The Drawing Year - The Prince's Drawing School

princesdrawingschool.org

The Drawing Year - The Prince's Drawing School

The Prince’s Drawing School

19-22 Charlotte Road

London EC2A 3SG

Registered Charity 1101538

Enquiries: call 020 7613 8529 or email

drawingyear@princesdrawingschool.org

www.princesdrawingschool.org

The

Drawing

Year

The Postgraduate Programme

at The Prince’s Drawing School

A full scholarship course

Photographs by Richard Ivey, Ahmani Vidal, Jeeti Singh, Corinne Mynatt, Derek Pigdon, Melanie Watkins and Tim Knowles.

Photograph of HRH The Prince of Wales by Alan Shawcross. Designed by Grey London and The Prince's Drawing School.


2

The Drawing Year is a one-year

taught MA-Level postgraduate

programme. All students on

The Drawing Year are awarded

a full scholarship.


Contents

6 The Drawing Year

9 Why draw from observation?

10 How the year is structured

13 The Prince's Drawing School curriculum

14 Drawing in the studio

16 Drawing from art

18 Drawing London

22 Printmaking

26 Drawing and imagination

29 Forum, lectures and films

30 Other opportunities and resources

33 Studios and location

34 Tutorials, assessment and exhibition

37 Alumni opportunities

39 What do our students go on to do?

40 Student stories – Joe Davis

42 Student stories – Sam Marshall

45 Student stories – Chris Green

46 Student funding, scholarships and bursaries

48 Applying

50 Frequently Asked Questions

52 Faculty

60 Our mission

61 Trustees, Assessment and Academic Board

63 Contact

{ I draw because the specific – a friend's face, a familiar street –

has appeared before me as a moment of seeing, as an epiphany,

to which I must somehow respond.} Timothy Hyman RA

4

Left Drawing by Paul Fenner

5


{ If only one could

draw! I can’t.

That’s why I keep

on drawing.}

Alberto Giacometti

7


The

Drawing

Year

Introduction from the

Artistic Director

The Prince’s Drawing School

started a postgraduate programme

dedicated to drawing from life

thirteen years ago. It is unique in

the spectrum of tertiary level art

education in the UK.

The Drawing Year is a course of

study at postgraduate level which

provides an opportunity for

intensive research and practice in

drawing from observation. It sees

drawing both as an end in itself and

in relation to other areas of practice.

The School provides a supportive

and lively environment for sustained

exploration in drawing, in the belief

that practice strengthens hand and

eye, and concentration nourishes

the imagination.

Drawing can be direct, incisive,

intimate, surprising, funny or

confrontational. Using the most

limited of means, drawing offers

some of the most demanding

opportunities for growth to a

contemporary artist, both visually

and intellectually, allowing a free

transition between mediums. It

is one of the simplest and yet the

most endlessly complex of human

activities, encompassing a wide

scope of practice and interpretation.

Drawing is taught as a way of

understanding. Drawing Year

students benefit from working

amongst peers and from the

contact with tutors and visiting

lecturers, who represent a wide

spectrum of artistic practice. They

value the freedom of intellectual

exchange and the atmosphere of

shared commitment.

Fundamental to the course is the

assertion of the connection between

looking and making images; a

belief that conceptual innovation

can be generated by an active

engagement with the visual world

that surrounds us.

Drawing connects what we see

with how we think. It is a crucial

meditation between the world

and our idea of it. More flexible

than language, drawing has the

power to express thought in a

new way, to communicate with

an economy of means.

Catherine Goodman,

Artistic Director

The Prince’s Drawing School

{ Every day I awake with the idea, today I

must teach myself to draw.} Leon Kossoff

6

Right Drawing by Georgina Sleap

9


Why draw from

observation?

A personal statement by Timothy Hyman RA, tutor

At some point between 1950 and

1980, most British art schools

abandoned the observational

drawing that had been at the centre

of all Western artists’ training for

at least 300 years. After the demise

of neoclassical values, plastercast

and nude model regimes had come

to seem irrelevant, often oppressive

and ritualised; “Slade drawing” was

characterised by Stanley Spencer as

“a disease”.

Nevertheless, by 2000, many artists

were aware of a lacuna in their

training, rendered more glaring by

the widespread renewal of figurative

imagery. Could one set up a drawing

school that took account of the

“de-skilling” inherent in twentiethcentury

modernism, that faced up

to the difficulties of representation

in our time, yet still offered an

intense engagement with perceptual

experience? Bonnard’s definition

of art as “The Transcription of the

Adventures of the Optic Nerve” was

one starting-point, and his own

story – throwing away his camera to

embark on a lifelong daily practice –

seemed emblematic of that “renewal

by Drawing” enacted by several

more recent artists. In the case of

Philip Guston, for example, drawing

answered to a “feeling of needing

to start again, with the simplest of

means, to clear the decks.”

Speaking personally, my own

principal reason for going out

drawing is to renew my sense of

space, of being in the world; if I stop

drawing for several weeks, I find my

spatial invention goes dead and my

art becomes schematic. But I also

draw because the specific –

a friend’s face, a familiar street – has

appeared before me as a moment

of seeing, as an epiphany, to which

I must somehow respond. And if

we’re fortunate, such a drawing can

become not a mere “sketch”, but a

sign close to embodied thought.

In the words of Josef Herman,

“By distancing itself from the

physicality of solid matter, drawing

comes closest to the actual working

of the mind.” Watteau spoke of

“devoting his morning to thoughtsin-red-chalk”;

a young child told

Marion Milner a drawing was, “a line

around a think”.

At the top of Gwen John’s list of

necessary qualities in art, she put

The Strangeness”, and perceptual

drawing is a good route to the

unexpected. Its absence from most

recent surveys of “Drawing Today”

(including the Jerwood) results from

a misunderstanding - that such

drawings lack “concepts”. But I

value this mode of drawing precisely

for the challenge it presents to any

artworld “positioning”, for the

radical disinterestedness built into

our perceptual response.

When a drawing is going well, it

takes on its own momentum and

autonomy, free of all the baggage

that painting inevitably carries.

It feels “clean”. So the utopian

idea arises, of a “Drawing

Community”, pursuing an open

debate: through lectures and

forums, certainly, but above all

through all the variety of our very

different drawing procedures.

{ I have sent myself back to school... I am

restarting my studies from the beginning,

from ABC... so I shall have to study

drawing. I draw all the time...}

Pierre Bonnard

10 Left Drawing by Max Naylor

9


How the year

is structured

The courses

Every course offered at the School

is taught at postgraduate level by

distinguished artists and teachers

from leading institutions including

The Royal Academy, The Royal

College of Art and The Slade.

