3 ideas
Standing in front of a work long enough that the first-glance verdict wears off lets you see how it was made: the decisions, the material handling, the places where the artist struggled or took a shortcut. Looking stops being about consuming an image and becomes a way to reverse-engineer choices you can use in your own work.
Before absorbing canon, criticism, or received taste, catalogue your own unfiltered responses: what you return to, what excites you, what embarrasses you by how much you love it. Those honest preferences are the raw material of a personal voice. Learning what you are supposed to like first tends to overwrite them with borrowed judgment.
You become an artist by producing work, not by preparing to, and the demons of doubt, envy, and fear of judgment never fully leave. The practical response is to keep working through them rather than waiting for confidence. Volume and persistence, including bad work, are what eventually produce good work.