Part 3 – Bibliography

Causey, A. (2013). Paul Nash – Landscape and the Life of Objects. Farnham, UK: Lund Humphries.

Green, L. (2011). W. Barns-Graham – A Studio Life. 2nd ed. Farnham, UK: Lund Humphries.

Harris, A. (2010). Romantic Moderns. 1st ed. London: Thames & Hudson.

Harrison, C., Barker, E. and Vaughan, W. (2005). Samuel Palmer 1805-1881 – Vision and Landscape. London: The British Museum Press.

Harrison, H. (2008). Pencils & Pastels. London, UK: Southwater.

Jarvis, S. (1998). Adorno – A Critical Introduction. Cambridge, UK: Polity Press.

Krčma, E. (n.d.). Cinematic drawing in a digital age. [online] Available at: [Accessed 20 Dec. 2016].

Pearson, F. (2007). Joan Eardley. Edinburgh, Scotland: National Galleries of Scotland.

Roberts, I. (2008). Mastering Composition. USA: North Light Books.

Scott, M. (2005). The Sketching & Drawing Bible. 1st ed. London: Search Press.

Smith, R. (2003). The Artist’s Handbook. 1st ed. London: Dorling Kindersley.

The Pallant House Gallery, (2008). Eileen Agar. 1st ed. Chichester, UK: The Pallant House Gallery.

William Kentridge interview: How we make sense of the world. (2014). YouTube.

William Kentridge: Listening to the image — Neubauer Collegium inaugural lecture at the UChicago. (2013). YouTube.

William Kentridge: Peripheral thinking. (2015). YouTube.


Part 3 – Reflections 3 – Assignment 3

Thoughts on the context and content of the Assignment 3 pieces.

Matisse table

matisse table


Raul Duffy – Little Palm Tree

When I had decided to work on the image of the garden I was thinking of the tables and chairs as they appear in many of the impressionist and post-impressionist paintings.   The only difference is that these seem mainly to have been painted in high summer or at least in strong light.

I wanted to feature the table which had erupted over the winter and was trailing its edge, the surface now undulating with damp.   On top of this is the pot with a plant that is just stem and no leaves.  Finally there is the bare earth in parts of the border.

revised view Assignment 3

Since this photograph was taken there was a big storm during which the pot fell and broke and the table has now been taken to the dump!  Transitions.   In a way this is what I think the whole of this Part 3 has been about – getting me out and re-connecting to the outside world.   In some areas this has had a strong response and in others i.e. buildings no response at all.

Also I suppose there was context and personal connection in the assignment piece but it does not come through as strongly as in the last 2 assignments I think.


  • A lot of frustrations which sometimes pushed me on to do things I would not have previously undertaken
  • Re-connecting to outside, trees, nature, landscape etc. personal places
  • Need for greater planning and thought in preparation for going out to draw
  • Still struggling with keeping work fresh and spontaneous
  • Challenging myself to use different materials and combination of materials.
  • Necessary to undertake more time planning at beginning of the modules so that I can fit in reading and research in a more structured way
  • More patience – I can’t achieve everything at once – but keep trying!
  • Stay open to opportunities and my responses to subject matter
  • Keep more notes on what rises to my consciousness – it doesn’t have to fit.


Part 3 -Exhibitions 3

Rauschenberg – Tate Modern

I finally got to the Tate Modern to see the Rauschenberg exhibition. What struck me was how to look at the work that has become the iconic 60s images specifically the Combines and silkscreen paintings from the viewpoint of these being “new” and inventive departures from what was going on at the time.  In fact I found all these less impact -full than some of his very early  “scatole personali” (awkwardly physical).  These tiny disintegrating memorabilia reminded me of some of Susan Hiller’s boxes.   Heaped in meaning and significance.

But what I hadn’t known about were his collaborations with actors, composers and dancers and the creation of multi-layered theatre pieces. Some of the stage detail and running order scripts are themselves works of art.   I have collected a number of snippets from these:-

30 Large Desert Turtles with Torches Strapped to Their Backs

Spring Training 1965

Rauschenberg and Paxton took turns carrying each other like planks

People were carried around on brightly coloured boards reading out a newspaper backwards – Urban Round

Rauschenberg carried a sack containing a singer who sang an old Spanish song  – Open Score 1966

There is something about these suggestions of the live action that bring very strong images to mind.

Transfer Drawings

rauchenberg dante 2   rauchenberg dante 3 rauchenberg dante

Rauschenberg’s discovered technique of transferring images onto paper using lighter fluid led to his development of multi-layered series of images of Dante’s Inferno.  These amazingly detailed and delicate creations moved me more than anything else in the exhibition.   Probably coming across something so very different from the expected was part of it.   Also they encapsulate a depth of thought and vision which I didn’t find in the other work.  After these I find the silkscreens rather crude and something of the “factory” similar to Warhol’s output.  The transfer drawings are intensely personal and the introduction of different materials and techniques intriguing.