We are one of only a few institutions

in the world offering in-depth,

quality tuition for those who wish

to develop their observational

drawing skills.

Most classes are also open to the

public. This ensures a healthy

mixture of students from all

backgrounds who inspire, motivate

and learn from one another over the

course of each term.

Two days and one

evening

The course is a full-time

postgraduate programme.

Students commit to a minimum

of two days a week attendance at

classes and a maxiumum of six

days a week, for which all fees are

paid. In addition, they attend the

forum and lecture on Wednesday

evening. Classes are supported by

ongoing studio practice.

Three ten-week terms

Each year consists of three tenweek

terms, running from

September until the end of June.

Students keep their studio space

in the Tea Building over the summer

following their final term and

continue to work unsupervised

on their own practice. The year

officially ends at the end of year

exhibition in late September.

10

{ Until we can insert a USB into our ear and

download our thoughts, drawing remains

the best way of getting visual information

onto the page.} Grayson Perry

Right Etching by Jessie Makinson

13


The Princes Drawing

School curriculum

Three areas of study

Courses at The Prince's Drawing

School are divided into three

main areas: drawing in the

studio, drawing from art and

drawing London. Students are

encouraged to explore all of these

as they complement each other and

contribute towards seeing, drawing

and learning in new ways.

With 108 different courses to choose

from over the year, students gain

a broad range of experience and

teaching input from our diverse

faculty and their varied approaches

to the art of drawing. As part of their

individual programme, all students

take Drawing at The National Gallery

and an out-of-house course at some

point during the year.

The following pages list examples

of the courses offered in the three

different study areas; however these

are subject to change each term.

For the most up-to-date programme

of courses offered, visit our website

or call the office to ask for a

brochure for the term.

14 Above Drawing by Georgina Sleap

13


Drawing

in the studio

Drawing in the

studio courses:

• Life Class

• Life Drawing:

Human Anatomy

Drawing the Unexpected

The Body Clothed

• Man and Beast

• One Day, One Pose

• Life Drawing

The Emergent Subject

Drawing a Head

The Line of Beauty

14

{ In all great art, the human presence

predominates. Even in a landscape, one

feels it. Drawing from the model familiarises

us with our shape and movement and

encourages an understanding of both.

Few other subjects offer such electricity

and energy.} John Lessore, tutor

Right Drawing by Maxwell Graham

17


Drawing

from art

The School runs courses at major

London art galleries and museums,

and enjoys special access to private

collections and early morning

drawing viewings.

DRAWING FROM ART COURSES:

Drawing at The British Museum

Drawing at The National Gallery

• Evening Drawing at The National Gallery

Drawing the Everyday in the City and

from Paintings in The National Gallery

{ Drawing from paintings is the best

way to understand them. Being able

to follow the extraordinary rich and

complex structure of an image from

an earlier time, which is both simple

and mysterious, is thrilling. It’s not

about producing attractive drawings,

rather it’s to learn something and

have an exciting experience along the

way.} Paul Gopal-Chowdhury, tutor

16

Above Drawing by Contanza Dessain

Right Drawing by William Wyld

19


Drawing

London

Drawing London courses:

Drawing the City by Night

• Challenging Interiors

Drawing London’s River

• Nocturnal Interiors

• A Walking Drawing Story

Drawing in the Park

Drawing London’s Different Faces

Drawing the Everyday in the City and from

Paintings in The National Gallery

• Re-drawing London: City in Transition

{ Drawing in the street tends to demand a very different language to

that of the life room: nothing here is fixed, the world is in flux. You

have to take many leaps in the dark, space is no longer measurable

or finite. Big city alienation is often a problem faced by students, but

the activity of drawing allows a fight back – a kind of participation,

even. Standing one’s ground, pencil in hand, everything falls into

place – and then, if we’re lucky, one epiphany follows another.

Even the most modest act of drawing – plotting the counterpoint

of figures and traffic as they move along the street – can deliver a

wonderful sense of release and renewal.} Timothy Hyman RA, tutor

Below Drawing by Harriet Piercy

Overleaf Drawing by Chris Green

20

21


22

23


Printmaking

In addition to the three main areas

of study, The Prince's Drawing

School also offers the opportunity

for printmaking. Etching is seen

as an extension of drawing. Both

day and evening classes are held,

offering the opportunity for Drawing

Year students to learn and explore

various techniques. Sessions are led

by a variety of experienced tutors

who introduce and develop intaglio

techniques with an emphasis on

etching (hard and soft ground,

aquatint, sugar lift, white ground)

as well as demonstrating other, less

conventional methods.

Individual guidance is given

to each student to ensure that

both beginners and advanced

printmakers are able to find their

own direction and the methods and

techniques which suit them. As well

as bringing pre-prepared drawings

to work from in the print room,

students are encouraged to take

etching plates up to the life room to

draw onto directly.

{ I learnt that drawing was about more than

making a drawing; it was also about seeing

more and having a richer vision.}

22

Above Etching by Naomi Grant

25


{ The Prince’s Drawing School is an

unlikely success story. All the set

ideas in the art world screamed “no”

when it opened its doors and ten years

later, some of the biggest names have

been through those forward thinking

doors, to see, to teach or to talk with

the students, who also demand to

draw and to learn. Things change.}

Humphrey Ocean RA

26 Left Drawing by Jessie Makinson

25


Drawing and

the imagination

The Prince’s Drawing School sees

the imagination as an essential

component of observational

drawing. Several courses are offered

which encourage the student to

relate to the subject of their drawing

in an imaginative and personal way.

This often helps students find focus

in a drawing, or to experience more

keenly the need to respond to what

is in front of them.

Courses such as Drawing a Story use

a written narrative as the starting

point for working in the studio

with a life model. The experience of

making highly charged imaginative

drawings of a live model inform

subsequent interactions with the

figure in other contexts.

The Drawing the Graphic Novel

course addresses the blossoming

interest in graphic novels and

their wide scope for using drawing

as a means of communication

and expression. Students focus

on creating a sequential narrative

from their own drawings. They

draw from observation, memory

and imagination, finding stories in

sources as diverse as autobiography,

history and literature, as well

as in the simple observation of

everyday life.

