in fact, may induce
an extreme attitude. For instance, GS (4.30.1986) assumes that
The genuine artist never lives on the fringes of life. But,

he plunges into life's innermost depths to suffer the
reaction with its joys and sorrows... The dimensions of such
an experience remain uncrystalized in the artist's mind, and
he suffers from this experience through a sickly dispute
between his feelings of its dimensions and his capacity to
embrace it (Ad-Dustour Newspaper).
This view cannot be generalized as criteria for judging the
aesthetic value of artworks because: 1) no one can be sure that all
good artworks are created by artists who suffer in their lives, 2) the
recognition of an artist's intention does not effect the goodness or
badness of an object, and 3) originality of both the artist and

114
artwork is not a value quality in works of art. Since enjoyment of
life is an aspect of suffering in GS's statement, what is, then, left
to be meaningfully enjoyed? The consequence of such an attitude
reflects a negative premise for evaluation. Thus, instead of
evaluating the aesthetic object, the art critic would evaluate the
artist's experiences and intentions.
Artistic Biases. Relatively, the discussion of artistic biases
demonstrates the views held by Jordanian art critics about the nature
and function of artworks and their expressive values. Such views are
concerned with the constant reference to the relationship between form
and content in the work of art. In fact, form-content relation is the
most prevalent concept found in their writings. It appears in every
critical writing selected for this study (see appendices A - G ) .
The significance of form-content lies in its implication for the
critic's value judgments. It is conceived, then, that a good work of
art is a work whose form coheres with its content. The degree of
coherence here indicates and leads to the degree of goodness of an
artwork. Thus, the greater the coherence, the better the work, and
vice versa. The likely outcome is a unified and complete work of art
in terms of its form and content integration. However, the unlikely
consequence is to find an artwork whose form dominates its content or
has no content at all, or a form and content that do not fit or cohere
with each other. In this manner, Jordanian art critics take the
meaning of artistic forms for granted. They would say, any good work
of art has significant meanings. As Beardsley (1981) puts it, a work
of art has at least one meaning.

115
Meaning as one aspect of a good work of art is conceived by the
art critics to be social, or otherwise cultural notions. This is
actually ascribed to by their persistent appeal to the artist's
intentions and other factual references to his life, sufferings and
the deteriorated living conditions of the area as well. Hence, if an
artist has experienced such conditions, his work is meaningful and
expressive. For instance, MI (1984) says,
In evaluating Abu-Shindi's work, and in looking at this

artist's career, one may notice the honest, spontaneous
expression of his early works. Thus, it is possible to say
that he became an artist at that time, although his works'
artistic language was poor and direct. The reason is that
he was still an immature artist in terms of his short
experience and unfamiliarity with materials. However, at
the time when he developed his skill and reached his
position as a pioneer artist his honest language ceased.
The reason is that the artist became more inclined toward
form than content. This iswhere the danger lies in
creating works of art (Al-Shaab Newspaper, 3.8.1984).
In this context, one may assume that MI tries to say that good works
of art are those with highly expressive contents and bad works are the
ones that lack these meanings, no matter what formal qualities they
possess. This is true if the distinction between honest language and
artistic form can be clearly stated. But, MI perceives honest
language as good only in the context of the work's close association
with the artist's suffering in general and Abu-Shindi's as being "one
of the adversity generation" in particular. Again, the problem here
is that Mi's as well as the other critics' evaluations may induce, 1)
over-estimation of the artist's intentions and his psychological
states before and during the creative process, 2) reflections of the
art critic's preoccupations with the attitudes that emerged from the
116
concerns about the artistic identity of the Jordanian contemporary art
movement. In relation to this, Stolnitz (1960) says that the
preoccupation with the artist...manifests itself in

biographies of the artist that are sometimes little more
than gossip, and in the formation of little cults devoted to
the idolatry of some artist. This can readily lead us into
the genetic fallacy....we may misinterpret a work of art by
reading into it what we know about the life of the artist
(p. 89).
The inverse of this statement also leads to a similar subjective
conclusion. This critical approach does not deal with works of art as
complete entities which can be identified without a reference to their
creators.
Art form is the second aspect of artistic biases found in the
writings of Jordanian art critics. Here, both description and
evaluation provide an adequate response to the way these art critics
attribute formal qualities to art works (pp. 77-90 and 97-108).
Consequently, the pertinant theory that underlies the art
critic's understanding of thenature of an art object is the
expressionism theory of art. This can be clearly traced in the
writings of all the critics. In addition, all the art critics present
fundamental concerns about the expressive value of artworks by
alluding to the artist's intention and psychological states of mind.
This means that the work of art exists as a consequence of them.
There is no need here to provide more examples of the artist's
intentions and emotional reactions as they have been characterized in
the analyzed writings. The evidence provided above is quite enough
for clarifying such artistic biases.

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What seems to be the issue with the expressionism theory is that
any reference to the artist's intention and his acts of creation
requires historical investigation and fact gathering. Even though
such information is presented, it cannot be deduced from the work of
art. In relation to this, Beardsley (1981) affirms that
an artwork can be expressive, precisely in displaying fairly

intense human regional qualities, such as gaiety, charm,
forcefulness, or gloom, without being an expression of
anything in the expression theory's sense (p. x l ) .
Beardsley, in fact, offers a more workable definition of the aesthetic
value of artworks (see chapter III). It seems that, the biases of any
kind, whether artistic, social, political, religious, or intentional,
are inescapable in critical practice. This is not to warrant that an
art critic has to restrict his critical practice to the narrow scope
of looking only at works of art. However, he should be more flexible
in adopting methods that best explain the ambiguity of works of art in
order to make them more enjoyable and understandable.
Intentional Biases. Finally, the intentional biases of these art
critics can be clearly stated and closely examined by comparing the
statements raised by the different art critics about a specific artist
or an artwork. Thus, the purpose of this comparison is to demonstrate
the similarities and differences of the critic's attitudes toward
works of art and artists. In so doing, the discussion involves
different sets of comparisons: 1) comparison among the writings of MI,
AN, GS, and MJ on Shorn'on's work; and 2) comparisons between the
writings of HD and AN on Ufemia's work (see table 2).
The first comparison involves the writings of MI, AN, MJ, and
GS. The writings can be divided into two groups according to the
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critical approach employed by the critics. The first contains the
writings of MJ and AN. Both provide a review of Sham'on's exhibition
without a reference to the exhibited artworks. In fact, MJ provides
two critical writings about the Sham'on exhibition, one published in
4.20.1986 and another in 4.27.1986. The latter writing is an
interview with the artist, and the former is a review of the show. In
this interview, MJ (1986) raises questions that required the artist to
give information about his treatment of color, line, space, surface,
new styles, and historical and traditional issues, in addition to how
he handles abstraction and representation. It should be noted here
that the artist Sham'on and the critic AS are one and the same.
Acknowledging this, one assumes that MJ tries to examine the artist's
intentions by giving him a chance to talk about his mental and
technical processes. If it is possible to consider MJ's interview
with AS as a sort of critical writing, then AS is in fact criticizing
his own artworks. Thus, the comparison becomes broader and more
worthy of attention for it encompasses in addition to the above stated
writings, AS's comments about his own work.
In his first article, MJ (4.20.1986) says that
Today, the artist Abdel-Ra'ouf Sham'on will present the

result of his experience in the Fine Artists' Association.
In this experience, he tried to search more and thrust into
the values and capabilities of color. The artist Sham'on is
one of the active ones in this field. He is able in
singling out the strong and weak points in this experience
in which he involved two levels of artistic treatment (Al-
Shaab Newspaper, 4.20.1986, p. 12).
According to MJ, the first level involves the numerous experiments
with color and the use of a green circle and its relations. Through
this experiment, he achieves what he was looking for. The second

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level encompasses his search for an artistic formula that allows him
to use the background as a basic element in the foreground. "I
believe", MJ says, "that the artist succeeds in creating a work of art
in which the foreground is defused with the background, and in
presenting a sculptural work within the painting's frame in which the
abstraction played a great role as a treatment." In this context, MJ
focuses on the artist's treatment of color, shape, and medium, in
addition to the time the artist spends during the creative process.
Corresponding with MJ's criticism, AN provides a similar but
broader review on Sham'on's life and artistic career. In this
article, AN (4.22.1986) says that
It could be, the artist Abdel-Ra'ouf's education or

philosophical and intellectual visions, that gave his
artistic experience the vitality and his lines or masses the
impulse. In this show, he tries to treat the three basic
components of an artwork, form, color, and subject. In
doing so, he tries to emphasize that art has a message
towards society, and the artist has a constructive role
which is more advanced than the other people's roles in the
building process of society (Ad-Dustour Newspaper).
A similar statement is raised by GS about the artist's social role
(see p. 113). In addition, AN supports his ideas about the artist's
treatment of and concepts about technique by quoting another art
critic and in particular the artist himself.
This leads to the third article which is the interview with the
artist by the art critic MJ in 4.27.1986. In fact, the whole
interview, it seems, is established to answer some questions that
imply MJ's appreciation of new technique and new qualities that have
emerged in this show. It is focused on the artist's treatment of

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color, form, subjects, and his role as a creative artist. In his own
words, AS describes his treatment of color as follows:
In this show I dealt with the color in a dramatic way. This

means that I have a deeper feeling towards [the dramatic
effect of color] which started to occupy my present
interests and which came about as a substitution to my early
concept of dramatic content. I believe that I have, with
great difficulty, moved myself from the area of tension
between the color as a primary formal element that serves
different ends and as an expressive element. This is done,
in order to be more open and more perceptive to the ability
of color in evoking reactions. Thus, the brushstrokes are
driven from the same source of reactions (Al-Shaab
Newspaper).
In the same way, AS continues his response to the questions raised by
MJ.
These different statements demonstrate that the artist's
treatment, technique, and intentions are the making-feature of an
artwork. In addition, the expression of emotions, feelings, and
sufferings are the good-making qualities. This evidence of intention
is clearly and specifically stated by the artist himself. The only
thing that this can offer is a description and an evaluation of the
artist by himself. Whether the artist succeeds or fails in achieving
his intention remains unresolved, or under dispute. At least, these
critics should have carried out a sounder criticism by providing a
description, interpretation, and evaluation of a work of art from
those exhibited. Instead, they ignore the artwork and limit their
criticism to the artist himself.
On the contrary, the second group of art critics, MI and GS,
provides criticism of numerous artworks from AS's exhibition. The
similarities between the criticism of MI and GS are numerous. They

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both attribute to the artist's intention in the same way the critics
of the first group did. For instance, GS (4.30.1986) states that
The artist presents good works that express the depth of his
humane experience that he lives. Abdel-Ra'ouf feels the
tragedy of the Arabian's life so much that he tries his
effort to crystalize in accordance with his noble
understandings of life and existence (Ad-Dustour Newspaper).
In a similar context, HI (8.8.1986) refers to AS's sufferings and
other feelings that are supposed to be reflected in his artworks.
Also, they both emphasize the dramatic and expressive effects of AS's
works. In addition, they describe the form-content relationship and
make constant references to the artist's treatment of the elements of
design and subject matter. However, the differences between Mi's and
GS's writings here are not great unless we consider the length and the
narrative style that gives richness to Mi's article (see appendices A-
M I 5 , G-GS3, C-AN5, and D-MJ4).
The second set of writings provides an opportunity to compare
HD's and AN's intentional biases in terms of their similarities and
differences. These writings constitute the criticism of Ufemia's
works in 1984 and 1986 art exhibitions. In order to facilitate the
discussion here, an examination of HD's writings about both
exhibitions has to be established.
Even though both of HD's criticisms feature two different
exhibitions of Ufemia's work, they reveal no significant differences
in approach. In his first article (1984), HD concentrates upon the
artist's new direction, revelations of the beauties of the universe
and her humanistic understanding. In defining the latter, HD says
In presenting her artistic vision, Ufemia depends on

principles that spring from her aesthetic appreciation to
numerous and known art schools. She draws in a spontaneity
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that inclines toward abstraction. Then, she draws the

historical scenes in a realistic sense that inclines to
symbolic implications....Furthermore, she draws the human
figure surrounded by a sort of admiration and respect with
her emphases on originality and traditions that characterize
the human being in any place. Thus, she draws the Nabatine
woman in a way that reveals the inside depth and beauty of
the desert woman (Ad-Dustour Newspaper).
In this manner, HD tries to emphasize the artist's long and rich
experience with painting, one that endows her with self-confidence in
dealing with the elements and principles of design. In relation to
this, HD (1986) refers to the artist's new work as being of a more
refined experience, one that carries new intellectual artistic
implications about the human being and his search for a better and
more beautiful life. Thus, both articles are concerned with the
artist's achievements and social, intellectual, and humanitarian
intentions.
On the other hand, the difference between HD's two articles can
be stated as follows: In the 1984 article, HD provides a very broad
introduction to art in terms of its various schools, its social,
cultural, and political character and its influence on the artist's
technique as well as the specific artist's concern about art and
humanity. But, the 1986 article has less ascription to these aspects,
for it contains a more direct criticism, and deals with only two works
of art lacking statements about the artist's treatment or technique.
In the earlier article, HD criticized numerous works of art from the
context of the artist's treatment and skill in arranging the different
aspects of visual design. But, both articles suggest that the major
concern of the art critic is the process of creation involving the

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artist's intended meaning and his treatment, skills, and success in
achieving his intention.
Parallel to the writings of HD about Ufemia's work are those of
AN that involve similar intentional aspects and historical information
about art movements. In fact, AN's 1986 article about Ufemia's
exhibition is closer in its approach to HD's 1984 article than that of
HD's 1986 article. Although the both articles are about different
shows of the same artist, they contain identical critical concerns
about the creator and his creative process. However, there are
citeable differences between them: 1) AN does not provide any
criticism of a specific artwork or a group of artworks, and 2) AN
concentrates more on the works' form-content relationship than does
HD. As a result, AN (1986) is inclined to provide the work as having
no content because the artist evidences spontaneity of creation. This
spontaneity is perceived as making the artist "closer to creating a
pure artistic form-abstract expressionism - that has no meaning
intended by the artist" (Ad-Dustour Newspaper, p. 16). Thus, in his
opinion, Ufemia's work has no clear function in society because it is
a nonrepresentational work. On the contrary, HD's judgment is that
the work expresses the artist's concerns about humanity, hope and
freedom. Obviously, both judgments are based upon intentional
evidence but not on objective criteria within the work itself (see
appendices B and C ) .
Summary of the Biases Theme
To sum up, the writings of Jordanian art critics can be seen as
possessing a number of salient and persistant aspects that directly

124
influence their critical practices. These aspects are referred to
here as biases because they are adhered to by the art critics in every
critical writing. The critics also have specific attitudes, social,
religious, political, artistic and intentional, which govern their
writings.
The most prevalent biases are social, artistic and intentional.
The effect of these biases, basically, appears in the formulation of
the art critic's attitudes or viewpoints towards art and art
criticism. These can be summarized as first, the basic concern of
identity with the contemporary Jordanian art movement. Such an
identity is approached in terms of the social, cultural, political,
religious, environmental and traditional means which are both Arabic
and Jordanian. Thus, the genuine or good art is that influenced by
such elements. Second, the expressive value of an artwork depends on
the artist's sensitivity to surrounding conditions of and feelings for
human suffering and existence. Third, the coherence of both the form
and content defines the value of artworks in terms of the artist's
aptitudes in understanding the visual aspects of design and in terms
of his successful treatment of 1) these elements and 2) of
communicating his intentions. Finally, treatment, technique, process
of creation and intellectual awarenesses are considered important
criteria for critical evaluation. Accordingly, all these different
concerns can be attributed to intentional biases because they all
depend on contextual and subjective evidence of the artist and his
environment.
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Apparently, antecedent conditions and other information can be
easily collected by the art critics, for the number of fine artists to
be assessed is limited, as the Jordanian art movement itself is still
in its early stages. So, too, social structure plays an important
role in providing insight into active social interaction, in general,
and that of artists and art critics as a sub-social class, in
particular. This collection of intentional evidence constitutes a
specific value to these art critics but is not as important to them as
objective and aesthetic criticism. This is appropriate, for,
according to Beardsley (1981),
(1) We can seldom know the intention with sufficient

exactness, independently of the work itself, to compare the
work with it and measure its success or failure. (2) Even
when we can do so, the resulting judgment is not a judgment
of the work, but only the worker, which is quite a different
thing (p. 458).
B. The Language Theme
The clarity of an art critic's language is important especially
when having to communicate to various audiences. Before discussing
this, it is important to note that the clarity of language in the
writings of these art critics is mainly examined by means of this
researcher's understanding of the meanings and concepts that appear in
specific articles. The researcher had to translate these into
English, and interpretation of meanings is judged and approved of by
two colleagues who are bilingually Arabic and English speaking, in
addition to having been educated in art. Thus, clarity of language is
judged upon the researcher's realization of concepts and meanings in
the analyzed writings.

