Criticisms and answers

This Post provides a link to “Chapter 12 : Criticisms and answers“, the last chapter of my book “Drawing with Feeling“. It is a short chapter which focusses, first, on possible critiques of the ‘feeling-based‘ method advocated in the drawing lesson and, then, on my responses to them

 

CHAPTER 12 – CRITICISMS AND ANSWERS

 

A selection of drawings and paintings by students

Drawing is used for making both drawings and paintings. Below I add examples of both made by my students, all of which required the use of drawing skills. Unfortunately, I do not have examples of work they produced before being subjected to the drawing lesson. I am sorry about this because the progress made can be described as either ‘significant‘ or ‘astonishing‘. For example, there are two drawings by dyslexics who came to Montmiral with extremely limited drawing skills (One, when she arrived, was much less skilled than many seven year old children, the other was in despair that he could find no teaching that could help him improve from his current naive-adult level). I wonder if anyone can pick out the images they made. Apart from these two examples, some of the works are by complete beginners, others are by relatively experienced amateurs and yet others are by professionals. Can you tell which?

The first drawing bellow illustrates the struggles that accompany the rigorous training of the feel-system that takes place during the drawing lesson. The second drawing illustrates the immediate benefit, while the other drawings provide a small sample of the variety of ways the students used what they had learnt in the longer term.

 

The drawing lesson
The drawing lesson: An example of the lower part of a tree trunk that took two and a half hours of talk and feel-system training to get this far. Notice the multiplicity of the mistakes and corrections.

 

criticisims : first drawing after the lesson
The drawing lesson: An example of a first, feeling-based, follow up drawing, taking approximately three hours

 

Criticisms : John Hughs drawing of esplanade wall
A drawing of esplanade wall (study for a painting)

 

Criticsisms: Mary Burke down the pathway-pencil
Down a pathway (a study for a painting)

 

Criticisms : Student: portrait of me
Quick charcoal portrait of me, when I was teaching rather than posing

 

Criticisms : Student : portrait of Laura
Seated woman reading

 

Criticisms : student : Seated woman in front of Fireplace
Seated woman posing for a drawing class, in front of a fireplace

 

Criticisms : Donal Bannister : Esplanade bench
A bench on the esplanade (a study for a painting)

 

Criticisms : george hooper doorway drawing
A ancient door in perspective (a study for a painting)

 

Criticisms : Student drawing of local landscape
Drawing of local landscape

 

Criticisms : Sarah Elliott : portrait of Fen
Portrait of a young woman

 

Criticisms : Loucine Hamel : portrait of Sarah
Portrait of a woman

 

Criticisms :Marie-Thérèse Rouffignac : Self portrait
A self portrait of a woman, in watercolour

 

Criticisms : Ken Marunowsky : Montmiral vista
Looking out beyond the buildings

 

Criticisms : Sylvia Toone : Still life
Still life with yellow teapot

 

Criticisms : Gordon Frickers yellow tree in oils
Pathway and trees

 

Hugh moore farmhouse in oil
Farmhouse in countryside

 

Roger Raijanovoja : dream logs burning
Dream of logs burning

 

Sarah Moore : Sheep tracks
Sheep’s pathways abstracted

 

Eliza Conyngham girl at Puycelci with chestnut
Memory of a magic moment

 


List of links to already published chapters from the two books on drawing

VOLUME ONE : “DRAWING ON BOTH SIDES OF THE BRAIN”

BOOK 1 : “DRAWING WITH FEELING”

The chapters so far loaded:

BOOK 2 : “DRAWING WITH KNOWLEDGE”

The chapters so far loaded:

OTHER POSTS ON DRAWING:

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