Other classes which explore the

relationship between observation

and imagination include:

• Man and Beast

Drawing the Unexpected

The Body Clothed

The Emergent Subject

• Redrawing London : City in

Transition

• A Walking Drawing Story

{ The whole year amounted to a

breakthrough in being playful and doing

things that scare you. I never took chances

with my work before The Drawing Year.}

26

Above Etching by Max Naylor Right Print by Melissa Kime

29


Forums,

lectures and films

Forums

Students attend a compulsory forum

on Wednesday evenings. The forum

is tutor-led and is an opportunity

for debate on aspects of drawing

in historical and contemporary

contexts. Students also give

presentations on their own work

or area of research.

Lectures and talks

Following the forum each week is

an evening programme of talks and

in-conversations by William Feaver

‘by’ contemporary artists, curators

and art historians. Past speakers

include Frank Auerbach, David

Hockney, Peter Blake, Tracey Emin,

David Shrigley, Dexter Dalwood and

T. J. Clark. Julian Bell and William

Feaver also run a lecture series,

with recent subjects including Van

Gogh in History, What is Eyesight?,

Outside: Ways into Landscape and

Drawing into Painting.

Artists on Film

Every spring term, The Prince's

Drawing School shows a series of

films about artists in conjunction

with The Artists on Film Trust.

This is a rare opportunity to see

influential films on artists in the

company of leading filmmakers,

artists and critics. Screenings take

place at The Prince’s Drawing

School on selected Wednesday

evenings, introduced by a brief talk

and discussion by the director, artist

or critic. Past screenings include

films on Paula Rego, Anselm Kiefer,

Chuck Close, Alberto Giacometti,

Alice Neel and Yves Klein.

{ It is not just the "act" of drawing that has

helped me this year. Many of the teachers have

been incredibly thought-provoking, helpful,

interesting and interested.}

30 Above Drawing by Lilias Buchanan

29


Other opportunities

and resources

Fresher’s Week

In September, there is a seven-day

Freshers’ Week programme which

introduces students to the School’s

curriculum. During this week,

specialised workshops are also

organised for students. Previously,

these have included an introduction

to materials where students learnt

about preparing grounds and

making their own paper, paint and

drawing materials, and a sculpture

course where students investigated

the three-dimensionality of the head

in preparation for drawing.

Masterclasses

Additional masterclasses and

workshops are run throughout the

year to enhance the Drawing Year

curriculum, on subjects ranging

from Drawing into Painting to

Perspective and Structure. Every

Monday night there is a Drawing

Year masterclass: these include

Drawing the City by Night with

Timothy Hyman RA and Life

Drawing with Catherine Goodman,

Artistic Director of The Prince's

Drawing School.

Artistic practice

and professional

development

Throughout the course, visiting

artists, curators, private gallery

owners and art dealers offer advice

on aspects of professional practice,

to prepare students for life as a

practising artist after The Drawing

Year. Visiting gallery directors have

included Cathy Lomax of Transition

Gallery, Tot Taylor of Riflemaker

and Graham Southern, founder of

Haunch of Venison and Director of

Blain Southern.

SpecIAl Access to

Collections

and Exhibitions

The School is fortunate enough

to enjoy unique access to the

collections of Old Master drawings

at Windsor and other private

collections around the UK. Study

trips to draw from these collections

are undertaken during the year. In

addition, a reference art library is

available to students at the School.

Students benefit from special access

to major exhibitions in London,

including early morning drawing

visits with talks from curators, and

free entry to all exhibitions at the

Royal Academy for the duration of

the course. They can also draw in

the historic life room at the Royal

Academy one evening a week.

Summer pAInting trips

Every summer, students spend one

or two weeks drawing and painting

alongside their tutors in areas

of outstanding natural beauty.

Locations include Holker Hall in the

Lake District, Château de Balleroy

in Normandy, Raveningham Hall

in Norfolk, Pignano in Italy and

Dumfries House and Lybster in

Scotland. These trips are free to

ensure that all students are able

to attend, regardless of their

financial circumstances.

{ The Drawing Year led to opportunities and

experiences that would otherwise have been

inconceivable.}

30

Right Drawing by Max Naylor

33


Studios

and location

The Prince’s Drawing School is

located in a converted warehouse

in Shoreditch, at the heart of

East London’s art, design and

fashion scene. It is close to galleries

such as White Cube, Rivington

Place, Flowers East and the

Whitechapel Art Gallery, as well as

many artist-run spaces in Bethnal

Green, Hoxton and Hackney.

Drawing Year students’ individual

studios are situated on the top

floor of the Tea Building on

Shoreditch High Street, home

to galleries such as Hales and

Rocket. They are purpose-built,

with natural light and accessible

24 hours a day, 7 days a week

throughout the year, including

holiday periods.

{ There is no one

answer to the

question "why

draw?", but I

find it is a way of

engaging completely

with what you are

looking at, a way of

experiencing things

more vividly.}

34 33


Tutorials, assessment

and exhibition

Tutorials

Drawing Year students have two,

one-to-one tutorials each term with

a senior faculty member. Tutors visit

students in their studio spaces at

the Tea Building to look at drawings

and other ongoing work, such as

paintings and prints.

The School has a world-class faculty

of distinguished tutors, many of

whom have taught, or currently

teach, at art schools including

the Slade, Camberwell, the Royal

College of Art, Brighton, Chelsea

and Glasgow School of Art. All are

practising artists.

There are also opportunities for

tutorials with visiting tutors. Recent

visiting tutors include Michael

Landy, Jock McFadyen RA, Celia

Paul, Andrzej Jackowski, Deanna

Petherbridge, Tom Hammick and

Gus Cummings.

Assessment

Students attend an individual review

of their work each term with the

Artistic Director and another senior

member of the faculty. A group crit

is also held at the end of each term.

There is no written component to

the course. Postgraduate diplomas

are assessed and awarded by an

independent board chaired by

Andrea Rose, Director of Visual Arts

at the British Council. Other board

members include Sydney Picasso,

Graham Southern and Andrew Stahl.

Exhibition

An end of year show is held in

September and is well attended by

curators, collectors and critics, as

well as the general public. Various

prizes are awarded including the

Charles Booth-Clibborn printing

prize, the Lady Rothermere award

and the Winsor and Newton

materials prize. The School also

hosts a Collectors' Preview and

students participate in an Open

Studio at the Tea Building where

they can exhibit other work from

their studio practice.

{ Drawing helps

you to put your

thoughts in

order. It can

make you think

in different

ways.} David

Hockney

34

37


Alumni

opportunities

Alumni network

The School has a vibrant network

of alumni who frequently

collaborate on projects and

exhibitions. We keep in touch

regularly via our dedicated Alumni

Programme Manager, alumni

e-newsletter and blog.