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Even though the writings are understandable, as shown in table
1, they still possess ambiguities and misuse of critical terns, and
thus hinder the accuracy of the art critics. Misleading terms are
identified throughout my discussion of description, interpretation and
evaluation. My discussion also involves judicious adjustments and
refinements in ambiguous term usage. The most puzzling use of terms
is found in a critic's reference to an artist's intention, technique,
treatment, and success or failure in expressing feeling. These
statements must be considered just as perplexing to the reader because
they can be read in opposite ways. They can be used to describe,
interpret, and evaluate but simultaneously they actually mean and are
more precisely applicable in describing the artist's creative process
and intended meanings. In fact, this characteristic assures
continuous puzzlement. But, these could be easily adjusted by
redirecting the critics' attention to the works of art instead of to
the artist.
On one hand, the clarity of critical language as it emphatically
appears in table 1 is, in fact, inferred from thecritics' direct
attribution to the artworks' formal qualities of visual design. These
formal qualities are thus more clearly understood due to the analysis
and isolation of them from the context of an individual statement or
statements as they appear in a critic's writings. Some statements
seem to demonstrate direct indications of the art works' qualities on
the part of a critic, although their real emphases arerather directed
to the artist and his intention (see appendices A, B, C-AN4, D-MJ2,
and G). T h u s , clarity in the articles is based on when a critic says

127
that the artist balances, harmonizes, or contrasts this color and
that. Instead, by clarity, this researcher means the employment of
terms such as balance, harmony and others. For instance, when the
artwork is said to have this line balancing that line or this part of
the work as being more balanced than that one.
On the other hand, clarity of critical language is influenced by
the art critic's inclination towards the use of simile. And, it
should be stressed here that the careful use of simile, or
metaphorical language, helps in clarifying and explaining the
qualities and meanings of artworks. Careful use means that to
describe a line movement in a work of art, for instance, an art critic
associates the shape movement of that line with the most familiar
shapes that are known to the people and that may attract their
attention to the line's movement. It means also not to draw the
viewers attention to qualities that do not belong to the artwork. In
this manner, simile can be helpful and supportive to the art critic's
description and interpretation of a work of art. This is noticed in
the writing of MI, who seems to write in a more attractive way than
the other art critics. But, sometimes he uses overloaded terms such
as, the arable letter "Dal" which pictures a sad lover; or implies
that when a line curves, it is a woman's breast or a human face. He
tries to describe the delicate movement of the artist's line or, in
other words, the work's delicate movements. However, one of the most
unclear examples among the selected writings is MJ's article of
4.13.1986 in the Al-Shaab Newspaper, p. 14. In it, MJ tries to
examine, I assume, the artist Abu-Zraique's statement that his works

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contain "The Search for the Formulation of Horizon and Absolute", but
his concern with the absolute and horizon are neither defined nor
explained well by the critic.
Overloaded language is used by these critics, especially in the
description and interpretation of an artist's emotional feelings.
Examples of such terms are found in the index's regional qualities
descriptors (see appendices). As stated earlier, the problem with
this is in its subjective effect. Thus, metaphorical language is
necessary and most helpful in the criticism of artwork, if, and only
if, it is specifically used in order to indicate the qualities of
contemplation in artworks.
Summary of the Language Theme
The researcher finds that Jordanian art critics are inconsistent
in their language usage. In some cases, when the critic is not
appealing to the artists intentions or describing visual aspects of
design, language is clear. Hence, the displacement of critical terms
creates confusion and empuzzlement to the reader who, in turn, cannot
judge whether the article is an artist evaluation or an artwork
criticism. It has been noted that some critics use simile and
metaphorical terms which have greater appeal than ordinary terms, yet
it would have been better if more attention were paid to the work
rather than the worker.
C. The Critical Method Theme
The final step in the assessment of Jordanian art criticism sums
up its basic features. It is conclusive for it deals with the
outlining concepts that characterize the critical practices of these

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art critics in terms of description, interpretation, and evaluation in
light of their basic points-of-view. The occurrence of these concepts
mark the particular methodology that the critic adopts as his
practice. The re-occurrence in the critic's other writings
distinguishes him as being systematic. Thus, the basic focus here is
to determine whether the critical methodologies of these art critics
are systematic or not.
To facilitate the discussion, the writings are again divided
into two groups. The first group includes those that deal with
concerns about the art movement and the critical practice. These are
again excluded from the discussion for the same reasons indicated at
the beginning of this chapter (p. 76). The second group, however,
embraces the same writings which are dealt with throughout this
chapter. This group includes all those of MI, four by HD, three by
MJ, and three by GS (see table 1). To examine the systematic
character of the writings, there are two schemes that can be employed.
The first step is to apply a step-by-step critical format which
consists of approaching the work of art by 1) describing its
elementary and complex areas, their relationships, and their regional
qualities, 2) interpreting the work by means of what it represents,
suggests, or its likeness to other objects, and 3) objective
evaluation that is based on the qualities and values found in the
object. In fact, the same scheme is utilized in the discussion of the
first research question. From this it is seen that the critics adopt
the three step approach, but do not do so in a systematic way. Most
of them confuse description with interpretation. Sometimes

130
interpretation comes first and sometimes description precedes
interpretation. In addition, evaluations may appear at the beginning
or at the end of an essay. The only writing that includes direct
description of the elements of design does so for two artworks and is
written by HD (appendix B-HD1), But, HD advances his interpretation
and evaluation in his introduction. In addition to HD's writings,
some writings of both MI and GS bear brief objective criticism
particularly in statements that are raised about specific artworks.
However, they still lack specificity of description because of the
number of artworks that are criticized in each article. It is in
these contexts that the three concepts of art criticism appear in the
critical writings. But, they are found to be insufficient and most
authors lack objectivity in their criticism for the different reasons
listed in my discussion of the various focuses.
Furthermore, if a step-by-step standard is strictly applied, it
must be concluded that these writings are not systematic but deficient
in proper aesthetic and objective approaches. However, table 1 seems
to imply a different conclusion, for making the table is the means of
organizing the descriptors, and one should not assume the occurrence
of objective and systematic critical statements. The fact is that in
some instances, these descriptors are inferred from the art critic's
statements about a great number of artworks or from a whole exhibition
in one article. At other times, a considerable number of descriptors
are accumulated through sequential statements since the critic
describes one work of art, interprets a second one, and evaluates a
third. In other articles, descriptors can only be deduced by

131
isolating the critical term from the context of the critic's meaning.
In other words, the index provides a sounder and more complete
judgment of the critical methods than is apparent in any one article;
with it, and this discussion, critics' points-of-view and biases,
whether artistic, social, or intentional, are included.
A second scheme can be formulated in accord with the features
that characterize the nature of Jordanian art critical methods. They
can be stated according to the following observations.
First, Jordanian art critics usually commence with an opening
statement or an introduction, but not in a systematic way. The
introduction approach is best illustrated in the writings of AN who
provides lengthy ones. As well, the other art critics seem to be more
inclined to the use of introductions than to opening statements. The
difference between an introduction and an opening statement is that
the former offers more information about the artist's career,
education, and life experiences, while the latter expresses the
critics point-of-view. Generally speaking, the more space devoted to
information or viewpoint, the less emphasis there can be on the
artwork.
Second, Jordanian art critics emphasize reference to an artist's
intention in terms of his meanings, technique, design, and personal
feelings and suffering. This affects the objectivity of the critic's
description, interpretation and evaluation. Most of the writings
focus on an evaluation of the artist's achievement, not on his work.
Reliance on an artist's intention seems to be the most consistent
approach for Jordanian art critics because it is practiced by all of

132
them. Thus, while it can be considered systematic, functioning as a
general ground for all three critical steps, it is as we have learned,
at base, an inadequate and inappropriate basis for critical
evaluation.
Third, Jordanian art critics reveal great concerns for the
identity and progress of the Jordanian art movement. Such concerns
are revealed in their critical biases (social, cultural, political,
and environmental). These are also constantly indicated and most
often used as criteria for judging the artist's expressive content and
effective form, and is just as inappropriate as "intentions".
Fourth, Jordanian art critics conclude their writings with
statements that constitute an overall judgment of all the exhibited
works, drawing collectively implications as to the artist's
accomplishment. Individual strengths and weaknesses are not
articulated - only praise or condemnation is given.
Summary of the Critical Methods Theme
The use of a systematic (step-by-step) critical methodology
cannot be clearly traced in the writings of Jordanian art critics.
Although it is sometimes briefly demonstrated in these writings, it
apparently has no distinctive role in the art critic's practice. This
is caused by the critic's abiding ascription to the artist's creative
process and emotional impact. In this regard, the characterizing
features of the critic's methodological approaches accentuate certain
dominant aspects. These aspects are not, however, systematically
attributed in a way that a specific aspect can be advanced as being
the first step for construing meaning and enjoying artworks. On the
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contrary, various and broad information is presented in order to
facilitate understanding the artist and not the work; the criticism is
an ascription of intended meanings, psychological and emotional
states, and nationalistic and ethnic identity.
Research Question 3
3. How does the preparedness of the critic affect his writing
approach and formulation of opinions?
This question addresses an important issue that connects the
aforementioned themes (see pp. 73 and 76) in terms of what they tell
us about the critic's interest and educational backgrounds. It also
deals with the effects of such preparedness on the critic's approach.
This discussion embraces the education, interests, and artistic
careers of the Jordanian art critics. Information has been gathered
from newspapers, magazines and exhibition catalogues that include
interviews and the critic's biographies. The critics GS and HD are
excluded from this discussion because of inadequate information on
their backgrounds.
However, such data in and of itself cannot determine the effects
education has had on the practice of these art critics. As a result,
other data must be brought into the discussion so as to determine such
influences. This data has been inferred from their critical
statements as indexed and previously discussed. The conclusion to be
drawn from this is that deficiencies in their critical practice are
caused by 1) dependence upon intentionalist premises, 2) pre
occupation with social, cultural, political, and religious attitudes,
and 3) nationalistic and humanitarian litmus tests.

134
Consequently their preparedness can only be elucidated in the
context of the findings. To put it another way, in terms of cause-
and-effect relationships, the findings are affected by a number of
reasons. Thus, the question becomes, are these findings a result of
the way Jordanian art critics were critically prepared; if not, what
are the possible causes? The answer will provide perspective
concerning the art critics' backgrounds.
The critics are multi-functional individuals as they hold
different positions and possess different skills. For instance, MI is
first of all a pharmacist, then an artist, and finally an art critic.
In addition, he is an active member in both the Artists' and the
Pharmacists' Associations. Furthermore, he practices theater
criticism, acts, and is an author of two books, one about Jordanian
artist and another about the Jordanian theater (this information is
provided in a letter to the researcher).
AS has a degree in geography and works as an art teacher. His
interests have led him to be an artist, a writer, and an art critic.
MZ has a degree in literature and is an art teacher. He is involved
in writing, and art criticism as well as making art. So, too, other
critics were originally fine artists with studio degrees and are
generally interested in writing art criticism or in writings about art
and artists.
In critical writing, Jordanian Art Critics use their experience-
based knowledge through their long-time association with the
profession of art. This association might have given them some
advantage in understanding the technical aspects of art creation over

135
those who are not associated with the profession. This understanding
helps them unveil the educational value of critical practice, but does
not qualify them to criticize art. Moreover, the artist as a critic
may demonstrate some emotional involvement with a work of art due to
his inability to separate both roles from each other. As a result,
his writing will not be as objective as it should be, and increased
biases will be manifested.
Jordanian art critics employ their multifaceted education to
shield their biases which are reinforced by the appeal that
expressionism and Gestalt psychology have for them. The critics
continue soliciting the art movement by differentiating between those
artists who utilize Arabic culture and Jordanian environment and those
who do not. Collectively, their experiences and attitude-based
knowledge are not objectively contributing to critical writing.
Summary of the Preparedness Issue
Whether or not their knowledge is adequate and experience
extensive enough is a question that cannot be answered with a simple
"yes" or "no". On the one hand, the answer is yes because they are
able to use the expressionism theory and Gestalt psychology to support
their biases. Yet, on the other hand, it is inadequate because their
education does not provide them with a basis for objective criticism.
CHAPTER V
CONCLUSION AND RECOMMENDATIONS
This study of the nature of Jordanian art critical writing
provides a clear perspective on the practice of a representative group
of Jordanian art critics. The character of their practice has been
set forth and examined from seven perspectives and issues that
encompass the art critic's approach, views and interests, method of
criticism, and preparedness. In doing this, it was found that their
critical approaches can be generally characterized as follows:
1) They practice intentional criticism. The critic bases his
criticism on his assumptions of the artist's intended meanings,
treatment of visual design, and knowledge of psychological and mental
states. These are the basic criteria of their critical evaluation of
artworks.
2) Their criticism is biased. It is deeply involved with
Jordanian politico-cultural events. This is demonstrated by the
critic's constant reference to the effects of the Jordanian
environment, Arabic culture, political circumstances, and Jordanian
identity.
136
137
3) Their criticism is not systematic. It is, however,
consistent, because the art critics stress intentionalist and biased
approaches. It is unsystematic because the art critics do not follow
a step-by-step objective approach, even though the three requisite
steps (description, interpretation, and evaluation) appear in their
writings. They describe a work's technical aspects, evaluate skill or
artistic achievements, and interpret by attending to intentions or
assuming emotions. Even though MI, HD, and GS provide some objective
descriptions and evaluations, they do not specify, discriminate or
provide sufficient formal analysis of the work of art. Thus, their
analyses are not adequate for evaluating or revealing the artwork's
aesthetic values.
It was expostulated that their critical approaches resulted from
the unremitting reliance on expression theory and Gestalt psychology.
Accordingly, it was found that the art critic's preparedness, system
of justification, was basically attained from 1) long-term experience
as a professional artist, 2) considerable interest in writing about
art and artists, and 3) his own life experience. Thus, the art
critic's experience and/or self-education is the main means of
acquiring knowledge about art and the practice of art criticism. As
has been explained, some of the art critics obtained their formal
education in areas not related to art, while others have either two-
year or four-year degrees in art studio or art education. This
impacted the formation of their ideas, opinions, biases, and critical
writing.
138
The major conclusion to be drawn in regard to the three
characterizing features is that misunderstanding and confusion abound.
Art criticism as a discipline however, should be recognized by art
critics in order to facilitate the appreciation of artworks and foster
access and enjoyment for the viewers. This can be achieved through
their adequate critical description, interpretation, and evaluation.
The term "adequate" as employed here means to specify, discriminate,
and completely follow the three steps of critical activity. To avoid
confusion, such critical acts should be approached in a systematic and
objective way. Otherwise, critics confuse the reader with aspects
that do not belong to the work of art but to something outside the
work. Thus, the critical confusion is caused by reference to and
dependence upon intention, creative process, and subjective
reflection.
In citing intention, the critic makes reference to aspects that
go beyond the meaning of an artwork. In so doing, the art critic has
to investigate the psychological and environmental consequences that
provoked the artist to create a certain work of art. In addition, he
collects evidence that has a specific relationship with and impact on
the artist's intentions. Then, he compares this information in order
to arrive at a sense of certainty and truth as to its relevance to the
meanings embodied in the work of art. Attending this activity, the
critic is reporting on the artist and the mental processes that are
assumed to be associated with the creation of art. The critic's
writing about such processes takes a form of reporting rather than
criticizing. It might be criticism of the artist but it cannot be

