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




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



The chapters so far loaded:


The chapters so far loaded:



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