Awards and commissions

The Sir Denis Mahon prize of £5,000

is awarded to an alumnus each

year to enable them to continue

their practice as an artist. Other

opportunities for grants, residencies

and exhibitions are promoted

through the School. We regularly

offer our alumni the chance to

undertake paid commissions.

Alumni have been commissioned

to go on all-expenses-paid drawing

trips to Doha, Maastricht, St.

Petersburg, Paris and New York.

Continuing courses

at the School

All alumni receive a discount of

50% on all courses at The Prince’s

Drawing School to enable them

to continue their observational

drawing practice and each term

a selection of free course places

are offered to alumni. We also

run free drawing classes designed

specifically for alumni.

AlumnI EXHIBITIons

Regular alumni exhibitions are

held in the gallery space in

Shoreditch to showcase new

work by Drawing Year alumni.

Tutor trAIning

There are opportunities for

alumni to gain invaluable tutor

training and experience through

The Prince’s Drawing Clubs which

run after school in London and

Glasgow for 10-18 year-olds.

The Drawing School actively creates

and presents opportunities for

professional development through

teaching, and runs a free, one-year

tutor training programme for all

new tutors.

Residencies

There are many opportunities for

alumni to travel and to participate

in residencies around the world.

Every year a small group of Drawing

Year alumni are sent to the

International Institute of Fine Arts

in Modinagar, India on a six-week

teaching and artists' residency

programme, in collaboration with

Arts for India. There are currently

plans to establish a residency

programme for both Drawing Year

alumni and Scottish artists in

purpose-built studios at Dumfries

House in East Ayrshire, Scotland.

38 Right Painting by William Stevens

37


What do our students

go on to do?

Most of our alumni are now

practising fine artists who regularly

show and sell work or undertake

commissions and have gallery

representation. Other students have

gone on to professional practice

in areas including illustration,

animation, architecture, film and

theatre design.

Past students have won prestigious

awards such as the John Moores,

the Bulldog Bursary and Roald Dahl

Funny Prize and have exhibited

in the Jerwood Drawing Prize, BP

Portrait Award, Bloomberg New

Contemporaries, Whitechapel Open,

Royal Academy Summer Show,

Threadneedle and Discerning Eye

as well as regularly showing work in

London and further afield.

Many alumni have gone on to qualify

as teachers after gaining experience

as Drawing Club tutors. Others hold

positions as artists in residence in

schools or have become art educators

working with museums and local

authorities.

{ The school is still a massive part of my

life, even though I finished the course over

5 years ago. The support for alumni is

incredible, something I never experienced

after my BA.}

40 Left Painting by Tom Sander

39


Student

stories

Joe Davis

drawing year 2011

BA Graphic Design

Central st martins

I applied to The Drawing Year

because I wanted to get better at

drawing. I wasn't drawing much

at the time of applying, and not

doing much other work either. The

drawings I did do were very timid and

my ability to draw from imagination

was limited. I thought that if I could

draw more fluently, it would filter

through to other things. For example,

I had made animated films but felt

I'd often drawn them minimally to

compensate for low confidence. I

thought drawing from observation

would improve my 'vocabulary' for

animation.

My BA in Graphic Design had a

comprehensive syllabus that we were

assessed against. We had regular

projects and essays, often brief-led.

Though The Drawing Year does have

a structure, it does not have a syllabus

in the same way. It offers tuition, but

this is for the student to pick and

choose from as they need.

This suited me at the time of doing

The Drawing Year. I didn't want to do

an MA because I wanted the freedom

to work independently of course

criteria, yet I did want to be drawing

and learning about drawing. On The

Drawing Year, I could receive as

much tuition and take as many

40

classes as I wanted, yet have no

pressure that my personal work

was under scrutiny or tied to a brief

or a deadline – it was independent

of the classes. The separation of the

studios from the School (in different

buildings) was an important part

of this.

By undertaking the course, I hoped

to make drawing something I could

do more casually and easily, that it

would be demystified a little. This

happened to an extent, though I also

grew to care more about drawing, so

still find it difficult to do casually,

but for different reasons than before.

I had mainly hoped to improve,

and end the year 'able to draw'. It

is certainly true that I did improve

lots, but, as with studying anything

in detail, my reasons for doing it

changed as I did it. I think I expected

the School to be more traditional in

its approach than it turned out to be.

Seeing the variety of ways in which

different people draw, especially

when drawing the same thing, made

it clear that there were numerous

valid ways to draw well.

The best things about the year were

the option of doing lots of classes (I

did classes most days and evenings),

the varied and often contradictory

viewpoints of different tutors and the

small group of students in the year,

all of whom worked differently and

were more serious and committed

than any course I'd previously studied

on. The amount and combination of

these influences was often confusing

and overwhelming, but over time, I

started to learn where I sat in relation

to all these opinions, philosophies,

techniques, interests, biases.

On the year, I learned there are

things that can be discovered about

yourself through drawing, about

how you see the world, that might

not be discovered by other means.

That a drawing could be created from

nothing and without a plan, but that

it could reveal something of how I

think and what I am interested in,

made me realise that thinking and

making are not separate. I cannot

prepare it all in advance: it goes

backwards and forwards. I now

value much more the act of making

something as a way to discover what

it is I want to make and how. It is

often easier to assess something I

have articulated in a drawing, for

example, than it is to judge thoughts,

though neither is easy.

Through The Prince’s Drawing

School, I was very lucky to be chosen

for a paid scholarship to go to Madrid

and draw from paintings in the

Museo del Prado. Paintings have a

kind of fixity not shared by other

subjects – it doesn't shift like weather,

or a crowd, or the fall of light on an

object, and it doesn't get tired of

holding a position. You are alone with

the image and that makes it a very

internal challenge.

Right Drawing by Joe Davis

{ Seeing the variety of ways

in which different people

would draw, especially

when drawing the same

thing, made it clear that

there were numerous

valid ways to draw well.}

43


Sam Marshall

drawing year 2007

ba fine art, the slade

I studied Fine Art in the 1990’s. I

was passionate about painting and

drawing when I first arrived, but my

tutors at the time encouraged me to

pursue a more conceptual path and

I ended up making short films and

documentaries. At the end of my

4 years, I felt totally confused and

disillusioned with art and art school.

As a consequence I backed away from

it totally and embarked on a career in

the media industry, making adverts

and pop promos.