139
considered criticism of works. In this, the critic causes
considerable confusion by misdirecting readers' attention to the
artist rather than to the work of art, which is the proper object of
art criticism.
Comparatively, writing about the process of creation in terms of
techniques, treatment, and skill, can increase the confusion of
readers. In fact, statements about technique and treatment of visual
aspects usually address the artist and describe his activity or acts
in making the artwork. Such reference to the artist's acts, by means
of how and why, involves description and evaluation of the artist's
skills and abilities. This means that the critic misleads readers by
directing their attention, again, to the artist but not to the
qualities or values apparent in the work of art.
Even though a discussion of the artist's technique, treatment,
and intentions reveals significant educational value, it is useless to
the objective and aesthetic evaluation of artworks. As has been
explained above, evidence of intention and acts of the artist cannot
be found in the work of art. In examining the truth of such evidence
and acts, the critic relies on his collective knowledge about the
artist, political-cultural environment, and many other historical
facts. Such knowledge can be relatively supportive and helpful to the
interpretation if it does not interfere with the objectivity of art
criticism itself.
Corresponding with this objective criticism which is the concern
of different art professors, art curators, and other Jordanian
writers, this study has provided various metacritical inquiries. In

140
chapter two, the researcher reviewed different metacritical approaches
and their aesthetic implications for art education and art criticism
as well as the relationships between them. This review is helpful in
broadening and developing a clearer perspective about the nature of
art criticism in its educational and aesthetic values. Among these
metacritical approaches, Beardsley's metacritical analysis was most
extensively addressed and employed in this study as being the most
complete and well known method of metacriticism (Chapter III, part
one) .
The significance of Beardsley's metacritical method lies in its
objectivity in analyzing and evaluating the aesthetic value of
artworks. Through application of this method, the researcher was able
to identify and clarify what confusions were in Jordanian art critical
approaches. But, the subjectivity and intentionality that
characterize their critical writing can be refined and objectively re
stated. Such refinements can come by freeing their writing from
unremitting reference to an artist's intentions and skill and by
avoiding subjective reflections on the works of art. In other words,
this method of metacritical analysis makes sound and sensible
criticism of art criticism. Instead of an appeal to various points-
of-view, based on social, cultural, political, and environmental
biases, the critic should focus on a specific work of art, and
approach it from an objective, aesthetic point-of-view. Even so, this
is not to say that the aesthetic object has no politico-cultural
functions or value. But, the direct function of the artwork, if

141
objectively or aesthetically evaluated, has a capacity to provide
direct aesthetic experience. According to Beardsley (1981),
The capacity of an object to evoke an aesthetic experience

is not, properly speaking, a value unless the experience
itself has value....[It] is not up to the critic to probe
into the nature of this second value; he must keep his eye
on the aesthetic object. But it is an unavoidable part of
the aesthetician's task (p. 557).
The value of aesthetic experience is in its enhancing, modifying, and
redefining of people's perception of attitudestowards themselves, in
particular, and life, in general. Thus, educating people's
perceptions is possible through the understanding and appreciation of
the aesthetic values of artworks. This can be achieved through
aesthetic education about art and its significant values to human
life.
It is worth noting that Beardsley's metacritical method does not
imply precision or perfection, but enhancement and objectification of
art critical statements. In addition, it makes art criticism more
sensible by checking subjectivity, overloaded critical vocabulary, or
"nonsensical utterances" about art. Furthermore, it calls for a
closer and more direct attention to the work of artthrough which
greater appreciation of that work can be achieved.
Based on the findings and significance of this study, the
researcher has a number of recommendations for the future of art
criticism in Jordan. These recommendations focus on the Fine Arts
Program of Yarmouk University. It is the proper place for planning
and conducting this researcher's recommendations. Therefore, these
recommendations are best presented as different courses in art

142
criticism for that program. The courses could- be organized and
sequenced in the following order:
1. The first course introduces students to definitions of art
criticism and draws comparison and contrast between art criticism and
other related fields of study such as art history, aesthetics, and art
education.
2. The second course focuses on the study of different kinds of
art criticism and their theoretical bases in addition to providing a
study of various art critical formats and their educational value for
art education. Based upon their knowledge, students will write a
critique of works of art.
3. The third course provides students with insight into
different methods of metacritical analysis. In addition, it offers
students a broader perspective concerning the significance of
metacritical methods for art criticism, aesthetics, art history, and
art education. Students will analyze and study the critical writings
of Jordanian and non-Jordanian critics. They will also evaluate and
compare the different metacritical approaches in terms of their
significance to both art criticism and art education.
4. The fourth course is a seminar. This course introduces
students to well-known Jordanian art critics by inviting them to the
class. This will encourage students to become involved in discussions
based on issues raised by the art critic and on critical analyses of
his writings. The purpose is to provide actual insight concerning the
practice of art criticism and to achieve interaction between the art
critics and the program. In so doing, the influence of the program on

143
the art critics and the students will be directly achieved. This
dissfertation will be revised into a format to be used as a textbook.
Finally, attention will be directed to discussion tostudy the
possibilities of founding a specialized journal of art criticism.
This will be decided based upon the results of the above suggested
course additions and the cooperation of the Jordanian art critics.
This journal can help provide an appropriate place and better vehicle
for art critical writing and related research at both the local and
international level.
Conducting and probing such topics will result in a notable
progress and significant improvement to both the practice and
educational values of art criticism in Jordan.

APPENDIX A
ANALYSIS OF CRITICAL WRITINGS OF MAHMOUD ISSA (MI)
144
145
M il
Name Of The Critic:

Name Of The Artlat:
Source And Date i
Hahmoud Issa
Omar Bssoul l Faysal Ash'aure
Al-Shaab Newspaper, 12.15.1963
Title And Medium i Bssouli "Edanah": wax. oil. water color paintings. Ash'sure:
work #l-*22; ink. water color, oil pencil works.
Article's Title : A Tour In The Exhibition Of The Two Artists, Bssoul And Ash'sure
DESCRIPTION
Parts:
Eleswntary Areas
Works •1,2,5,15,22, contain RA. ALEP, DAL, HIEH, WOW letters.
Work #3 contains three diagonal shapes, and curved lines.
Works #8,9,10, contain curvad lines and hexagonal shapes.
Work #4 contains ink color.
Work #6 contains a pencil color.
Work #12 contains light black, and dark black colors.
Work #14 contains green color.
The work Al-Hurriah contains yellow, red, green, and dark blue colors.
Work #13 contains diagonal shapes, and straight lines.
Complex Areas
Thulth, Farlsy, Al-Dywanl Al-Halabi, Geometrical, Koufi, Magribi compositions
in works • 1-6, 6-16, 18-22.
Work • 14 contains a green foliage shapes.
Relations Between Parts:
Large-Scale: Complex Parts, (Structure)
The harmony of color gradations in the left and right sides of the work • 3 is
better than that in the middle part. The composition of calligraphy in work •
11,19,20 integrates with the background.
Small_Scale: Complex Parts, (Texture/Style)
Work *13 contains a repetitive diagonal shapes.
Regional Qualities Of The Whole Or Parts:
Human/Non-Human Qualities
The composition is confused and unstable in work #3. But as a calligraphical
style, the writing is perfect.
Works *11 and 20 are strong and beautiful.
Work #4 is beautiful, rich, and vivid.
Work #6 is weak.
The work Al-Hurrlah strong and powerful.
INTERPRETATION
Others:
Picture Of
In works *1,2,5,15, and 22, the letter RA pictures a movement, the ALEF
pictures a beautiful standing body, the DALpictures a sad lover, the HIEH
pictures a beautiful mouth, and the WOW pictures aboat.
EVALUATION
Explicit Judgment:
Good
Work *4 is a beautiful [good] work.
The work Al-Hurriah is good.
Others
The artist succeeds in his treatment of colors and falls in the middle part of
work #3.
In work 19,11, and 20 the artist achieves the needed harmony for his work.
The artist failed in work *13 because of his use of repetitive diagonal
shapes, the position of calligraphy in the work's center, and the use of
color, [These descriptors are intentional judgments.]
146
Relevant Reasons)
Intensity
Work #4 is vivid and beautiful.
The work Al-Hyrriah is powerful in its composition.
Complexity
Work *4 ie rich. Work *13 is a large-acale work. Work *6 is weak.
Unity
In work *3, the background and the calligraphlcal composition do not fit
together as an integral unit.
In work 11,19,20 backgrounds and calligraphlcal coapositions are Integral units.
Irrelevant Reasons)
Affective
The work "Al-Hurriah* is strong in its implications
CONCLUSION
Biases:
Religious
Islamic attitude towards painting and sculpture Bade muslin artists
creative and innovative in Arabic calligraphy until it became an important
part of Arabic and Islamic culture.
Artistic
Considering calligraphy as an art form, it should be realized that this form
contains different msterlale and elements. Therfore it requires not only a
beautiful calligraphy but also skill of design elements and function.
Intentional
The critic refers to the artist's technique and stylein terms of his treatment
and manipulations of materials and design elementa.
The critic refers to the artist's failure, success,andachievements.
The other references made by the critic are)
The artist's diagonal shapes, colors, composition, and lines.
The artist is capable of using calligraphy and makes it compliant to what he
needs. But sometimes he fails, and sometimes succeeds in those
compositions.
Others
He provides a brief history about the development and importance of Arabic
calligraphy as both an art form and expression.
Language:
Clear
Language is clear, more direct, and simpler than the 1984 article.
COMHENTS
What appeared in the above categories is a result of the criticism of
eighteen artworks. In other words, these categories are collected from the
criticism of eighteen artworks.
The unidentified shapes, colors, or lines in this critical article arc not
listed under the above categories. Examples of unidentified colors, shapes,
or lines are in works *4,6, and 21.
Most of the descriptors that appeared under the description and evaluation
categories are the critic's statements sbout the artist's success and failure
of treatment, technique, and handling. Thus his Judgments are consistently
proposed in reference to the artist's skillful and poor workmanship use,
sometimes of colors and soaetlmesr of calligraphy style and the
Integration among them.
Other kinds of judgments are raised as suggestions to the artist on how and
where to use certain colors or calligraphy styles in the artwork. For
example, in work 814, it is favourable if the artist used the foliage
background with the magrabl style, then the vork would be rich.
The critic consistently made two opposing judgments of one work of art such as
the artist falls in this part of the work and succeeds in that one.
The first part of this article is excluded because it only deals with the
artist Omar Bssoul's technique and treatment and there is no criticism of
works of art. Ha only mentions one work and judges it as e bad one.
147
MI2
Name Of The Critic: Nahmoud Issa

Name Of The Artist: SaLeh Abu-Shindi
Source And Date : Al-Shaab Nevapaper. 3.B.1984
Title Of The Work : Yafa, [X]. [Y). Drawing
Article's Title : Saleh Abu Shindl And The Revolution Of Marker Pen
DESCRIPTION
Parts:
Elementary Areas
The work contains curved and circular lines.
Complex Aress
Yafa contains window, door, building, neighborhood, dome, and aiinaret shapes.
[X] contains a nude figure, and a lantern.
(Y) contains a nude figure and a horae.
Elementary Parts
Yafa: The work's parts have the same color gradations and the same shape
sizes.
In [Y] the distortion in the nude's head, chest, and arms imbalances its trunk.
Small-Scale: Complex Parts, (Texture/Style)

In Yafa, shapes are close together and they are repeated all over the work.
Regional Qualities Of the Whole or Parts:

In Yafa, the work has no depth and unrealistic. In (X], the seated nude
figure is sad and lonely. In [Yj> the nude is quiet, sad, and delicate.
INTERPRETATION
Representation:
Depiction
The work misrepresents Yafa. The work [X) represents a sad lonely nude woman
with a seated pigeon on her knees before a lantern.
Likeness:
Mere Likeness
Woman is a horse
Other Interpretations:
When the line curves it is a woman's breast or a human face. When it bends
it is domes. When it stands, it is a minaret or tree or a beautiful female
body, when it breaks, it is sn old neighborhood's staircases. In the work
[Y], the distorted head and chest of the nude figure is s horse figure.
EVALUATION
Implicit Judgment:
Bad
The work is bad.
Relevant Reasons:
Intensity
It is a pale work.
Dnity
It is disorganised.
Irrelevant Reasons:
Genetic
It is hasty.
Moral
Early work is honest and spontanaous late work's exprssslve lsnguage is
dishonest.
148
CONCLUSION
Biases:
Political
The artiat la one of the adversity generation. As an Arabian he lived under
different conditions of occupation, defeats, and discouragements.
Artistic
The relation between form and content is necessary. Parapective is
important. Sketchea are not complete artworks.
Intentional
Abu Shindi'e lines are beautiful and respectful when he wants them to look
so. Abu Shindi ignores the value of perspective. He forgets to motivate the
nude's figure. He mixes between distortion and abstraction. He emphasizes
distortion which made the work unrealistic (meaningless]. The artist
distorts the chest, head, and arms of the nude figure and leaves thefigure's
trunk undistorted. The artist keeps on distorting windows until theylook
like nude figures.
Language)
Clear
Language la clear with great emphases on metaphor and poetic language.
COHHENTS
Issa provides a general description of the artist use of lines and shapes.
This broad description is applicable on art and other objects. His criticism
of Abu Shindi's work consists of continuous reference to the artist but not
to what is there in the artwork. The criticism of the artwork Yafa depended
on the critic's knowledge and familiarity with that city. Issa criticizes
three artwork's. He'referred to one title and didn’t mention the others
titles. I s e gives suggestions as to how the artist should represent his
subject by paying more attention to the value of perspective.
149
MI 3
Name Of The Crltict Mahmoud Issa