Part 3 – Project 5 – Exercise 4 – Statues

The Juggler – Hove Town Hall

Juggler hove

Juggler sketch

Started by trying to get the perspective and proportions of the statue in balance and look at it in relation to the setting which is the back of the building of Hove Town Hall. It was difficult to capture the angles of the figure as well as the proportions that I thought I was seeing compared with the actual piece itself. There was more foreshortening drawing from this angle than I though there would be and despite trying to use the building as reference I found it quite difficult.

The Juggler 2

Interestingly for this second drawing I again decided to look at the statue in relation to its context which were the angles of the buildings surrounding it. Again trying to use these as reference points in the planning of the drawing it proved very difficult to draw what I was seeing as opposed to what I thought I saw.   This was particularly the case with the head of the figure which again and again I presumed to be larger than it was.

I could have spent more time on getting the colour values of the figure and the buildings more realistic but there is something about its “un-naturalness” that I like. Also I believe that the angles of the buildings and their windows add something to the composition.

The Garden Statue – after Cezanne

Cezanne cupid

Cezanne cupid painting

For some reason this painting and accompanying drawings by Cezanne have stuck in my mind.  Maybe it is because figures in Cezanne’s drawings are unusual even if it is a statue.

garden statue 1

My first attempt was using the usual charcoal/conte on watercolour paper.   This I think works to some extent in terms of rendering the surface quality of the concrete garden statue. Again it is tempting to draw what you expect to see and not the proportions looking down on the figure.

garden statue 2

This second drawing on blue pastel paper with a variety of media is more proportionally successful.   With more working the surface qualities could be achieved.

garden statue 3

I prefer this final drawing for many reasons.   The paper is some of the Indian handmade paper which in itself is interesting. Looking obliquely down at the figures is more dynamic than in the previous two drawings. Generally the mark making is also more dynamic and engaging with the figure itself rather than just “drawing” the figure. By that I think I mean that I am more successful at depicting the form.

Part 3 -Project 5 – Exercise 3 – Limited Palette Study


Started by trying this limited pallet study with 4 coloured pencils.   However apart from the fact that the rig is leaning again I find it very uninspiring.   It appears flat and uninteresting to me. So rather than continue I moved on to the study below.

Project 5 exercise 3 limited palette study

In this study I tried to use just the traditional conte sticks and charcoal.   It is much more atmospheric and has a mood which related to the day, the weather and the time of year.  Again it is rather stark but of all the drawings I have done of the town I am most satisfied with this one.

If time and weather had permitted it would have been good to draw more of the extent of the view from the concertina drawings.


  1. With perseverance I can achieve something of the built environment but it seems this is only relevant to me when it is in relation to the natural environment too.
  2. I am going to revisit these views at different times of the year – when there is more colour I might find it more challenging and interesting.
  3. Unlike landscape these studies have been a struggle and not a revelation.


Part 3 – Project 5 – Exercise 2 -Townscape using Line


So rather than using 2 adjacent pages I used my concertina sketchbook to draw the two views.

Above and below is the view from the Road Bridge across Shoreham Harbour and the Adur river. I am really drawn to this long view and particularly the right hand shore which has lots of banks and houseboats.   This is in strong contrast to the left-hand shore which is very built-up and is particularly emphasised by the drilling rig which is temporarily repairing the sea wall.


The view above and below are the alternate view from the pedestrian bridge looking inland towards the South Downs.

I chose this view to concentrate on as it more clearly fitted the brief of townscape.



The final drawing in a variety of media is not as accurate as I would have hoped.   I like the foreground much more than the buildings which seem rather crude though quite accurate. Not sure why the rig seems to lean over – maybe it was the angle I was drawing?


Part 3 – Project 5 – Exercise 1- Townscape Drawings


Initially I was trying to capture the shape and perspective of the view of Shoreham-by-Sea from the pedestrian bridge.   The tide was quite hight and the rig on the right was reflected in the water.   This reflection was what drew me to the scene much more than the buildings which do not interest me very much.


I then moved onto a more tonal approach which I is more successful in terms of showing the sober overcast winter day. The reflections and the foreshore come over stronger in this study. Little difficult trying to decide what to leave in and leave out.   There were a lot of vehicles and men but these seemed only to confuse the composition.


Finally I drew s more detailed drawing from the other side which is the road bridge.   Concentrating on the rig which was repairing the sea wall.  Unfortunately I chose a pencil which is very faint.


  1. Buildings and their environment are not my most natural elements
  2. I am interested in the river its ebbs and flows and the reflection on the water.
  3. Also I like the long view better than the detail – see next exercise.
  4. It is important to make early compositional decisions about what to include and what to leave out otherwise the images can get very confusing.