After a while though, I felt creatively

stuck and stumbled across The

Prince’s Drawing School whilst in

Shoreditch one day; I picked up a

prospectus and immediately signed

myself up to do one of the etching

courses at the school. This was a

massive breakthrough for me; at

the end of the first day, I knew I had

found something special. In the

sessions, I met lots of students who

were doing The Drawing Year at the

time. I asked lots of questions, got

a general sense of what the year was

about and began to assemble my

portfolio. I was rejected the first year–

I didn’t even get an interview. But I

was determined to get in! I applied

the next year, got an interview and to

my delight I was accepted.

When I started the course, I had

a vague idea what to expect, but I

don’t think I realised what a massive

impact it would have on my life.

Throughout the whole year, drawing

became such a part of my existence,

it became my way of making sense

of what was happening around me.

I used to be a voracious diary writer,

but during that year, my drawings

filled that space.

During my BA, I had often felt

abandoned – left alone for 4 years to

get on with making my work. I was so

young at the time and I craved some

sort of guidance but found hardly

any. In comparison, I felt totally

supported throughout The Drawing

Year; through tutorials and seminars

and intense discussion with my

peers, I felt like I had finally found a

place that I belonged.

The most challenging thing for me

was letting go of the fear of showing

my work, to learn how to just draw, to

not worry and then show the work at

the end – no matter what the result.

I also found it very challenging to

draw in galleries and museums, to

have the public peering over your

shoulder and commenting on how

your drawing was going. It took time,

but now I don’t even think about it!

I remember really clearly drawing

in Borough Market one morning – it

was March, so we were already well

into the course. I spent the whole

morning on a series of quick sketches

and we met at lunch to review the

morning’s work. Laying out all the

drawings, I was suddenly struck by

how I had captured the atmosphere

of the place; the drawings were rough

and very loose but somehow they

worked – the line, tone and general

energy of the drawings seemed to

convey what had been going on

during that morning in the busy

market. I was amazed that I was

capable of doing that through a

combination of marks.

After completing The Drawing Year,

I taught on The Prince’s Drawing

Clubs for 3 years. Through this I

realised that not only did I love

teaching, but that I wanted to take it

further and complete a PGCE, which

I did at the Institute of Education. I

now teach 2 days a week at the BRIT

school, teaching both BTEC Art and

A level. I also freelance for the Royal

Collection and Queen’s Gallery, and

teach adults printmaking at the

Working Man’s College. On top of

that, I also teach life drawing at The

Prince’s Drawing School. I feel so

grateful to the school for introducing

me to teaching and giving me the

support and confidence to do it.

The school is still a massive part of

my life even though I finished the

course over 5 years ago. The support

for alumni is incredible, something I

never experienced after my BA.

{ Throughout the whole year, drawing became such a part of

my existence, it became my way of making sense of what was

happening around me.}

42

45


{ The hours spent working together in the life room, meeting to

draw for the day in London or in the city at night, led to a real

camaraderie among Drawing Year students I wasn’t expecting.}

Chris Green

drAWIng YEAR 2008

MA FIne ART, BYAM SHAW

centrAL ST MARTIN'S

At the time I applied to The Drawing

Year, I had an idea of myself as a

painter. I was drawing a lot but

only as preparation for painting.

The actual business of painting I

didn't really enjoy. It was a messy

struggle with materials and colour

with unsatisfactory results.

The idea of attending an art school

dedicated to drawing came as a

relief. The simplicity of The Drawing

Year was very appealing. You spend

a year drawing. It felt like just the

opportunity I needed to concentrate

on the creative activity I most enjoyed.

As a student at Norwich School of

Art and Design (BA Cultural Studies)

and Byam Shaw/Central St Martin's

(MA Fine Art), I was expected to

have a creative practice that I could

discuss in theoretical terms and

relate to trends in contemporary art.

On the Drawing Year, I was never

asked to think about my work in this

way. It was almost as if there wasn't

time. The emphasis was entirely on

practice. Students were encouraged

to study and learn from other artists

and the history of painting, but ideas

about the cultural or philosophical

meaning of what we were doing

were never really on the agenda.

We were there to take lessons in

observational drawing.

At first, I found drawing for a whole

day physically quite tiring. It was

an intense course. The hours spent

working together in the life room,

meeting to draw for the day in

London or in the city at night led to

a real camaraderie among Drawing

Year students I wasn't expecting.

There was definitely a feeling we

were all sharing something special.

Seeing other people's work at forums

and crits was a valuable source of

inspiration and good for avoiding

complacency. I felt I had to keep

upping my game.

Just how much was on offer free

of charge to Drawing Year students

was incredible. Choosing classes

at the start of each term, I felt spoilt

for choice. The calibre of visiting

artists was impressive. And the

trips and special occasions I was

invited on, to Windsor, Chatsworth,

Norfolk and Normandy, were an

unexpected pleasure.

Having no fees to pay, no exams

or deadlines was a luxury after my

degree courses. With everything

taken care of and feeling well looked

after generally, I felt a sense of

freedom and that everything was

directed daily at drawing. I never felt

part of an institution. The classes

seemed under the ownership of the

tutors who ran them, not the School.

I sensed tutors were free to teach

whatever they were interested in.

The Drawing Year led to

opportunities and experiences

that would otherwise have been

inconceivable. In 2011, the Drawing

School commissioned me to go

to New York to make an eight-foot

square drawing of the ballroom in

the Plaza Hotel. It was an amazing

opportunity, which remains one of

the highlights of my career and life.

The Drawing School also negotiated

further commissions for me in

Paris and London as well as directly

helping to sell my work. This level

of support gave me encouragement

to approach galleries and apply for

prize exhibitions. This year, I had my

first solo show in a gallery in Leighon-Sea,

I exhibited for the second

time at Piers Feetham Gallery in

Fulham, and I won runner-up prize

at the Lynn Painter-Stainers Prize

Exhibition and was short listed for

the Sunday Times Watercolour prize,

both held at the Mall Galleries.

On my second year, I started working

as assistant tutor on The Prince's

Drawing Clubs. I never imagined

teaching was something I would ever

be capable of doing, but I survived

four years working at several clubs

and I am now involved as a tutor on

The Prince's Drawing School's New

Fine Art Foundation Course.

Learning to draw has had a huge

impact on my work, which is

now only drawing and a direct

continuation of everything I learnt

on The Drawing Year. I nearly

always have a large drawing

underway I work at most days.

I do small quick drawings of

domestic or street life whenever

times allows. I regularly go to the

free life drawing classes for alumni,

which is a good way of keeping up

with friends from my year. I see

fellow students at lectures at the

Drawing School and I sometimes

chance upon people I know from

The Drawing Year drawing on street

corners and in galleries.