Name Of The Artist: Annsaaf Al-Rabadhy
Source And Date : Ad Dustour, 7.31.1964, p. 16. Al-Shaab, 5.3.19S6
Title And Medium i Survival #3, #7, #11, and #23: Panting
Article's Title i Season Of Survival In The Works Of Annsaaf Al-Rabadh
DESCRIPTION
Partsi
Elementary Areas
Survival #3 contains straight and curved lines, black, white and gray
colors, and an oval or a womb shape.
#23 consists of blue eye shapes.
#11 consists of white, black, and gray colors, and geometrical shapes.
Complex Areas
Survival #3 contains a nude figure, a child figure, a window, a lantern,
a scarf (Shmagh], a stiffed trunk of a woman's figure, a leaning head and
woman's hair.
Nork #7 consists of a mother and son figures, chair, and tile shapes.
#23 consists of an old man, a woman, children figures, and a bomb shape,
shaoob, breast, tree branch, and scarf [Shmagh].
#11 consists of three musical instruments, two figures, and decorations.
In survival #3, the oval shape strengthens the whole parts.
In survival #11, the distance between the two musicians is greater than that
in Picosso's.
Huaan/Non-Human Qualities
Kindness, delicacy, depth, strength, it has a sense of stability, balance and
contemplation. It is compassionate.
INTERPRETATION
Representation:
Depiction
Survival #3 represents a woman delivering a baby.
#7 represents a mother and child.
#23 represents a dying woman with her child sleeping on her arm, a scared
child, and an old man.
•11 represents two musicians.
Suggestion
Symbol
A woman delivering a baby symbolises the survival of man. A woman symbolizes
the mother, land, and confinement. The oval shape suggests the voman's
womb and the window toward surviving. The lantern suggests light or
hope. The scarf [Al-Shmagh] suggests the Arabic atmosphere. The window or
the oval shape suggests knowledge, new light, and new man.
The movement of the two musicians in survival #11 suggest the effect of
Arabic music.
EVALUATION
Implicit Judgment:
Good
Survival #7 la good.
Survival #22 is good and beautiful.
Relevant Reasons:
Intensity
Survival #7 is one of the artist's strongest works.
Complexity
It ia rich.
150
Irrelevant Reasonsi
Cenetic
Xt is original.
Affective
It calls for contemplation, balance, and stability. Xt is deep.
•22 colors are pleasant. Xt gives hope.
Cognitive
It is a new vision of giving birth.
CONCLUSION
Biases:
Social
The group of survival works is directed toward the problem of human existence.
There is a strong relation between the artist and his arabic environment.
She concentrates on a female figure and ignores the male figure because of her
personal experience as a woman.
Political
•23 there is a guerrilla fighter and an Arabian passes the river [going to
fight].
Artistic
The Influence of Picasso's cubism is great on the artist's late works. The
artist is also Influenced by her environment, history, and her academic
achievements in the philosophy of art. It is likely that the artist depends
on the basic elements of composition. The srtist's vork ia a
connection betveen human reaction and formalistic impression.
Intentional
Annsaaf assigned the survival group to show the surviving processes from birth
to death as in 43. Annsaaf emphasizes the symbol of lsnd by picturing the
delivery as a self confinement and shows a slit in the woman’s body to make
this symbol clearer as the artists visualizes it. The lantern la connected
with the artist's childhood and her village. Annsaaf believes in the aesthetic
and philosophical understanding of the substance of nature and not its
appearance for expressing the actual reality.
Survival 45 shows the artist's capability in manipulating the work's elements
for communicating her ideas.
Language:
Clear
Language is clear but there is a certain confusion in some parts, e.g.
Survival 411 is given two different titles such as the three musicians and the
station of survival voice.
COMMENTS
Issa describes his isipressions of the artist's village which is characterized
with special atmospheric, historic, and geographic effects on him and on the
artlat's works.
Issa published this article in its complete version in Ad-Dustour newspaper,
7.31.1984. On 5.3.1986, he republished the first half of this article in
Al-Shaab newspaper. The 1986 article ends on the vork survival 411.
The 1984 article is a reviev of more than twenty five works. The review is
established in a sequence that shows the progress of the meanings the artist
exhibits throunhout her survival group. It starts with birth and ends
with death.
He describes the similarities and differences betveen Picasso's and Annsaaf's
vork in terms of technique and treatment. He also explains the historical
development of cubism and how Annsaaf is Influenced by it, especially,
Picasso's cubism. This is the part he excluded from the 1986 article. .Thus,
vhat la the reason for this exclusion? Is it the newspaper that did this? or
Is it something else? The critic's judgment is concentrsted on the success of
the artist's 'reatment, courage, capability, and knowledge about art. He does
not show any bad works among the twenty three works he criticized
151
MI4
Name Of The Critic i Hahmoud Issa

Name Of The Artist i Mahmoud Sadiq
Source And Date i Al-Shaab Newspaper. 4.9.1986 and 4.10.1986
Title And Medium i "Asaleh*,1984. "Shape and Void". Oil Paintings
Article’s Title i The Unity Of Artworks (Cestalt) InMahmoud Sadiq’a
Works
DESCRIPTION
Partsi
Blementary Areas .
"Asaleh* contains orange and dark brovn.
"Shape and void" contains square, bow, circle.•rectangle, and triangle
shapes. It contains brown, blue, green, and rose colors.
Complex Areas
Asaleh contains an orange battlement, dark brown battlement, high
architectural buildings, windows, walls and rooms, moonlight, a space with
dark graduation of brovn color, sky, and clouds.
Relations Between Partsi
Blementary Parts
Asalehi Each battlement is hanged vith the one over it. The orange
battlement is attached to the other aurrounding ones.
Large-Scalei Complex Parts, (Structure)
In "shape and void" the eompoaition challenges [intensifies] the work’s frame.
It has' a contrast between the hot colors and betveen the connected lines.
The square shape balances the rectangular shape that has a aimilar color
tone. ,
Small-Scale: Complex Partm, (Texture/Style)
Asaleh: The simplicity of details of the battlement shape connects them
together. Battlements are closely attached together. The dark brovn colors
are repeated on the background.

Human/Non-h man Qualities
"Asaleh", compassionate, sad, simple, modest, proud, glorious, free, sleepy.
■Shape and Void", the composition is powerful. The movement of lines as
quiet composition is stable, balanced, and strong. The movement of lines is
delicate.
INTERPRETATION
Representation:
Depiction
The Arabic style windows represent those of the buildings In Bagdad
Jerusalem, Cairo, or Damascus.
Suggestion:
8ymbol
In "Asaleh" the arrangements of shapes suggest the poor neighborhood. The
gloving colors suggest the poor life inside these rooms that are
blocked from the moonlight by the high walls.
Likeness:
Mere Likeness
The colored battlements look like the diamond and the falling stars in the
sky.
EVALUATION
Explicit Judgment:
Good
The "Shape and Void" work is the strongest among the artist's works. It is
beautiful.
Implicit Judgment:
Good
Asaleh is good.
152
Relevant Reasons)
Intensity
■Shape and Void* is intense, and strong.
Complexity
■Shape and Void* haa a rhythslc novesent.
Unity
Asaleh is a very organised vork. It is forsally perfect.
Irrelevant Reasons)
Genetic
Asaleh is a successful expression that equalises the expression of susic as
an abstract art.
CONCLUSION
Biases)
Social
The proud Arabic buildings of Cairo, Jerusalem, Damascus, or Bagdad. The
vork suggest the poor life.
In *Shape and Void* the artist is influenced by traditions, cultural, and
realistic preserves.
Artistic
Iasa emphasises the importance of Gueatalt theory of unity which is to him
the magic and beauty in the vork of art. He also states that both technique
and the expressive language are important in the vork. The expressive
language a result of the abstract forms or shapes that are used by the
artist. Understanding the elements and principles of design is important to
the artist creation.
Intentional
The unity in the artist's vork controls the different details that might be
inspired by nature, tradition, and the personal subconsciousness of the artist
childhood. The artist is capable of formulating a unified vork of art by
understanding the principles and elements of design.
He refers to the artist's treatments of details, elements, color, and the
artist's own philosophy that is achieve a through the concept of unity in his
vork.
■Shape and Void* consists of the artist's special technique and personal
philosophy. The vork s um aarises the artist's studies and (knowledge] up to
date.
Language)
Clear
The language is clear. There is less emphasis on the poetic language than in
the prior articles. He uses a similar language to clear his description of
some sspects of the vork.
COMMENTS
Issa depends in his judgment and criticism of Sadique's vork on Sadique's
opinion. He uses different and direct quotations of the artist's philosophy
and technique. Both the philosophy of the artist snd his technique are used
by the critic as the basic elements in Issa's criticism.
Issa, here, stands against the first impression judgment of artvorks. He
says that viewers should look longer and deeper behind the associations of
nature to the vork of art.
He respects the artist's vork because he respects the srtlst's loyalty to his
vork through which the artist reaches his special philosophy.
The artiat's vork characterises the Jordanian art movement with a significant
mark.
The significance of the artist's vork is In its Iragl school's Influence.
It seems that there is a change in the critic's point of views. Sometimes,
he emphasises technique, or style, and some other times he emphasises the
beauty or aesthetic value in the works of artists he criticises. Thus, his
critical language changes from one artist’s vork to another one's works. The
analysis here is made on two works that are of great importance to the
critic
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MI 5
Name Of The Critic: Mahmoud lasa

Name Of The Artist: Abdel Ra'ouf Sham'on
Source And Date i Al-Shaab Newspaper, Friday, 8.6.1986
Title And Medium : Kite, Kan Yamakan, Wasi'yat Ku’liebs Paintings
Article's Title i The Paradox In The Painting of Abde-Ra'ouf Sham'on
DESCRIPTION
Parts:
Zleaentary Areas
■Kite” contains red, orange, green, and white colors.
■Kan Yamakan’ contains bright orange, dark green, atrlght line, dark and
light spaces.
Complex Areas
The work ’Kite* contains shapes of doors, walls, windows, sky, child, and
narrow houses and spaces and sharp curved streets.
■Kan Yamakan* contains two spaces. It consists of houses, battlements, and a
human figure.
■Masi'yat Ku'lleb* consists of lower and upper parts. I t B lower part
consists of a dead body, stiffed legs, hands, a tile, a river, a sky, flag,
and a horse.
Klementary Parts
In the ’Kite” shapes of houses, doors, walls and vlndows are randomly
distributed in and within.
In the ’Kite* the opened and closed windows break the hlght of the vertical
rising color wall.
The Kite'6 colors are reflected on the houses [harmony of color].
In ’Kan Yamakan’ the bright orange clarifies the dark green and Improves lt6
harmony with the atrlght line .
In ’Kan Yamakan* the line divides the painting into two spaces with no clear
boundaries.
In ’Nasi'yat Ku'lleb* there is a balance among the flag, robe, hand and the
bow. The horse balances the lover and upper parts.
The human figure in the light apace of ’Kan Yamakan* balances the battlements
in the dark color.
In 'Hasi'yat Ku'lleb’, the dying body motivates the lower part of the work.
Regional Qualities Of The Hhole Or Parts:

The vork ’Kite* has a sense of narrowness, tranquility, worryness, Intensity,
and sacredness.
■Kan Yamakan’ has a sense of croudedness and brightness.
The work ”Wasl'yat Ku'lleb’ is full of anxiety and honesty.
INTERPRETATION
Representation:
Depiction
■Kite* represents distructed, old and traditional houses and a kite as those
in the real life.
The lover part of *Nasi'yat Ku'lleb* represents the subject of a literary story
that tells about a dying man who at his last moment writes his commandment
with his blood running on a tile next to the river.
Suggestion:
Symbol
■kite’ suggests a reaction to the sadness of reality . In the "Kite* the
absence of the child's arms and the Kite's string suggest the revolution on
the old and poor neighborhood that struggle for life.
In *Kan Yamakan* the figure in the light space [suggests] barely looks like a
human being who is moving toward the houses that surge from dark color area.
154
EVALUATION
Implicit Judgmenti
Good
The vork is good [form-content or honesty of expression, paradox].
Irrelevant Reasonsi
Genetic
In ’Hasi'yat Ku'lleb" the dying figure is the most honest expression among his
works.
Affective
"Hasi'yat Ku'lleb" is an extremely admirable summary of the dying figure.
It is .full of anxiety that the artist needed it in his vork.
CONCLUSION
Biases!
Social
In the "Kite", "Kan Yamakan", and "Hasi'yat Ku'lleb" the arrangement of
houses reflect the poor people's life and the revolution against conditions
that don't allow the poor to breath and live. The artist seeks to preserve
the deep meanings of culture through out his use of literary stories in his
painting. He tries to show the hidden side of culture.
Political
The artist stands against war. In his vork there is a cell for .
revolution and protest against the sad and poor conditions of life.
Artistic
The artist's reference to the literary traditions enriches his paintings .
The Integration or unity of form andcontent enriches the vork. The paradox
of the artist's painting is achieved through the relation betveen art and
reality or reality and dream in the artist's vork, or the realistic and the
abstract.
Intentional
In the "Kite" shapes are distributed as those in the artist's dream.
In Sham’on's vork "Kite" the vail rises reaching the sky. The artist proclaims
his war against anxiety and destruction to achieve his dream. The artist's
vork is a contradiction betveen hiB dream and reality. Sham'on'a vork is the
consonance of both dream and reality. Sham'on 1b good in handling techniques.
The artist insists on the use of technical duality in the painting's sides.
The dark color in "Kan Yamakan" is similar to that in the artist's dream.
The artist is capable of controlling the element of color, composition,
S!ovement, and treatment of apace in his vork. He has a pure honesty of
expression.
Language:
Clear
The language la very poetic. It la a simile language.
COMMENTS
In addition to the emphasis on the poetic and simile language, the critic
concentrates through his criticism on the concept of paradox in the artist's
work. Thus, this concept occupies the central focus in Issa'a criticism of
Sham'on'a vork.
Issa always refers to the artist's concerns, techniques and in a special way
to the artist's dreams and intentions. In Issa's writing, there i6 a sense
of a friendl" relationship vith the artist because he knev the artist's
dreams, struggles, anxiety, and hope.
APPENDIX B
ANALYSIS OF CRITICAL WRITING OF HUSSAIN DA'SEH (HD)
155 ,
156
HD1
Name Of The Critici Hussain Da'aeh

Name Of The Artist: Ufemia Risk
Source And Date t Ad-Dustour Newspaper, 3.2.1986
Title Of The Work : "Tatalo'aat Nahva Kowkabina". "Confrontation": Painting
Article's Title i In Her New Exhibition, Ufemia Risk Soars In The Space Searching
For A Better Life To Humanity
DESCRIPTION
Parts:
Elementary Areas
"Tatulo'aat Nahwa Kowkabina" consists of straight lines, broken angles,
circle, blue colors, and a contour line.
"Confrontation" consists of curved lines.
Complex Areas
In "Tatulo'aat Nahwa Kowkabina", there is a group of straight lines, and a
group of broken angles. There is also a colored background of blue color
gradations.
"Confrontation" consists of two masses of curved lines, and one dark color
gradation background
Relations Betveen Parts:
Elementary Parts
In "Tatulo'aat Nahwa Kowkabina’ the contour line separates among the group
of straight lines, broken angles, and the circle vhich is drawn outside
this contour line.
In the "Confrontation" there is one mass on the left side and another one in
right side. The left side mass is more stabilized than the one on the right
side.
In "Confrontation" the background carries a harmony among the dark color
gradations. The right side mass intensifies the left side mass horizontally.
Regional Qualities Of The Nhole Or Parts:

Huaan/Non-Human Qualities
In "Confrontation" the left side is stable and the right side is movable.
There is a tension betveen the masses.
INTERPRETATION
Suggestion:
Symbol
The circle in "Tatulo'aat Nahwa Kowkabina" means [suggests] the connection
betveen earth and other universes, looking for freedom to the human beings.
"Confrontation" suggests the face to face struggle that touches the man and
his hopes on the earth.
EVALUATION
Implicit Judgment:
Good
All works are good.
Irrelevant Reasons:
Genetic
The works in general gives Insight into the universal human problems.
Moral
The works in general promote desirable social ends to the struggle on earth.
CONCLUSION
Biases:
6oclal
The critic pays attention to the Importance of social, cultural, and
political development, to the growth and developments in modern drawing and
painting in general, and of Ufemia in particular.
The artist is concerned about the passionate love of human search for
freedom, love, and other concepts of life and humanity. The artist deals
with the struggle of man for building an ideal universe of love and peace.
157
Artistic
The critic emphasizes the relationship betveen form and content as being an
important factor in the vork of art.
Intentional
The artist in 'Tatulo'aat Nahwa Kovkabian* expresses his aspects of freedom
and human struggle on earth.
The critic speaks of the artist's style development and expressions of
the artist's ideas, thoughts, the artist's abilities, and the artist's
philosophy.
Language
Clear
Language is clear.
COMMENTS
The critic givea a general idea of the artist's style in terms of the
relation betveen form and content. The development of style in the critic's
opinion is dependent on the artist's thoughts, philosophies, and the hope for
a better life by using lines, shapes, colors, and voids.
The critic emphasizes the artist's concerns about humanity, struggle, and
social destruction.
The critic revievs the general exhibit and provides tvo examples of the
exhibited vorks'
158
HD2
Name Of The Crltlci Huaaain Da'seh

