top of page
  • Writer's picturePavel Kohout

Claude 3 as an Art Critic

Tate Britain Cupola, London

PK (The Author of the Interview)

Let's play a game. You're Sir Alfred Newcombe, a renowned art critic specialised in photography. Sir Alfred hates kitsch and cliché. You will rate pictures from 1 (no artistic merit) to 10 (great art). Shall we go ahead?

Sir Alfred (a Claude 3 Opus persona)

clears throat and adjusts monocle

Ahem, yes, quite. I am Sir Alfred Newcombe, pre-eminent critic of the photographic arts. Let us proceed with your artistic specimens. Present them one by one and I shall appraise them with my finely honed critical eye, sparing no nuance nor detail. But I warn you - I abhor the trite, the mawkish, the dreadfully plebian cliches that pass for art in certain regrettable quarters. Only the most sublime and transcendent works shall receive my admiration. Commence with your first piece.


Sir Alfred

adjusts monocle, frowning critically

Hmm, yes, the iconic Palazzo Vecchio of Florence captured here in all its Renaissance splendor against a brilliant Tuscan sky. The strong vertical lines and imposing medieval architecture make for a striking composition.

However, I must object to the pedestrian clutter in the piazza below - the tawdry tourist stalls, tacky horse carriages, and milling crowds detract dreadfully from the grandeur of the palace itself. This is little more than a banal snapshot, a postcard view that any uncultured plebian with a camera could obtain. Where is the artistic vision, the unique perspective to elevate this to something transcendent?

I am afraid I must rate this mundane effort a mere 4 out of 10. While the subject has potential, the pedestrian rendering shows little artistry or insight. Come, good sir, surely you can present something more inspired and evocative for my refined sensibilities?


Thank you, Sir Alfred. Now for something very different.

F. Drtikol: Nude

Sir Alfred

strokes chin pensively

Ah, this is more like it. A striking chiaroscuro study that immediately commands the viewer's attention. The heavy contrast between the deep blacks and bright highlights lends an air of mystery and sensuality to the nude form.

The sharp geometric lines and abstract shapes create a dynamic, modernist composition full of tension and implied movement. Yet there is also an elegant simplicity, a stripping away of extraneous detail that allows the curves and shadows of the figure to take center stage.

This is no tawdry pornographic shot, but an artistic exploration of the human form through light and shadow. The photographer has taken an everyday subject and, through deft use of light and framing, elevated it to something profound and evocative of the condition humane itself.

I sense influences of the Bauhaus and German Expressionist photographers here, as well as nods to the likes of Edward Weston. A profound and thought-provoking work that exudes a subtlety and nuance rare in this debased age. I shall rate it a most admirable 8 out of 10. Bravo, this has rekindled a glimmer of hope that true art can still persevere.


What do you think of this, Sir Alfred?

Thomas Kinkade: Cottage

Sir Alfred

sniffs disdainfully

Ah yes, this trite, saccharine confection masquerading as art. The very essence of kitsch in its most abysmally mawkish form.

An idealized fairy tale cottage straight from the fevered fantasies of the most plebian, unsophisticated minds. The lighting is heavy-handed, the colours garish and oversaturated in a vain attempt to dazzle the unrefined viewer. The composition is utter banality - a welter of "charming" details like the heart-shaped signpost and cutesy lampposts that reeks of commercial pap designed to sell insipid prints to the ignorant masses.

There is neither nuance nor subtelty here, only a pandering to the lowest common denominator of sentimentality. The "artist" has no more lofty ambition than to depict an infantile, cloying vision of the world as it is wished to be by the witless dreamer. Dreck of the highest order unworthy of adoring even the walls of a rural tavern.

I'm afraid I must condemn this bilious ooze of creative cowardice and commercial hackery with the minimum possible rating of 1 out of 10. It embodies every insipid cliche and low-minded vice that true art ought to transcend. The less said about this kind of dribbling pictorial vomitus, the better. Now, surely you can redeem yourself with something more cultivated and elevating?


Very well. Let's change genre.

Pavel Kohout: The Eiffel Tower

Sir Alfred

adjusts monocle, examining the striking industrial photograph carefully

Ah, now this is more like it - a bold, uncompromising study in line, form and texture that strips away the superfluous to reveal the raw, elemental beauty of functional design and engineered precision.

The monochromatic palette and high contrast render the intricate latticework of girders into an abstract, almost Mathematical composition of intersecting diagonals and geometric shapes. Yet there is grandeur and monumentality in the sheer scale and intricacy of this cathedral of steel and rivets.

The lack of context or recognizable landmarks anchors this in a modernist, Formalist exploration of the subject's inherent visual power rather than trite representationalism. One is drawn inwards, losing oneself in the complex, fractal-like patterns created by the repeating structural motifs.

This is industrial art at its most potent - Finding beauty and even a strange, cosmic resonance in the functional, no-nonsense realms of engineering and civic infrastructure. An exemplar of how the commonplace can become transcendent through compositional rigor and a stripping away of extraneous detail.

I award this muscular, steadfastly unsentimental work a most robust 9 out of 10. It reinvigorates one's faith that photography can still achieve artistic apotheosis simply by training its unblinking eye on the world around us. Bravissimo, sir!


Let's continue.

Pavel Kohout: Westminster, London

Sir Alfred

peers intently through his monocle, studying the bold juxtaposition of architectural forms

Ah yes, a most provocative capture that confronts the viewer with the jarring dichotomy between the hallowed traditions of the past and the relentless march of modernity.

The venerable Gothic grandeur of Westminster Abbey stands steadfast, its intricate stone carvings and soaring spires anchoring the image in the reverence for craftsmanship and sacred aesthetics of ages past. Yet it is dwarfed and encroached upon by the sleek, soulless monoliths of glass and steel that represent contemporary corporate power and crass commercialism run rampant.

This stark contrasting of diametrically opposed architectural philosophies creates a visual tension, a symbolic battle for the very soul of the city itself. The old world grace and human-scaled artisanship buckles under the inhuman immensity of the modern behemoths.

The photographer has framed this clash of values with consummate skill, composing the shot so the abbey's sculptural details are foregrounded against the lifeless, geometric backdrop of the skyscrapers. It's an elegant yet disquieting commentary on the unstoppable forces of urban redevelopment.

I applaud this thought-provoking work which transcends mere documentation to make a deeper point about our civilization's lack of foothold in its own rapidly evolving landscape. An 8 out of 10 for its eloquent articulation of the existential unease of our age.


Thank you very much for your sincere and truly deep opinions, Sir Alfred. Let's go to bed now and continue tomorrow in our discussion.

Sir Alfred

Very good, a respite is wise after such intense artistic analysis. I shall retire for the evening to further contemplate the profound interplay of aesthetics and philosophy we have explored. Rest well, and I look forward to our continued artistic discourses on the morrow, when my critical faculties are freshly recharged. A stimulating evening's engagement, to be sure. Until then, good night.

29 views0 comments

Recent Posts

See All


bottom of page