46 45


Student funding,

scholarships and bursaries

SCHOLArshIps And

bursARIES

All students on The Drawing Year

receive a full scholarship place,

which covers all tuition fees and a

free studio space in the Tea Building

on Shoreditch High Street for the

duration of the year. In addition,

the School offers maintenance

bursaries to help with living costs;

these are means-tested and students

are invited to apply after being

accepted onto the course. There is

also a hardship fund available to

help students who run into financial

difficulties during the year.

Interest-free LOAns

Other funding opportunities are

also available for students who

need to further supplement their

living costs while on the course.

The Prince’s Drawing School is

registered as a Learning Provider

with the Skills Funding Agency,

which means that students on The

Drawing Year are eligible to apply

for interest-free Professional and

Career Development Loans. For

more information call 0800 100 900

or go to www.direct.gov.uk/CDL

DIscounts

Drawing Year students receive a

50% discount on Winsor & Newton

materials purchased directly

through the School and

a 10% discount at most other

local art shops. Students also

receive free entry to all Royal

Academy exhibitions.

{ Drawing is not

what one sees

but what one can

make others see.}

Degas

46

Right Drawing by Jessie Makinson

49


Applying

REQUIREMENTS

Twenty-five applicants are selected

each year. Applicants will usually

have completed a BA (Hons) degree

in Fine Art or a related subject,

but this is not essential; relevant

experience or qualifications will be

taken into account.

Fees and Bursaries

All students are awarded a full

scholarship, which covers all

tuition fees and a free studio space

for the duration of their course.

Maintenance bursaries are also

available on application.

What to submit

Assessment is based on the quality

of work submitted and at interview.

Prospective students should

complete the online application

form by following the links from

The Drawing Year postgraduate

programme page on the website.

The online application form

includes a written statement.

Following the application deadline

in March, all applicants will then

be asked to submit a portfolio of

ten drawings showing a range of

drawing interest (drawing other

than life drawing is encouraged).

Ten slides or jpegs on a CD are

requested showing the applicant’s

other work, in any medium.

Sketchbooks are also welcomed,

to a maximum of three. A handling

fee of £25 is payable.

Overseas students

If you do not hold a UK or EU

passport please visit our website

prior to application to read our

advice concerning overseas

students, or contact us on

020 7613 8529 to discuss your

eligibility for the programme.

Interviews

Shortlisted candidates will be asked

to interview, to which they can bring

further examples of their work and

any supporting material. They will

be asked to talk about the role of

drawing in their work and about

the way they see The Drawing Year

benefitting their practice.

Visiting the school

Open days are held in November,

January, February and March prior

to application. Please visit the

school’s website or contact the office

on 020 7613 8529 for up-to-date

details and to register.

{ The simplicity of the Drawing Year was very

appealing. You spend a year drawing.}

48

Right Drawing by Ethan Pollock

51


Frequently

asked questions

Q. HOW much does it cost

TO study on the DRAWING

YEAR at THE PRINCE’s

Drawing SCHOOL?

Nothing – all twenty-five Drawing

Year students are on a full

scholarship and have their fees

paid for the year. This includes

classes, studio space, forums and

lectures, and study trips. Each year,

a number of grants are allocated to

students on a means-tested basis to

help with living costs. Unlike a loan,

students do not have to pay these

back. There is also a Hardship Fund

that students can apply to for extra

help with living expenses, travel and

materials costs should they run

into financial difficulties during

the year.

Q. I don’t have a BA in FINE

ART. CAN I still apply?

A BA in Fine Art is desirable,

however you are still encouraged

to apply if you have a degree in

a related subject along with a

strong portfolio of work showing a

commitment to drawing.

Q. WHAT should I submit in

MY portfolio?

Your portfolio should contain 10

drawings, 3 sketchbooks and one

CD/DVD of 10 pieces of additional

supporting work in any medium.

The upper limit for portfolios

submitted is A1. Any work of A0

size or larger may be submitted

on a CD and brought with you to

the interview if shortlisted. All

submissions must fit inside a

solid, fully-sealed portfolio that

will protect your work while it is

with us. Please do not include

glass, metal or wooden objects/

plates or other heavy objects,

such as paintings on canvas in

your portfolio.

Q. I don’t have a UK

PASSPORT. CAN I still apply?

Possibly. Regulations change

frequently, so if you do not hold a

UK or EU passport, for the most upto-date

information please visit our

website www.princesdrawingschool.

org prior to application, or contact

the Senior Drawing Year

Co-ordinator on 020 7613 8529

to discuss your eligibility for

the programme.

Q. HOW are DRAWING YEAR

applications assessed?

After the application deadline, every

portfolio is reviewed by a panel

of practising artists and critics.

The panel make a shortlist of

approximately 40 applicants who are

subsequently invited to interview.

During the interview, the panel will

have your portfolio and application

form and will also look at any

additional images or sketchbooks

that you bring on the day.

Q. WHEN can I exPECT

TO hear about my

APPLICATION?

After the application deadline, you

can expect to hear from us within

a month by email or letter, letting

you know whether or not you have

been shortlisted for interview.

All interviewees can expect to be

contacted within a week following

their interview. It is likely that you

will know whether or not you have

been offered a place on The Drawing

Year by the end of May at the latest.

Q. Do you give feedback

ON DRAWING YEAR

APPLICATIONS?

We are unable to offer feedback

on individual applications. This is

common practice across most of the

UK’s major art schools.

Q. I wasn’t accepted onto

THE DRAWING YEAR. CAN I

STILL take classes at the

SCHOOL?

Yes. All classes (with the exception

of Monday night masterclasses and

the Wednesday night forum) are

open to the public, who pay to attend

courses by term, with a large number

of concessions available. The current

class schedule is always available

to view on the Public Programme

page of our website. If you need help

deciding which classes would benefit

you, we will be happy to advise you.

Q. Do students do

WRITTEN work as part

OF the course?

There is no written component to the

course. However, students do sustain

a lively critical debate and are asked

to make a short presentation on a

chosen artist to their fellow students

at some point during the year.

Q. WHAT qualification will

I receive after finishing

THE YEAR?

The Drawing Year is not a university

accredited course, so students do not

receive a formal MA qualification.

All those who pass the year are

awarded a postgraduate diploma

certificate, signed by Andrea Rose,

Director of Visual Arts at the British

Council and chair of our external

assessment board.

Q. Is it possible to

STAY on and study for

a second year?

Currently we are not running a

second year, however sometimes

we are able to make provision

for students to stay on in the Tea

Building studio for a further year

known as The Studio Year, to help

establish their practice.