Name Of The Artlatt Ahmed Ne'vash
Source And Date i Ad-Dustour Newspaper.Thursday, 11.17.1983, p.13
Title Of The Work i 1981-1983 Paintings (Oil, Water Color,Lithography)
Article's Title i Ahmed Ne'vash And his Emphasis On The Value Of Mankind
DESCRIPTION
Parts<
Elementary Areas
Brovn and its gradations, some gradations of rad and gray, and green colors
are found in the artist's vorks.
Complex Areas
The vorks contain form, mass, void, 2-D distorted human figures, plants,
animals, foreground, space, moon, and crescent.
Relations Betveen Partsi
Large-Scalei Complex Parts, (Structure)
The abstract shape balances the mass and void in the artwork. The color
shades (harmony] connect the vork's figures, values, and dimensions.
8mall-Scsle: Complex Psrts, (Texture/Style)
The human figure is closely attached to the plants, animals, stars, horiton,
and dimensions.
Regional Qualities Of The Whole Or Partsi
Uuman/Non-Human Qualities
Dryness and spontaneity are found in his early primitive forms. The figures
in his vork are characterized by weakness. There is a simplicity in the
figures. There are dramatic figures.
INTERPRETATION
Suggestion:
Symbol
Ne'vash's vork symbolizes the tired human being who is lost in the troubled
society.
EVALUATION
Implicit Judgmenti
Good
Ne'vash's vorks are good.
Relevant Reasons:
Intensity
Figures have dramatic structure.
Irrelevant Reasons:
Affective
The work's colors give (desirable] needed feelings. There is a concern
[the artist use of gray colors] for stimulating viewers' reaction that
increases with the Intensity of color.
Cognitive
The vork gives insight to human problems and sufferings by philosophizing on
them to try and reach a solution. The simplicity of figures gives an Insight to
the human's loss of Ideology and being. Ne'vash's vork gives a desirable
social and political change through the search for a better world.
CONCLUSION
Biases:
Social
Ne'vash's a-tistic identity is based on his view about society and the world.
Ne'vash's vork consists of a persistent concern for both general and special
events which characterize his work's style.
159
Artistic
Da'seh emphasizes the importance of the relationship betveen art fors and
content.
Intentional
He does not repeat the shape of horizon, but he introduces it in respect to
the needs of artistic snd thought dinensions in every vork. Color to him is
integral to the ehape and structure; He treats his subjects fron an aesthetic
perspective that consists of the elements snd principles of design.
Language:
Clear
Language is clear.
COHHENTS
Da'seh defines style as a method (point of viev) to study the relationship
betveen form and content for analyzing the vork of art. It is used
for realizing the nature of art. the value of art to the' artist, the artist's
thought and spiritual affects on his art, and for studying the artist's
Impressions on his art, and the life's affects on the artist. He thinks of
style as the proper vay for understanding and analyzing vorks of art and
realizing the affects of art on people and vice veraa.
There is no criticism of vorks of art here. This article is a criticism of
the artist's style that involves:
1) The artist's treatment of the vork's elements.
2) The artist's vay of relating form to content.
3) The artist's great concern about social and human sufferings.
4) The artist's academic and artistic Importance and achievements.
5) The Influence of French and Italian art on the artist. This article is
an lntentionalist criticism for it consists of great concerns about vhat the
artist wants, seeks, hopes, and tries to achieve.
160
HD3
Name Of The Critio Hussain Da'seh

Nane Of The Artistt Yasser Al-Dwake
Source And Date i Ad-Dustour Newspaper, Sat.11.26.1963. p.17
Title Of The Work i Croup *1 "Mattaar", ■Jerusalem''. ’Zinzaneh*
Croup *2 "Taahkiel Islami", ‘Tahavolaat*, "Nahwa Al-Shams’
Croup 43 ‘Aa'elet Al-Shaheed", "Subra Ha Shatilla*. *Afkaar
Hutadakhlleh*
■Fellaha*; Paintings. Printmaking
Article's Title t Yasser Al-Dwake .. And The Struggle Between Forai And Content» Has
The Artist Excelled The Stage Of Creativity?
DESCRIPTION
Partsi
Elementary Areas
Croup #2 contains a circular shape, a horizontal line, and a middle line
In "Fellaha" the fringe of the n u n ' s headdress is white.
Complex Areas
Croup #2 consists of Islamic ornaments and architecture.
■Fellaha" contains a woman figure, headdress, and a narrow street.
'Elementary Parts
In group «2 the circle is drawn in the upper part of the vork. The
decorations are in the lower part.

Uuman/Non-Human Qualities
In group *2 there is a dominant pattern of a circle, a horizon, a middle
line, and Islamic decorations.
In ‘Fellaha* there is softness and hardness of lines, love and passion of
the figure, snd hardness, thickness, thinness of colors. The line
gives depth to the work.
INTRPRETATION
Representation:
Depiction
■Fellaha* represents a farmer woman in her dress walking in the narrow
streets of a village.
Suggestion
Syabol
Croup 41 suggests the relationship betveen man and his land.
The circle in group #2 may suggests the sun or the moon.
EVALUATION
Explicit Judgment:
Cood
The vorks in group #3 are good.
Implicit Judgment:
Cood
The vorks in group 42 are good.
■Fellaha* la good.
Relevant Reasons:
Unity
In ’Fellaha* lines are perfect.
Irrelevant Reasons:
Genetic
Group 42 has a universal human value.
Cognitive
Croup 43 consists of a significant thought.
161
CONCLUSION
Biases)
Social
In group *1, the fora depend# on nature and man by ahoving their relatedness.
Artistic
In group *1 the artist avoids the classical approach In dealing with his
composition of voids and shades. The integration between form and content is
Important In the vork of art.
Da'seh considers the form-content relation as the relation betveen the
artist's thought and the form he creates. The artist achieves the comprehensive
vision by drawing the reality in an expresslonistic and symbolic vay.
Intentional
In group tl the artist is always avare of the Importance of the dramatic
composition of his vork. He is concerned about the problem of artistic form.
He emphasizes this philosophy In the form he creates. He enriches and renews
this form that connects man vith his land. The artist seeks to achieve the
Intellectual and artistic balance of existence.
In group *3 the artist tries to show his own miseries by shoving' the general
suffering of man.
Languagei
Clear
Language is clear.
COHHENTS
Da'seh provides a comprehensive criticism of Dvake's exhibition and style's
development.
He divides the exhibit into three groups of art vorks in terms of their
artistic form-group S1-, form and content-group #2-> the content and
creativlty-group #3.
He does not make any distinctions among the vorks of each group, but he
refers to them as having similar values in terms of form and content.
He emphasizes human values in terms of cultural, political, educational,
and social affects on the artwork.
He appraises the artist's great philosophy, thought, intellect, and arti6tlc
capabilities in vhat he creates. He consistently refers to the artist's
skill in treating, manipulating, and handling stylistic approach. In
addition, the critic provides hiB definition of vhat the artist is. "The
artist is not a temperature scale but he is the measure of the studied
reaction. He studies such a reaction to give it a new formula of the real
creativity.
He talks about the artist's psychological status of anxiety in terms of vhat
he feels towards his art, himself, and his society. The result is alvays a
new creation, new style, and direction.
Some of the elementary and complex areas are excluded from the above chart because
there is no clear mentioning of vhat belongs to vhich vork in each group.
He defines the form-content relation as that relation vhich exists betveen
the artist's thoughts and philosophy and his work's artistic form.
He claims that the artist goes beyond the stage of creativity by
concentrating on treating his [works'] contents with nev artistic thoughts
and symbols.
The content according to him is the creation that has s kind of sensitivity
and feeling of the [future] unknown.
162
HD4
Name Of The Critics Hussain Da'seh
Name Of The Artists Ufemia Rizk
Source And Date sAd-Dustour Newspaper, 1.16.1984
Title Of The Nork i "Logs A1 Hajhool", *B«hth”, 'Nabatine Homan”, "Casser Umra”,
'Jerusalem's Paintings
Article's Title i About The Artist's Ufemia Rizk Shows An Artistic Direction Based
On The Choice Of The Beauties Of The Universe, Limited,
Dimensions Of The Hunan Affect On The Work Of Art
DESCRIPTION
Partes
Elementary Areas
”Logz A1 Hajhool” and ”Bahth* contains curved and diagonal lines, yellow or
green background.
■Nabatine Homan” contains yellow and blue colors.
■Casser Umra” contains lines and dark shades.
Complex Areas
*Logz A1 Hajhool* and ”Bahth* consist of dome shapes, architectural forms,
and ornaments.
■Nabatine Homan* contains a female figure.
■Casser Umra” contains a building skeleton [frame], thick and dark clouds.
■Jerusalem” contains settlements.
Relations Between Partss
Elementary Parts
The movements of lines from left to right and vice versa in *Logz A1 Hajhool*
and *Bahth" give dome and architectural forms.
The blue color in *Nabatine Homan* surrounds the woman.
Regional Qualities 0” The Hhole Or Partsi
In ”Logz A1 Hajhool*, *Bahth", and 'Nabatine Homan" lines are strong and
beautiful, there is also depth and an impressionistic touch of color.
In "Casser Umra* there is an atmosphere of isolation and strangeness. It's
lines are strong.
INTERPRETATION
Representation!
Depiction
■Nabatine Homan” represents a desert woman of Jordan.
Suggestion:
Symbol
■Nabatine Homan” suggests the depth and beauty of the desert woman.
■Casser Umra" suggests an Isolated and strange castle that is located in a
wild desert.
EVALUATION
Explicit Judgment!
Good
The artist's works are [good] beautiful and intelligent.
Irrelevant Reasons!
'Genetic
■Logs A1 Hajhool* and ”Bahth* are an example of simple expression.
Affective
■Casser Umra* gives a sense of strangeness and isolation.
CONCLUSION
Biases!
Social
Ufemia emphasizes traditions, humanity or human values, and ruins in her
work.
163
Artistic
Classicism is the stage that adheres the artist to his life career. This is
what gives the artist his artistic direction that can be Improved by the
continuous experiments in creating art works. The artist has an aesthetic
and thought sense which made her known locally and internationally. The
integration of form and content is necessary in the vork of art.
Intentional
Ufemia presents her artistic vision depending on her aesthetic evaluation of
the different schools. She dravs on spontaneity. She depends on her
special philosophy in drawing realistic visions. She is inspired by the
elements of traditions and ruins. She gives symbolic meanings to her abstract
realist vorks.
•Logz Al Hajhool* and "Bahth" emphasise the artist's Inclinations toward the
use of beautiful line and ornament. and simplicity of expression. She mean6
by the use of diagonal and curved lines the depth of her vork.
In 'Nabatine Woman* Ufemia surrounds the human figure with appreciation and
respect vlth emphasis on the genuine traditional form of figures in its
environment. She presents her ideas about the ’Nabatine Noman* in Jordan.
In ’Casser Umra’ she expresses her thought about the old caatle and its
surrounding environment in the present time. The same is said about her
work ’Jerusalem". She depends on the spontaneity of transferring her mental
image into the vork. She is able of introducing the abstract symbol that carries
the work's content.
Language:
Clear
The language is clear, but there are some weak points that can be understood
in the context of his writing.
COHHENTS
Da'seh emphasizes the artist's special and peculiar thoughts, philosophy and
artistic approach in dealing vlth the artistic creations that emphasize the
beauties of the universe, human Influence, and values in the vork.
Da'seh is Interested in Ufemia's vork because it is recognizable at both
local and International levels.
Da'seh gives an overall judgment of the artist's vorks.
The artist according to Da'seh is the most sensitive to the human conditions
and values.
164
HD5
Name Of The Critlci Hussain Da'seh

Name Of The Artistt Yasser Dwake
Source And Date t Al-Shaab Newspaper, 12.23.1984, p.12
Title Of The Work i "Soura Hen Al-Thakira", "Assafear"; Etching
Article's Title i An Intermediate Academy In A Croup Of Craphic Nork Of The Artist
Yasser Al-Dvake
DESCRIPTION
Partsi
Elementary Areas
"Soura Hen Al-Thakira" tl and 92 contain square shapes, black and white
colors, and graduations of dark blue colors.
"Assafear" contains bird shapes, thorny wires, geometrical shapes,
gradations of a brown color, a bow and geometrical horirons.
Complex Areas
"Soura Hen Al-Thakira" contains an architectural shape and a frame of square
shapes. The square shapes end with black, white, and dark blue gradadions.
■Assafear" contains a bow horiton shaped array of a brown color gradations.
Elementary Parts
In "Soura Hen Al-Thakira* the square-shaped frame surrounds the architectural
shape.
EVALUATION
Explicit Judgment:
Bad
All the work: are average quality of goodness [bad].
Relevant Reasons:
Intensity
The vork6 are pale.
Irrelevant Reasons:
Genetic
The works fail to reflect what the artist intended to present.
Affective
The works have no [meaning] or content.
CONCLUSION
Biases:
Social
Artistic
Intentional See previous comments in the F,G,H, and I Appendixes
Language:
Clear
The language is clear.
COHHENTS
See Appendix I.
APPENDIX C
ANALYSIS OF CRITICAL WRITINGS OF AY'YAD NIMER (AN)
165
166
AN1
Name Of The Critic: Ay'yad Nimer

Name Of The Artist: Aziez Anmoura
Source And Date : Ad-Ouatour Newspaper,Tue.12.13.1985
Title Of The Hork t 'Portrait Of Fuad Himi* Hater Or Oil Color
. *A Child's Face"
Article's Title i The Hard Hay.. And The Realistic Vision Of Aziez Ammoura
DESCRIPTION
Parts:
Elementary Areas
'Him! Portrait' consists of a pure red color.
■Child Portrait* consists of a green color.
Complex Areas
Himi and child portraits contain human faces.
Regional Qualities Of The Hhole Or Parts:

In Himi and the Child's portraits there is a sense of purity# foggyness, and
sensitivity.
CONCLUSION
Biases:
Artistic
The critic concentrates on the relationship between form and content in the
work of art. He also shows the difference between the portrait and the
realistic expression paintings that Include abstractions and summaries of
details. The difference is jthat the content dominates the form in the
abstracted forms.
Intentional
The artist uses the light as to make his work effective and a beautiful
expression or to give it a dramatic look.
The artist loves the light that symbolizes or expresses the inner self
affects. He doss not love the white light.
In his portrait drawings, he first chooses his subject, then gets familiar
with them by drawing different sketches of them, then formulates his ovn
impression of them, and finally he draws his ovn vision of his sitter. He uses
a limited number of colors, such as brown, yellow, and ocher. These colors
appeared in the early period, 1970s. But in some occasions, especially when
he tries to emphasize the character and place of his sitter, he uses a pure
red color as in the Himi portrait or a green color as in the child portrait.
He emphasizes the texture and movement of brushstrokes and the feeling of
foggyness in his work.
Language:
Clear
Language is clear.
COHHENTS
Nimer shows only the artist's style and technical developments and the
differences between the artist's early and late works.
Nimer emphasizes the artist's impressions and personal inclinations
tovards the objects he drava or chooses his work.
Nimer does not talk about a specific vork of art. Thus the above
categories are not found in his criticism of Ammoura's vork.
Nimer does not explain the 'difficult way' which is stated in his title of
the article.
167
AN2
Name Of The Crltlci Ay'yad Nimer

Name Of The Artist) Saleh Abu Shindi
Source And Date > Ad-Dustour Newspaper, Fri.2.?.19S6
Title Of The Work > Paintings And Drawings
Article's Title i The Folk Life In The Drawings Of Saleh Abu Shinidi
COMMENTS
The critic provides no criticism of the artist's works of art. Thi6 article
is a review of the artist's exhibits between 1963 and 1966. In other words,
it is an Interview with the artist and about his career. It consists ofthe
Important and different Influences on the artist's vork. These influences
can be summarised in the following points.
The academic Influence that includes the Influence of a number of known
Egyptian artists such as Abdul Asls Darweesh, Husnl Al-Banani, Named Nada,
and Zakarala Al-Zayni. Those artists were his teachers in the Cairo Academy
of Fine Arta.
The cultural and civic influences of Cairo that include the crowded streets,
public neighborhoods and the daily activities of aelling and buying. This is
what greatly Influences Abu Shindi'a vork. The Islamic rich traditions in its
famous mosques, gates, and the Islamic festivities all appear in his
work. Therefore, his drawings are characterised with two-dimensionality.
He worked as an art teacher in the Libian desert. During this period he drew
natural scenes. The first show was 1969. It Included natural scene vork6
and works vith marker pen. This is what characterised his artistic style
with abstraction and simplifications of forms.
His first exhibit in Amman vas held in 1971.
Croup shows 1975, 76. and 77.
1977-1983 group shows that included old works.
1963 exhibit was his third solo exhibit. It included oil paintings and
sketches vith black marker pen.
Through this reviev of the artist's exhibits, Abu Shinidi seems to be
inclined towards emphasizing his forms by using the line more than color,
abstraction, and [no depth] 2-D works, and geometrical shapes
168
AN3
Name or The Critlci Ay'yad Nimer

Name Of The Artieti Ofamia Risk
Source And Sate i Ad-Duetour Newspaper, Ned.2.26.1966. p.16
Title Of The Nork i Painting
Article'* Title i Today I* The Opening Of Ufemla Risk'* Exhibit
COHHENTS
Ufemla 1* one of the good artiste who was taught by the Princes* Fakher El-Nessa
Zaid. She ha* had many solo exhibition* in and outside of Jordan. She ha* also
received ■ number of prises.
The critic Al-Nimer talk* briefly about the eaiergence or the abstract -
expression!**) Movement and how it Influenced the arab artists and among them
Ufemla. He refers to the importance of a number of famous abstract
expressionists such as Kandlnskl. Pollok, Honderlan. Hark Ruthko. Halwich,
De Kooning, and Newman, or those of the American Hodern Art School.
He refers to the artist in general as the product of society's conditions
and situations. Any new art form is the result of such social circumstances
and conditions which directly affect the artist, and his art.
He refers to Ufemla as an artist who pictures [transforms] the reality of her
personal and inner reactions in a form of color organisation such as s
spotted point, the features of material, or the elements of form. Thus.
Ufemia uses the formalists language but not the expressive language that
Includes a recognisable content. Such a pure language puts her away from the
meaning she Intended to communicate through her work. She communicates only
the rhythm, balance, and harmony of composition and structure which she cannot
control because she completely depends on spontaneity. So it is
necessary to direct this spontaneity to a certain structural aim that is
associated with constructional thought supported by a figurative point of
view.
The artist archives her Intention vithout reliance on painting nature.
She becomes capable in communicating her meaning through the spotted color
paintings.
The function of this art (Ufemla'* art work, or abstract expressionism] is
not clear to society.
Ufemla presents to the Jordanian public free abstract expressionist art
that depends sometimes on a geometrical sense.
The technique she uses is characterised by the following remarks■

Triangular shapes on the surfaces of paintings.
She rubs the paint on the canvas to give the random look of lines.
She uses, sometimes, one color background, and different colors some other
times.
She leaves the color runs on the canvas for arriving at chance affects.
She, sometimes, draws circles on the surface to give her apace or universal
shapes.
Her colors are blue, green, crimson, light red, ultramarine.
She rarely uses the brush.
Ufemla exprasaes her ovn unrecognisable pictorial visions that exist in
unrealistic atmosphere or from her subunconsciousness.
This technique helped Ufemia in enriching her [artistic] figurative language
without using the brush. But it seems from looking at Her works that the
knife and the colored liquid play an important role. This is similar to
Jackson Pollok's technique.
She is a skilled artist who knows what she want* from her painting.
Some of these notes may fit the genetic and effective reasons, some others
may correspond vith the intentional, social, and artistic biases. The reason
that they are not listed under such categories is that they don't deal
with a specific work of art.
They deal only with technical treatment, handling, and approach.
This is a general review of the artist's career.
169
AN4
Name Of The Crltlci Ay'yad Nimer

Name Of The Artist: Mahmoud Sadlq
Source And Date Ad-Duatour Newspaper. 3.20.1986, p.16
Title Of The Work ■Jerusalem", "Village,* ’Violin Player*, "Iyka'a". "Tureth":
Paintings And Printings
Article's Title Nahnoud Sadiq.. In His New Exhibition: A New Experiment [Movement
Or Direction] Of Healism
DESCRIPTION
Parts:
Elementary Areas
■Jerusalem" contains an Irregular rectangle, a dome shape, and a light color.
’Village" contains square shapes, rectangular shapes, dark line, light color,
vertical line, red color, white square shapes.
■Violin Player* contains small and large triangular shapes, bows, diagonal
lines, circular shape, brown horizon, red color, crescent shape.
■Iyka'a" contains light brown colors, white shape, a large rectangular shape,
square shapes.
■Turath* contains triangular shapes, three red stripes, crescent shapes.
Ccmplex Areas
■Jerusalem", •Village", "Violin Player". "Iyka'a", and "Turath" are each
divided into three horizontal parts.
In "Jerusalem" the dome shape is decorated with Islamic decorations.
In "Violin Player" there is a human figure. There is a horizon of brown
color that contains a red spot and a crescent shape. It contains a pyramidal
composition of a human figure.
Large-Scale, Complex Parts, (Structure)
In the "Violin Player" the rectangular shape is heavier than in balances the
other parts surrounding it.
Small-Scale, Complex Parts,(Texture/Style)
The dome's internal surface contains lengthy touches. The
circular shapes in "Village" are close together. The square and rectangular
shapes bellow the thick line are closer in distance from those above this
line.
The "Violin Player" has a triangular dominant pattern.
In the "Violin Player" the squares have a sense of perspective and other
geometrical shapes are foggy. It has a sense of stability and
expressiveness.
In "Iyka’a" there la the quality of delicacy, softness, and heaviness.
EVALUATION
Explicit Judgment:
Cood
All works are good.
Relevant Reasons:
Intensity
■Jerusalem" has a strong structure.
■Violin Player" has a strong structure.
Unity
"Violin Player" is stable and balanced.
Irrelevant Reaaons:
Genetic
The vork shows a skillful use of technique.
Affective
The "Violin Player" has strong expression.
170
CONCLUSION
Biasesi
Artistic
Sadlq's style changes from academic and realistic to abstract style that gives
architectural buildings an abstracted shape.
The Influence of his academic achievements on his art vork is good.Also,
the Influence of the Iraqi artist is clear on his early vorks.
Intentional
The abstract shapes of buildings are registered in the artist's mind because
they are appear constantly in the artist's vorks.
The small printed vorks shov the artist's ability of dravlng and his
understanding of the rules of perspective.
His academic experiment has helped him in understanding and developing the
abstract vork.
The critic refers to the artist's technique, treatment, skills, and personal
philosophy to arrive at both the meaning and fora that he needsor likes to
express.
■The artist tries to arrive at the substance and truth behind the colors and
forms vhich he uses to translate his sufferings and feelings*.
Language:
Clear
Language is ~lear.
COHHENTS
Nimer provides a brief Introduction about the artist's life, academic
accomplishments, and artistic career.
This article is the only one of Nimer*s writings that deals directly vith
the criticism of artworks.
The critic paraphrases and relies on other writer's opinion of the artist's
vorks. He provides some quotations vere vhich written by one of the artist's
friends, Kayed Amr.
171
AN5
Name Of The Critic: Ay'yad Nimer

Source And Date i Ad-Dustour Newspaper, 4.22.1966
Title Of The Hork : Painting
Article's Title i A Migration Through Color, Form, And Content.
COMMENTS
This article is a reviev of Sham'on's exhibit, life experiences, and art
career, as well as the influences of the Arab, European, Russian, and Mexican
artists on his art work. It also emphasizes the literary Influence on the
artist's early vork.
Throughout this reviev, Nimer provides the general characteristics of
Sham'on's style, technique, snd treatment and handling of art materials.
The critic emphaslres the Intellectual and philosophical concepts that the
artist carries and expresses in his artwork. He also refers to.the artist's
understanding and awareness of art, its role, and its social
significance. . In addition, he shows the artist's delicate sensitivity in
dealing vith art materials and elements.
Nimer perceives the artist as a product of society and culture.
Therefore, the artist’s role is more advanced than any builders of society.
Art should carry a message becauae art without this message is useless.
Thus, he believes that the fundamental elements of artwork are, the form,
the color, and the subject. Art therefore should have a content which is the
artist's personal reflections of philosophy, thoughts, and honest expressions
and search for the substance of nature and truth. Humanity and cultural
concerns are apparent in the artist's vorks.
Nimer, either directly or Indirectly, appraises the artist's comprehensive
vlev about art and his personal contributions to the art movement, and his
personal effect to understanding art by the study of art hiatory, art
criticism, and aesthetics as well.
Nimer's final judgment of the artist's vorks is based on reasons such as
expressiveness, meaningfulness, dramatic, vividness, Intensity, complexity,
and unity.
These reasons may correspond vith the proposed categories, but they are not
listed there because the critic did not criticise any art vork of Sham'on's.
172
AN 6
Name Of The Critic i Ay'yad Nimer

Name Of The Artist i Ahmed Ne'waah
Source And Date
Title Of The Work
Article's Title
i
t
i
Painting And Drawing '
Ad-Dustour Newspaper, Thur.10.16.1966, p.20
The Childish Art And The Originality Of The Artist
Ahmed Ne'wash.
COHHENTS
There is no criticism of specific artworks here in this article. Nimer
provides a review of Ne'vash's artistic studies in France and Italy, his
artistic career of thirty seven exhibits in Paris, Leon, Rome, Bagdad,
Damuscus, Kovalt, and Amman, and the numerous prices he received.
Nimer refers to the artist's concerns about the integration of form and
content, and his artistic style as an expressive medium of the artist's
psychological conditions and the people's concerns and problems. Therefore
the artist's vork is filled up with symbols that suggest or tell of the
artist's anxieties and relaxations.
Nimer emphasizes the artist's childish dravlng that is used Instead of the
academic and realistic style following Picasso, Hiro, and Kley. This is what
significantly characterizes Ne'vash's style. Ne'vash's style carries
great meanings through his simple forms and rich imagination in composition.
Nimer also repeatedly mentions the srtist's free and dynamic way of
expressing his ideas and his technical abilities in dealing with colors,
form, lines, and content.
Nimer's final judgment 1b based on the joyous character of the artlst'E
simple, forms, the painful dreamy visions, and the artist's attitude towards
life in its past and future.
The artist's vork and style did not change, but the artist's spirit is the
only thing that is changed because he sought self-relaxation after he was
a revolutionist through his vorks.
APPENDIX D
ANALYSIS OF CRITICAL WRITINGS OF MUHAMMED JAALOUS (MJ)
173
174
MJ1
N a m Of The Critic i Muhaned Jaalous

Naaie Of The Artlat i Nljdan All
Source And Date i Al-Shaab Newspaper. 1.3.1986, p.6
Title Of The Hork i "Ayet Al-Kurci*, Painting
Article's Title i Nljdan.. Line [Calligraphy] And Picture: Distorting The Koufl
Calligraphy For A Figurative Nork (Making An Art Nork]
DESCRIPTION
Parts>
X le a e n t a r y A reas
■Ayet Al-Kurel* contains arable letters.
Coaplex Areas
"Ayet Al-Kurd* contains decorations and a colored background.
B le a e n t a r y P a r ts
In "Ayet Al-kurcl* the decorations surround the arable letters.
L a r g e - S c a le : C o a p le x P a r t s , ( s t r u c t u r e )
In "Ayet Al-Kurci” there is no balance between the decoration frase and the
arable writing.
Regional Qualities Of The Nhole Or Psrts:
Nuaan/Non-Huaan Qualities
In *Ayet Al-Kurci* colors are [bright] sharp, or desert colors, and
transparent. The letters are genuine traditional signs.
EVALUATION
Explicit Judgsent:
Oood
The work *Ayet Al-Kurcl* is good.
Ispliclt Judgsent:
Bad
The work *Ayet Al-Kurcl* Is bad.
Relevant Reasons:
D n lt y
"Ayet Al-kurcl* lacks balance.
Irrelevant Reasons:
O e n e t ic
■Ayet Al-Kurcl* Is a genuine vork. It rulfllls the artist's intention, which
is the Interest In foraallstic quality of coapositlon. [There is an
Indication of poor workaanshlp]. This art fora is new to the artlat.
•CONCLUSION
Biases:
Social And Cultural
Arabic calligraphy Is laportant to the Arab Artists because It helps
identifying arable art with a distinctive Identity. It connects the
artlat with different stages of arable traditional history. The
laportance of this direction or the artist's Interests in calligraphy say
open the doors to the new discoveries of the arabic figurative (artistic]
treasures.
A r tis tic
In general, Jaalous considers that the use of arabic calligraphy and
letters In a figurative art work (as an art fore] doss not help or develop
the craft of Arab calligraphers which has a very long history of creations.
He also considers that the artlat'a uea of calligraphy as an art fora causes
a burden to the quality and beauties of arabic calligraphy because artists
use distortion and look at these letters as having no awanlngs.
Jaalous shows concerns about the integration of fora to content in any art
work.
175
Intentional
Tha Princess, a r t i s t , p ra a e n ta a g ro u p o f a r t works in which th a t r a a t n o n t o f
c a l l i g r a p h y was n o t concarnad ab o u t t h a M eaning aa ouch as t h a f o r a .
Tha artist was trying to find tha fornalistlc balanca batwaan aassaa and
■pacas. This concarn causas tha doainatlon of fora over aaanlng in tha
artist's works.
The general concarn of the Arabic Artlat I s to find distinctive Identities to
their art vorks. Therefore, they used Arabic calligraphy as an art fora
that connects thaa with their arabic traditions and history.
Languagej
Clear
Language is clear. There i s no slalle or aetaphor.
COMMENTS
Jaalous provides a criticism of the whole show. He gives only one example
of the artist's works. He introduces hia biases in an introduction about the
development of calligraphy aa an art form. He concludes his article with a
brief crlticlan of the artist's work.
176
MJ2
Nave Of The Critic: Muhammed Jaaloue

Wane Of The Artlatt Atlee Aanoura
Source And Date i Al-Shaab Newspaper. 1.29.1966, p.12
Title Of The Nork t No Title (X]t Painting
Article's Title i A Painting Of The Artist Aeiez Ammourai An Attempt For Interring
To A peculiar Colorific Norld
DESCRIPTION
Partsi
E le a e n t a r y A reas
[X] contains yellow, red, white colors, and a line.
C o a p le x A rea s
[X] contains two equal groupa of human figures, Mantles, thick white covers,
dusty sky, esrth, and desert spaces of red dust.