Q. WHAT do your students

GO on to do after the

DRAWING YEAR?

Most of our alumni are now

practising fine artists who regularly

show and sell work or undertake

commissions, many of whom also

have gallery representation. Other

students have gone on to professional

practice in areas including

illustration, animation, architecture,

film and theatre design. Alumni

can join our free tutor training

programme with The Prince’s

Drawing Clubs which offers serious,

sustained tutoring for children aged

10-18 with a passion or apititude

for drawing. Many have used this

experience as a springboard into

teaching both adults and children.

50

51


Faculty

artistic director

cAtherine Goodman

Catherine Goodman is the Artistic

Director of The Prince’s Drawing

School, which she founded with

HRH The Prince of Wales in 2000.

Catherine studied at Camberwell

School of Art and the Royal Academy

Schools. She has shown her work

across the UK and was awarded the

BP portrait first prize in 2002. Her

portrait of Dame Cicely Saunders

was reproduced as a Royal Mail

stamp in 2006. She is represented

by Marlborough Fine Arts and

currently lives and paints in London

and India.

academic board

Christopher le brun ra

chAIrman

Christopher Le Brun is a painter,

sculptor and printmaker who

trained at the Slade and Chelsea

Schools of Art in London. He

appeared early on in many group

exhibitions, such as the influential

Zeitgeist exhibition at the Martin-

Gropius Bau, Berlin, and from

1980 on, in many solo exhibitions

in Britain, Europe and America.

He was a prizewinner at the John

Moores Liverpool exhibitions in

1978 and 1980 and worked in Berlin

during 1987-88 as guest of the DAAD

artist’s programme. Between 1990

and 2003, he served as a trustee of

the Tate and subsequently of The

National Gallery. In recent years, he

has been a trustee of the Dulwich

Picture Gallery and The Prince’s

Drawing School, which he helped

to establish in 2000. In the same

year, he was elected Professor of

Drawing at the Royal Academy. He

was elected President of the Royal

Academy in December 2011.

humphrey ocean ra

vice chAIr

In 1984, Humphrey Ocean painted

a portrait of Philip Larkin for the

National Portrait Gallery described

by Nick Hornby as ‘unanswerable’.

Four years later, he went to Northern

Brazil with the American

anthropologist Stephen Nugent and

their book ‘Big Mouth: The Amazon

Speaks’ was published by Fourth

Estate in 1990. He was elected

a Royal Academician in 2004.

Exhibitions include ‘Double-

Portrait’ at Tate Liverpool 1992,

‘urbasuburba’ with Jock McFadyen

at The Whitworth Art Gallery

1997, ‘The Painter’s Eye’ with John

Tchalenko, National Portrait Gallery

1999, ‘how’s my driving’ at Dulwich

Picture Gallery 2003 and ‘Humphrey

Ocean Perfectly Ordinary’ at Sidney

Cooper Gallery, Canterbury Christ

Church University 2009.

Susan Bacon

Susan Bacon trained as a sculptor

at The City and Guilds School of Art,

and subsequently studied drawing

at the Royal Academy, where she won

The British Institution Prize for

Sculpture. She now works on

private commissions from her

studio in Norfolk.

Liza Dimbleby

Liza Dimbleby is an artist and writer

who has lived in Moscow, Glasgow

and London, and has been drawing

in all of these cities, by day and

night, over the past twenty years. She

has published a book by Firework on

walking and drawing in Moscow,

London and Glasgow called 'I Live

Here Now'. She exhibits regularly in

Scotland and London.

WillIAm Feaver

William Feaver, for many years the

art critic for The Observer, is also a

painter and has been the curator of

exhibitions ranging from George

Cruikshank to the Tate

retrospectives of Michael Andrews

and Lucian Freud (subject of his

most recent book) and Constable

(Grand Palais Paris 2003). His book

‘Pitmen Painters’ was adapted by

Lee Hall for an award-laden play and

he subsequently organised a related

exhibition in Vienna. ‘When We

Were Young’, a study of children’s

book illustration, did particularly

well in Japan. His ‘Frank Auerbach’

was published in 2009.

LIndA HEAthcoAT Amory

In addition to serving on the

academic board, Linda Heathcoat

Amory has been a trustee of

The Prince's Drawing School for

ten years. She was a student at

Camberwell School of Arts and

Crafts, and the Royal College of Art.

Linda is represented by the Jonathan

Clark Gallery and lives and paints in

London and Scotland. She is also a

trustee of the Monument Trust.

Timothy Hyman RA

Timothy Hyman is a painter and

writer. Having trained at the Slade,

he has had nine London solo

exhibitions, with his latest show

at Austin/Desmond in October

2009. His work is in many public

collections, including Arts

Council, The British Museum and

the Museum of London. He has

published monographs on ‘Bonnard’

and ‘Sienese Painting’ (both Thames

and Hudson) as well as on the Indian

painter ‘Bhupan Khakhar’. In 2001,

he curated the Tate’s Stanley Spencer

retrospective and collaborated on the

large survey ‘British Vision’at Ghent

(2007-2008).

John Lessore

John Lessore grew up in a family of

practising artists. He went to the

Slade from 1957 to 1961 and then

to Italy on a travelling scholarship.

He was a co-founder of The Prince’s

Drawing School in 2000 and has been

a trustee of The National Gallery,

London, since 2003. His work is in

many private and public collections.

Martin Shortis

In addition to teaching, Martin

Shortis is in charge of The Prince’s

Drawing School's etching studio. He

studied at the Ruskin and RA

Schools. He concentrated on making

large commissioned drawings,

working on the spot. He has taught

since 1992 and continues to draw

outside and around London.

FAculty

Jeanette Barnes

Jeanette Barnes studied fine art at

Liverpool Polytechnic and at the RA

Schools, as well as Printmaking at

the Royal College of Art, and began

to develop large drawings concerned

with the dynamism of London. Since

1990, she also taught part-time on

the Royal Academy of Arts Outreach

programme. She exhibits in various

group shows in London and is

represented in private, public and

corporate collections.

Sharon Beavan

Sharon Beavan (born 1956, London)

studied at Falmouth School of Art

and the Royal College of Art. Sharon

won the Cheltenham Open Drawing

Competition (1994) and was highly

commended in the Eastern Open Art

Competition (1996). Selected group

shows include: Jerwood Drawing

Prize, Drawing Inspiration, Abbott

Hall, 40 Artists – 40 Drawings and

Different Views at The Drawing

Gallery London, Visions of London,

Artspace Gallery, Michael Richardson

FineArt and The Seventh Oriel

Mostyn Open Exhibition. She taught

for many years on the Foundation

course at Byam Shaw School of Art.