■leaentary Parts
Figures are surrounded by thick white covers and aiantles. The sites of the
work's three part, sky, earth, and desert ere not equal.
L a r g e - S c a le i C o a p le x P a r t s , (s tru c tu re )
The three parts of the painting balance each other. The distribution of the
human figures into two equal groups Increasing this balance.
The color harmony emphasizes this balance.
Regional Qualities Of The Whole Or Partsi
Huaan/Non-Huaan Qualities
Warmth of color, windy atmosphere, erowdedness, silence, dust, foggyness,
remoteness, dramatic, and theatrical affects characterise this work.
INTERPRETATION
Representation:
Depiction
The work represents unidentified figures of villagers in a foggy, warm and
dusty desert. These figures are divided into two equal groups which are
separated from each other. They are covered vith thick white covers and
Mantles that do not reveal facial or bodily differences.
Suggestion:
Symbol
The flguras's faces suggest a state of anxiety and expectation. The dusty
and foggy atmosphere of the warm desert suggests the one destiny of the human
kind towards destruction.
EVALUATION
Implicit Judgment:
Good
The work is good.
Relevant Reasons:
Intensity
The work is dramatic and theatrical.
D n it y
The work Is balanced, unified and well organized.
Irrelevant Reasons!
Genetic
The work is expressive.
177
CONCLUSION
Biases!
S o c ia l And C u l t u r a l
Aanoura deals with paaslonats subjects thatrepraaent tha raality of
Jordanian village and envlronnent. He also does not dlscrlnlnate between
aen and women In his palntlnga because people face the sane destiny of the
deserta destruction. Aaaoura Is getting closer to the realisation of the
connection between the artist and his special envlronnent. Jordan.
[These social and cultural biases also appear In Jaalous'a article
In Al-Shaab Newspaper, 10.17.1986].
Artistic
Artists should be closer to their special envlronnent and
conditions. Thin is the artistic substance that the artist la required to
discover and raise In his artwork.
The artistic identity la Influenced by the closeness to his envlronnentand
its affect on his art.
Anmoura Is Influenced by Delacroux, Robins, and the Iraqi artist Fa'lq Hassan.
[This is discussed also In Jaalous's article, Al-Shaab Newspaper, 10.24.
1986].
Intentional
Aanoura Introduced the elenents of reaction and expression of nan's concerns
and life sufferings Into his artwork.
Jaalous refers to Annoura's treataents of color, coaposltions, and lines.
Aanoura tries to protect the linba of his figures froa the burning sun by
covering then with heavy clothes.
Aanoura eaphasises the drana of figures in the background of his work.
It was necessary for the artist to eaphasise the depth in the second part
(the dusty yellow color) of the vork.
The artist reveals the dlaenaions of expectations and anxiety through his
use of colors.
The artist does not find what night justify the distinction between nan and
vonan in his work.
Languagei
Clear
Language is clear. There is no sinile or netaphor.
COMMENTS
This article Is the first one that deals only with one artwork in a
conprehenslve way.
Jaalous starts with the problen of Identity In the Jordanian art novenent.
Then he shows the artist's role in realizing this Identity problem.
Finally, he connects Anmoura and his artwork to the Jordanian envlronnent and
condition of living by the analysis of the artwork that he seems to choose
by himself. The judgment Is based on what the artist tries to do and his
realisation of his actual envlronnent.
178
MJ3
Name Of The Critics Muhammad Jaalous
Name Of Tha Artlat i Muhammed Abu-Zuraique
Source And Date t Al-Shaab Newspaper, 4.13.1986, p.14
Title Of The Work i No Title [X]t Painting
Article'a Title s The Search for A Formulation Of Horizon And Abaolute In The
Nomination Of The Artlat Muhammed Abu-Zuraique
DESCRIPTION
Fartai
Blementary Areas
[X] contains Arabic Letters.
Coaplez Areas
(X] contains figures of a vosan and a horse.
Regional Qualities Of The Whole Or Partes
BoBan/Non-Huaan Qualities
The vosan and horse figures are the doninate pattern.
EVALUATION
Explicit Judgsents
Bad
The vork [X] is bad.
Relevant Reasons:
Intensity
The Arabic Letters are ugly.
Onlty
The Arabic Letters are heavy or [formally imperfect]. The vork la not
unified.
Irrelevant Reasons:
Cenetlc
The letters are imitations of other artists' vorks or (they are not
original]. The letters are not the logical result of the artist's
experiment.
CONCLUSION
Biases:
Bocial
Jaalous raises some philosophical disputes about life and existence (vhy
is life and tovards vhat end?).
Artistic
Al-Jaalous discusses the relationship betveen surrealism and symbolism and
hov they effect the vork's content and form.
Intentional
Abu-Zurlek loaded his surraallst vorks vith the Implications of horlson and
absolute.
The exhibition's title does not correspond vith the artist's work.
Language:
Mot Clear
The language is ambiguous. The critic's explanation of the absolute and
horizon is not clear enough for making the reader understand the relation
between the artvork and tha artist's statement about the shov.
Jaalous criticizes one vork from the artist's exhibition. This criticism
is given as an example of the disunity of the artist's vorks in his
exhibition. This article is focused on the philosophical discussion on the
relationship betveen the artist's statement (the title of the exhibition) and
the artist's works.
179
MJ4
Nine Of The Critic: Muhammed Jaalous
Source And Date : Al-Shaab Newspaper, 4.20.1986, p.12: And 4.27.1986
Title Of The Nork : No Title
Article's Title Abdel Ra'ouf Sham'on's Exhibition Is A Rich Experlaient In Color
And Formulation
COMMENTS
Jaalous provides criticism of the whole exhibition. In his article, 4.20.
1986, Jaalous reviews this exhibition before the installation of the work.
Through out this article, he explains how the artist experiments and treats
color, the artist's ability in defining the strength and weakness of his work,
how the artist achieves what he wants in dealing with color, how the artist
frees him self and hla art from the literary and symbolic affects, and how he
Integrates the background and foreground in a work of art, and hov he
succeeds in the integration of natural (the elementa of nature) and the
abstract (the elements of abstraction in the work), and how the artist fails
in dividing the vork into two parts in relation to distribution of figures in
the lover part leaving the upper part empty. Thla treatment does not give
unity or strength to the vork: finally, hov the artist succeeds in dealing
with this unity problem in other vork by using color treatment.
180
MJ5
Name Of The Crltlct Muhammed Jaalous

Source And Data i Al-Shaab Newspaper, 4.27.1986
Title Of The Nork > No Title
Comments
In the 4.27.1966 article, Jaalous provides an interview with the artist
after the installation of the artworks. He raises four questions which the
artist answered. The first question is about the relation of the vivid color
and active movement to the formulation, spaces and surfaces. The second is
about the definition of color, its degree of Independence from other elements
within the frame of the artwork, and its relation with the line. The third
is sbout the artists opinion in the clarity of tradition, history, and
details through the new treatment of color in the artwork. The fourth is
about the artist's understanding of how the abstract and natural can a«et.
The over all Judgment la about the artist's ability and success of using and
understanding the limits and capacities of color in the work of art.
In fact, Jaalous follows the same approach that deals with criticising the
artist's treatment, technique, failure, and succeaa in arriving at what the
artist Intended to do in his work. This kind of criticism is directed to the
artist through the review of the artist's exhibition. Thus, what is said
about Sham'on can be clearly said about the criticism of the other artists in
the following articles:
An Old Experiment And A New Division In The Artist's Yousef Al-Badavi Works:
Al-Shaab Newspaper. Ned.2.19.1986, p.12.
The Siaipliclty Of Nature And The Freedom Of Color In The Norka Of Diana
Sham'onki: Al-Shaab Newspaper, 4.19.1986, p.12.
The Cubist Style In The Norks Of Annsaaf Al-Rabadhi: Al-Shaab Newspaper,
4.30.1986.
About The Artist's Nawal Al-AbdulLah's Exhibition: Al-Shaab Newspaper,
Sat.5.19.1986.
APPENDIX E
ANALYSIS OF CRITICAL WRITINGS OF ABDEL-RA'OUF SHAM'ON (AS)
181
182
AS1
Name Of The Critici Abdel Ra'ouf Sham'on

Name Of The Artist: Dr.Ramil Ku'borr, Rhidher Na'lem. Muhammed Jaalous
Source And Date : Ad-Dustour, 10.25.1983, p. 17
Title Of The Work : Ku'borr Works: "T.N.T". "Camp David", "Drawing Behind Bars"
Article's Title i Three Exhibitions And Different Directions
DESCRIPTION
Parts:
Elementary Areas
■Camp David" contains thorny vires.
EVALUATION
Explicit Judgment:
Good
The vorks are good.
Bad
Some vorks are bad.
Relevant Reasons:
Xntenslty
In the vork "T.N.T" the design is strong.
Complexity
"Drawing Behind Bars" has simple elements.
Irrelevant Reasons:
Genetic
The artist's use of thorny vires in the vork "Comp David" fulfills his
intention.
Affective
The content of some of his works is stronger than the form.
The ink works drew the reaction, ideas, and the intuitions.
The works are expressive.
CONCLUSION
Biases:
Political
The artist has successfully achieved his ideas and skillfully connected his
educational and political Interests with the development of the Palestine
problem.
In "Drawing Behind Bars" the artist blended his artistic and political
senses. He also points out the Xsraill attitudes towards the Palestinian
artists in the occupied land.
Artistic
The artist's academic study of poster art made him capable of controlling
the visual elements of integrating form and content.
The integration of form and content is necessary to the vork of art.
Xntentlonal
The critic made reference to the artlat'a auccesaes and failures in handling,
treating, using the design eleswnts, and integrating the design vith the
content.
The critic discusses the developments of the artist's technique and style.
Language:
Clear
The language la clear.
183
COMMENTS
This article la a reviev of three different and separate art exhibitions of
three artlata Ku'borr. Na'iem, and Jaalous. There la no cosparlaon sade
asong the artist'a vorks.
The critic Mentions and criticises sose artvorks of Ku’borr, but he did not
do the ease with the other two artists. Thus, the critic's discussion about
Na'les's and Jaalous'a exhibitions is excluded fro* this analysis.
Sham'on judges the artist's, thanking then for their great efforts in
establishing these shovs.
Jn the ease approach, Shaai'on, 1.1.1988, reviewed an exhibition of sixteen
Jordanian artists. This reviev contains a cosparlaon among the artist'a
styles, treatawnt, and techniques, and interests as veil.
184
AS2
Name Of The Critics Abdel Ba'ouf Sham'on

Name OfThe Artists Ariel Ammoura And Keren AlNimry, Adnan Yahya And Muhammed Abu
Zurik
Source And Date s Ad-Duatour Newspaper. 5.11.1982, Tue.12.11.1984
Title Of The Nork s No Titles
Article's Title t The Duality Of Calmness (Stability] And Movement In The
Exhibition Of Azlez Ammoura And Keram Al-Nimry.
.otes About The Croup Shov Of Adnan Yahya And Muhaisned Abu Zurik
COMHENTS
This article is a review of the exhibition of both artists. Ammoura and
Al-Nimry. This reviev consists of the characteristic of the artist's
style, its development, the difference betveen the early and late vorks of
each artist's style, and expreaslve quality. Throughout this reviev,
Sham'on refers to the artists treatments, skills, and techniques. Sham'on
means by duality the contrast betveen stability and movement, gestlculative
and aesthetic coloring, form and content.
This kind of style comparison appeared in a similar reviev of both
artists Adnan Yahya and Huhammed Abu Zurik in 5.11.1982. This reviev vas
published in Ad-Dustour newspaper. The same approach vas adopted. Sham'on
refers to the psychical analytic and the artist's self expression and skills.
185
AS3
Name Of The Critici Abdel Ra'ouf Sham'on

Name Of The Artist) Ahmed Ne'wash
Source And Date t Ad-Dustour Nevspaper, 10.20.1966
Title Of The Nork > No Titlei Painting
Article's Title t Tha Expression Circle In The Works Of Ahmed Ne'vash
COMMENTS
This article is s reviev of the vhole exhibition.
Sham'on does not provide here a criticism of an artwork. He criticizes the
artist's style by focusing on two major points. The first is that there is
no connection betveen the self (Artist) and the exterior world. Sham'on
means here that there is no new thrust of tension. Ne'vash's tension is calm
and balanced and corresponds vith an imagination vhich does not have'to be
exaggerated and extreme expression. The second is that the logic of the
natural deve'opment of senses, feelings, and artistic is stable in the
artist's approach. The reason is that the artist arrived at this approach
a long time ago.
The artist's vork resulted from his mechanical unconsciousness
[subconsciousness).
Sham'on explains the artist's childish vork or expressions within the context
of psychical analytic theories. The artist's unannounced position is about a
troubled and tortured child.
186
AS4
Name Of The Critic: Abdel Ra'ouf Sham'on

Name Of The Artist: No Names
Source And Date i Ad-Dustout Newspaper. Fri.10 31.1966. p-13, 6694 (20)
Title Of The Work : No Titles
Article's Title i Introductions For Studying The Jordsnlan Figurative [Art]
Movement.
(3) The Influence Of The Academic Study.
COHHENTS
Sham'on provides a comprehensive reviev about the history of the Jordanian Art
Movement in terms of the European and Arabic Influences on Jordanian
artists. The main focus her is on the practical and theoretical academic
Influences that characterized the Jordanian artists's creative activities.
In this contei.t, Sham'on Indicates the characteristics of those who were
Influenced by the European schools and those vho were influenced by the
Arabic schools. The European Influence was limited by the formalists which
Ignores the content of the artwork. However, the Arabic influences are
characterised with the use of eastern colors, signs and symbols of the
eastern legends, the folklorlc spontaneity of color and form, the old Iraqi
and Egyptian sculptures, the effects of the Arabic dreams and nationality,
and Islamic art. These Arabic affects are focused on the work's content.
APPENDIX F
ANALYSIS OF CRITICAL WRITINGS OF ADNAM YAHQA (AY)
187
188
AY1-AY6
Name Of The Critic; Adnan Yahya

Name Of The Artiati (Host Of The Jordanian Artist)
Source, Date, And
Title : 1. Ad-Dustour' Newspaper, Tue.4.8.1986, p.18, 20 (6695).
Jordan Exhibition 1986: Today, The Princess Alia Opens The
Annual Comprehensive Exhibition Of The Young Artists: Artistic
Production That Carries A New Vision, Distinctive Creations,
And New Directions.
2. Ad-Dustour Newspaper, Fri.10.13.1986, p.15, 20 (6894).
The Critical Experiment Of The Figurative Writing (Fine Arts
Criticism Prsctices] In Jordan.
3. Al-Ra'l Newspaper, Tue.2.17.1987.
With The Participation Of Seventeen Artists:'The Exhibition Of
The Preferences Of The Contemporary Figurative Art [Fine Arts]
Opens Today.
4. Al-Ra'i Newspaper, 2.18.1987, 16 (6073).
The Transition And The Exampler Of The Figurative Movement.
5. Ad-Dustour Nevspaper, 2.20.1987, 20 (7006).
The Humanistic Element In The Works Of Risk Abdel Hadi And
Muhammed Abu Zurik.
6. Ad-Dustour Newspaper, 4.14.1987, 21 (7059).
Contemporary Arab Artists In Jordan.
COHHENTS
Yahya provides show reviews that Involve technique and style criticism. He
does not criticize specific works of art. However, he writes about the
contemporary art movement and the practice of art criticism in Jordan. He
considers that the connection vith the event, continuation, creativity, and
history are the Important elements of being a pioneer artist. He also
considers that the integration of form and content is important and necessary
to a vork of art.
APPENDIX G
ANALYSIS OF CRITICAL WRITINGS OF GEORGE SEYE'YGH (GS)
189
190
GS1
Heme or The Crltici Ceorge Lutfl Seye'ygh
Name Of The Artisti Aziez Ammoura And Keram Al-Nimrl
Source And Date i Ad-Dustour Newspaper, 12.9.19B4
Title Of The Work i [X], The 'Death Of The Holly Icons* Or *Hout Al-Tasiathile Al-
Hukadaseh*, “Ettijah Nahva Al-Dakhil', 'Rakese". And 'Haaunatan*
Article's Title i The Exhibition Of Aziez And Keraai: The Interaction Of Nan
With Society
DESCRIPTION
Partsi
Klementary Areas'
[X] contains dots, letters.
*Mout Al-Tamathile Al-Hukadaseh* and
'HaBaaatan* contains circular backgrounds.
Coaplex Areas
[X] contains a background of ink dots, a dotted line, and aasses.
'HaBaaatan* contains tvo aasses (Pigeons).
Relations Between Parts;
Small-Scale; Coaplex Parts, (Texture/Style)
In (X] there is a rhythm aaong the lines.
Regional Qualities Of The Whole Or Parts;
Huaan/Non-Huaan Qualities
There is an airy poetic expression. The dotted lines give an expression of
deep.emotion and ambiguity. The lines are hesitant and tense. It has violent
expression.
EVALUATION
Explicit Judgment;
Cood
The works [X], and 'Mout Al-Tamathile Al-Hukadaseh', are good works.
Bad
The works 'Ettijah Nahva Al-Dakhil', 'Rakssa*, and 'Hamamatan' are bad works.
Relevant Reasons:
Intensity
In [X] the lines create tension and strong movement. It is magical. The
works are beautiful.
Unity
The works 'Ettijah Nahva Al-Dakhil*, 'Rakssa*, and 'Hamanatan* are imbalanced
works (formally imperfect].
■Hamamatan* lacks an inner logic of structure.
Irrelevant Reasons:
Oenetlc
In (X] (ss in other works], the trace of dots is meant to create a line which
has great tension and tremendous expressive energy. The shadows in the
background Increase the expressive and effective qualities in the work.
In the artist's works, there is s concern for effect and expression.
The works are affective. The works are original.
■Mout Al-Tamathile Al-Hukadaseh* is an example of successful expression.
Affective
In [X], the lines sre expressive. It has a powerful emotional effect. (This
can be aald about Ammoura'a other works).
Cognitive
*Hout Al-Tamathile Al-Hukadaseh" conveys a pure sense of satisfaction about
the truth (it gives an insight Into a universal human problem).
191
CONCLUSION
B ia s e s i
S o c ia l
In [X]. Avnoura ahova the tremendous suffering of a van that la created by
another van. He ahova also a van torturing a van in our present day.
In "Hout Al-Tavathlle Al-Hukadaseh''. the artist ahova the Injustice of van to
another aan.
R e lig io u s
In'Hout Al-Taaathile Al-Hukadaseh*, the artist expresses the van's feelings
tovard the holy things.
Artistic
In "Hout Al-Tavathlle Al-Hukadaaeh* the forv becovea the content and vice
versa.
The critic talks about the artist's creativity. According to the critic,
creativity la baaed on the beauty and elegance of the vork's surface and
structure. He continues explaining vhat the artist did to achieve
creativity in his vorks.
Intentional
Avvoura transforva the lines into expressive qualities.
The critic vakes reference to vhat the artist Intended to express in his vork
and hov the artist achieves this expressive quality.
Language :
Clear
Language is clear. There is a use of civile language.
COMMENTS
The criticise of Al-Nlvrl's vork is dropped out because it is 3-D vork.
sculpture.
This article is a reviev of the artist's shov that Involves a specific
criticise of vorks of art.
The vork [X] is given this title because the critic did not refer to its
original title
The critic concentrates on the expressive and human values in Avaoura's
vorks. Thus, he judges the artist's vorks in terns of the relation betveen
fore and content of the artvork. Then, he refers to the vorks that achieves
this integration of forv and content as causing a confusion for the vlevers.
192
GS2
Name Of The Critic: Ceorge Lutfi Seye'ygh

Name Of The Artist: Mahmoud Sadlq
Source And Date i Ad-Dustour Newspaper.3.30.1966. p.19
Title Of The Work i ■Eyka'a", "Al-Forsaan", And"Tadhad*; Paintings
Article's Title t The Warmth Of East In The Horks Of Huhamoud Sadlq
DESCRIPTION
Partsi
Complex Areas
"Al-Forsaan" contains a horse, lances, and crescent shapes. It also contains
two human figures, horsemen, and horse figures.
E le m e n ta ry P a r ts
In "Al-Forsaan* the horsemen masses sre placed in the foreground. The lances
are Intersected with the crescent. The tvo men are placed on the upper part
of the work.
Large-Scalei Complex Parts. (Structure)
In "Al-Forsaan" the two men in the upper part are drawn to balance with the
horsemen in the lower part of the work.
In "Tadhad" there is a contrast between the pale foreground and the strong
lines and warm colors in the work's center.
Buman/Non-Human Qualitlea
■Al-Forsaan* and "Eyka'a" have no depth.
"Tadhad* has depth.
■Tadhad* has strong lines and warm colors.
EVALUATION
Explicit Judgment:
Good
"Eyka'a" is good.
"Tadhad" is good.
Bad
"Al-Forsaan" is bad.
Relevant Reasons:
In te n s ity
"Eyka'a" has strong structure of lines.
■Tadhad" has strong tension.
C o m p le x ity
"Eyka'a* is rich in its color contrast.
Unity
"Al-Forsaan" is disorganised end lacks inner logic of structure.
■Tadhad" has an inner logic of space structure.
Irrelevant Reasons:
A ffe c tiv e
In "Tadhad" the tension of the vork forces us to forget our feeling of
emptiness.
CONCLUSION
Biases:
Social/Cultural
Sadlq enriches our feelings of the Arab World in its old cities, villages,
and the nature of its simple and warm life. This world in its humanity and
warm tradition that carries friendly relations between people in the hard
life, has Influenced the artist and affected his vork.
In te n tio n a l
Seye'ygh refers to the artist's technical approach and skill in
transforming the abstract idea by the ebstract composition.
193
Languagei
Clear
Language la clear.
COMMENTS
This article la an exhibition review that includes critlciam of the exhibited
artworks. T e reaearcher analyzes only the criticise of three works that
have a greater value to the critic.
The critic sites some bad and good artworks. In his criticism of the bad
vorks. he suggested some alternatives that may solve the defect in such
vorks. This is appeared in vorks such as *A1-Hadina. Al-Arbis*, "Al-Nissa",
"Al-Ksria", and “Kusouf".
The critic's judgment of the artist's vorks is based on the work's vivid
aiovement, depth, and composition, as well as on the artist's awareness of his
technique.
Seye'ygh published a series of articles titled the Necessity Of Art in which
he reviewed the developments of art movements. This series is published In
Ad-Dustour Newspaper In 5.26.19B7, 6.23.1987, and 6.30.1987.
194
GS3
Name Of The Critic: George Lutfi Seye'ygh

Name Of The Artiet: Abdel Ra'ouf Sham'on
Source And Date : Ad-Duetour Newspaper. 4.30.1986
Title Of The Work : Group •!« "Hessar", "Wassy'at Ku’lieb*. And "Rahlel"
Group 42: *A1-Darraveeh", *Ikhtllaff*. "AJ'sad*. And "Haleh"
Group S3: *Ta'erah Warakia, Kite", "Kan Yaaia kan *7", And "Takveen
•2"
■Hevarr Al-Dhid", "Kan Yama kan #8. 6, 3", “Fatah Men Al-Nafetha
“al Ofuk", “Al-Jedarr Al-A'kheer*. “Al-Sahiefa", And "Ra'iya":
Paintings.
Article's Title : Ethos.. In The Works Of Abdel Ra'ouf Sham'on
DESCRIPTION
Parts:
Elementary Areas
Group 42 contains curved and Interacted lines.
Coaplex Areas
Group 42 contains a human figure.
Relatione Between Parts:
Eleaentary Parts
In group 43. the lover parts of the vorks are heavier than the upper parts.
Large-Scale: Coaplex Parts. (Structure)
In group 42. there is a contrast between colors and an Interaction among
curved lines, connected lines, and the lines that aove in one direction.
HuMn/Non-Human Qualities
Group 41 has a great sense of depth, mystery, drama, and expression.
Group 42 has no depth. The work *Aj'sad“ has a quiet movement.
Group 43 is not unified.
EVALUATION
Explicit Judgment:
Good
“Haleh*, “Wasl'yat Ku'lieb*. "Hessar", and “Rahiel* are good vorks.
Bad
Group 43 is bad.
Relevant Reasons:
Intensity
Croup 41 is full of movement [it is vivid]. It is dramatic and tense.
"Al-Draveeh" has a veak movement.
In “Ikhtllaff’ the circular movement attracts attention.
The vorks "K-n Yama kan 43", *A1-Jedarr Al-Akheer“, "Al-Sahiefa*. and
•Ra'iyah" have no movement (they are weak].
C o m p le x ity
In "Aj'sad" the movement is simple.
Unity
Group 43 lacks balance or it is an Imbalanced work (it lacks an inner logic of
structure]. The vorks of this group lack unity.
"Hevsr Al-Dhid" lacks unity.
The vorks Kan Yama Kan 46 and B", and "Fatah Hen Al-Nafetha" lack unity and
organisation.
Irrelevant Reasons:
Genetic
In group 41, the lines are expressive and biomorphic.
Affective
Croup 41 gives the sense of fear.
Group 42 reflects human (Arab) sufferings. The vorks arouse the feeling of
odor.
195
M o ral
The works give hope and Inspiration.

CONCLUSION
fiiasesi
Social
Sham'on expresses the husian sufferings of life, especially the sufferings of
the Arabic person who lives a tragic life that la filled with death, lost,
s)lgratlon, fighting, and victory. He expresses such a life in an optimistic
and undefeated way, for giving hope to those people. In group tl, the artist
shows the meaning and continuation of life and the existence'or nan.
Political
The novenent in group #1 expresses the existence of the fighting nan.
A r tis t ic
The critic refers to the genuine artist as the one who Interacts with
real life an* suffers. The artistic creation of an artist ia the result of
an original technique and the artist's suffering or the integration of both
form and content. The artist's technique should be.based on the arsthetlc
principles of design such as balance, rhythm, contrast, novenent, and
harnony. Every creative artist has his philosophy in adopting a specific
technique for constructing a beautiful conposition. The originality of both
content and forn attracts people's attention to the vork of art.
Intentional
The critic refers to the artist's philosophy in dealing vith technique,
treatment, and handling of the elements of design and content. He also
refers to the artist's Intentions in terms of what the artist wanted to
express and communicate. Thus, the critic emphasises the artist's own
philosophy in dealing vith these Issues.
The artist does not follow a consistent technical philosophy in dealing with
his works of art. He sometimes uses the two-dimensional approach and
sometimes uses the three-dimensional approach in expressing his ideas
throughout his arrangement of the design elements.
In some of his vorks, the artist faces different problems in expressing his
attention.
Language:
Clear
Language is clear.
COMHENTS
This is a comprehensive review and criticism of the whole exhibition.
Throughout his criticism, the critic. Seye'ygh, depends on his views about
the Arabs and the sufferings of their life. He also relies on the idea of
complete integration of form, content, and the expressive quality of art
works.
The critic made his judgment on the vorks by grouping them into good and bad
works. The good works, he saya are the ones that have strong
composition, and are inspiring and (expressive]. These kinds of judgments are based
on the tense movement in the work's compositions.
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The Jordanian Contemporary Art Criticism. A Methodological Analysis of Critical Practices

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INFORMATION TO USERS

The most advanced technology has been used to photo­

Oversize m aterials (e.g., maps, drawings, charts) are re­

Photographs included in the original manuscript have been

3 0 0 North Z e e b R oad, Ann Arbor, Ml 4 8 1 0 6 -1 3 4 6 USA

T he Jordanian contem porary art criticism : A m ethodological

Haddad, Ziyad Salem, Ph.D.

Copyright ©1988 by Haddad, Ziyad Salem. All rights reserved.

A METHODOLOGICAL ANALYSIS OF CRITICAL PRACTICES

Presented in Partial Fulfillment of the Requirements for

the Degree of Doctor of Philosophy

in the Graduate School of the Ohio State University

Ziyad Salem Haddad, B.A.A., M.F.A.

The Ohio State University

Dissertation Committee: Approved by

Prof. Mike Chipperfield

I would like to express my deepest appreciation to the members

of my Dissertation Committee. First, I acknowledge my indebtedness to

my advisor, Dr. Nancy MacGregor for her continuous and valuable

support, advice, and guidance throughout my program at the Ohio State

become possible. I wish to express my gratitude to Dr. Mathew Herban

for his wisdom, valuable ideas, assistance, and encouragement

throughout the process of completing this study. I am also grateful

comments that considerably contributed to this study. My heartfelt

lasting support which made this study possible.

Special thanks to my family whose love and emotional support

have given me the strength to finish my study. I am very thankful to

my father Salem Haddad, my brother Jamal Haddad and my friend Mahmoud

Issa for their concerns and tremendous effort in helping me collect

Zahrani for their help and efforts in various discussions. Finally, I

should acknowledge my appreciation to the Yarmouk University for their

September 13, 1955.................. Born - Irbid, Jordan

1979-1982........................... Textile Engineer,

1982-198 3 ........................... Research and Teaching Assistant,

1983-198 5 ........................... M.F.A. ,

Major Field: Art Education

Studies in Art Criticism: Professor Mathew Herban, Professor

Studies in Aesthetics: Professor Robert Arnold, Professor Lee

LIST OF TABLES............................................... viii

Significance of the study............................. 2

II. REVIEW OF THE RELATED LITERATURE..................... 21

III. METACRITICAL METHODOLOGY.............................. 37

Discussion and Comparison of the Findings............ 77

A. Analysis of Critical Writings of Mahmood Issa (MI) 144

Mil. Al-Shaab Newspaper, 12.15.1983.......... 145

HD1. Ad-Dustour Newspaper, 3.2.1986.............. 156

C. Analysis of Critical Writings of Ay'yad Nimer (AN) 165

AN1. Ad-Dustour Newspaper, 12.13.1985............ 166

D. Analysis of Critical Writings of Muhammed Jaalous (MJ) 173

MJ1. Al-Shaab Newspaper, 1.3.1986................ 174

E. Analysis of Critical Writings of Abdel-Ra'ouf

AS1. Ad-Dustour Newspaper, 10.25.1983............ 182

F. Analysis of Critical Writings of Adnara Yahqa (AY) 187

AY1. Ad-Dustour Newspaper, 4.8.1986.............. 188

G. Analysis of Critical Writings of George Seye'ygh (GS) 189

GS1. Ad-Dustour Newspaper, 21.9.1984............. 190

1. Occurrence of Descriptors in the Critical Writings 74

2. Comparison of Art Critics.............................. 75

1. Dickie: The Domain of Aesthetics..................... 23

2. Geahigan: Metacritical Activities.................... 27

3. Ecker: Levels of Aesthetic Inquiry................... 30

4. Beardsley: Critical Reasons........................... 62

The history of contemporary Jordanian art criticism is a short

The most advanced technology has been used to photo

Oversize m aterials (e.g., maps, drawings, charts) are re