Sharon Brindle

Sharon Brindle studied at

Camberwell School of Arts and

Crafts, and has had many solo

shows in the UK as well as showing

internationally in group exhibitions.

She has been selected for numerous

portrait awards and was shortlisted

for the BP Portrait Award, receiving

special commendation. Sharon lives

and works locally in East London.

ClaudIA Carr

Claudia Carr studied at the Slade

School of Fine Art (MA Painting)

and at the Academia di Belle Arte,

Florence, Italy. She won the Winsor

& Newton Young Artist of the Year

Award in 1994, was finalist in the

NatWest 90’s Prize for Art and was

awarded the Italian Government

Scholarship and Boise Travel

Scholarship. Claudia lives and paints

in London. She is a visiting lecturer at

the Royal College of Art, Heatherley's

School of Fine Art and the Slade

School of Fine Art, London.

Mark Cazalet

Mark Cazalet was born and

continues to work in London. He

was highly influenced by the two

postgraduate scholarships he held in

Paris and India, accounting for his

wide range of media from printed

books to engraved glass, tapestry and

murals.

52

53


Drawing is very much the key to his

principle practice as a painter and

printmaker. Travels to West Africa

and the Middle East have provided

recent inspiration as well as the

streets of London. Mark has been

resident at the Josef and Annie

Albers Foundation in Connecticut,

USA, on two occasions. He currently

teaches at West Dean College and

University of West England, Bristol.

Marcus Cornish

Marcus Cornish gained a first class

honours degree in Sculpture from

Camberwell School of Art, followed

by an MA from the Royal College

of Art. In 1993, he was elected a

member of the Royal Society of

British Sculptors. Cornish won

a scholarship to India to study

the work of Ayanar Potter Priests

and Henry Moore scholarships to

pursue ceramic art. He was artist-inresidence

at the Museum of London

in 2005 – 2006 and at an Ibstock

brick factory for a year. Cornish’s

work has been recognised

in a number of awards both

nationally and internationally and

covered in The Times, Independent

and Sculpture Magazines.

Johnny Dewe Mathews

Johnny Dewe Mathews is fascinated

with the visual complexity of the

crowd – figures seen in relation

to one another and the space they

occupy. Since the early 1980’s, he

has drawn extensively in restaurant

kitchens, jazz clubs, concert halls

and film sets. He has worked in

Southern Europe, India, Indonesia,

Brazil and the USA.

Ann DOWKER

AnnDowker is a painter,

54

draughtsman and printmaker. She

has taught at Chelsea School of Art

and Byam Shaw School of Art for

10 years, is a freelance tutor at The

National Gallery and has tutored

at The Prince's Drawing School

since it was founded. She printed

for many years for and with Leon

Kossoff, and was involved in the

curating of his show at The National

Gallery. Ann has exhibited with

Theo Waddington, Angela Flowers,

Art Space Gallery and been in

many mixed shows. She now works

between London and Egypt.

Robert Dukes

Robert Dukes studied at Grimsby

School of Art and the Slade.

He paints mostly still lifes. In

addition to solo exhibitions at

Browse and Darby (2005 and 2008),

he features regularly in the RA

Summer Show. He also lectures at

the National Gallery.

Henry Gibbons Guy

Henry Gibbons Guy is an alumnus of

The Drawing Year, having previously

studied Fine Art at Glasgow

School of Art. He was Print Room

Technician at The Prince's Drawing

School for two years and Lead Tutor

for The Prince’s Drawing Clubs for

two years. He continues to teach on

the The Prince’s Drawing Clubs and

at Central St Martins. Henry was

a recipient of The Ruth Davidson

Memorial Award and the Richard

Ford Award, and has spent much

time painting in France and Spain.

He exhibits regularly in London and

most recently in Spain.

Thomas Gosebruch

Thomas Gosebruch was born

in 1951. He studied painting at

Hochschule fuer Bildende Kunst

Hamburg and the RCA London,

printmaking at the Hochschule für

bildende Kuenste Braunschweig

(Meisterschueler) and ceramics

(diploma) at City Lit London. He

works with drawing and sculpture.

Two series of his etchings are in the

collections of The British Museum,

the Victoria & Albert and several

German museums. His most recent

one man show was at Galerie

Kleindienst, Leipzig 2004. Previous

teaching posts have been at

Newcastle University, Winchester

School of Art and University of

Nigeria, Nsukka. He is currently

teaching at The National Gallery,

The Courtauld Institute of Art

and City Lit.

Paul Gopal-Chowdhury

Paul Gopal-Chowdhury studied at

the Slade, was artist-in-residence in

Cambridge, and was previously a

Gregory Fellow in Leeds University.

He taught at Chelsea School of Art

and Byam Shaw School of Art for 12

years. He has exhibited widely and is

currently represented by Art Space

Gallery, London.

Oona Grimes

Oona Grimes studied at Norwich

School of Art 1982–86 Fine Art BA

Hons and Slade School of Fine Art

1986–88 Higher Diploma. Her work

is in collections including New York

Public Library, USA, Manchester

Metropolitan, University College

London Strang Collection, The

Governing Body of Macau, Lineker

College Oxford University and the

Victoria & Albert Museum, London.

Recent exhibitions include Celeste

Art Prize, London (2006), Outdoors

at Danielle Arnaud Gallery, (2006)

Peche a la Ligne, Brittany, (2006)

Artfutures, Bloomberg (2005), Keeping

Up Appearances: London College

of Communications, (2005) and the

Jerwood Drawing Prize, (2002, 2005).

Tom HallIfax

Tom Hallifax studied Art History in

St. Andrews and Fine Art in Belfast.

He works on observation-based

paintings, large scale drawings on

board, screen-prints, T-shirts and

rubber stamps. He has won awards

at the BP Portrait Award exhibition

and taught in a museum, a prison

and a primary school. He exhibits

regularly in London's West End and

at the Scolt Head public house in

Hackney. He lives in London and

Donegal, and his work is to be found

in various national collections in the

UK and Ireland.

Emily Haworth-Booth

Emily Haworth-Booth read English

Literature at Cambridge University,

and has since developed her broad

practice combining word and image

while working at the Brodsky Center

for Innovative Print and Paper in

New Jersey, the Fabric Workshop

and Museum in Philadelphia and

graphic design studios in New York

and London. Emily was runner-up

in the 2008 Observer/Jonathan Cape

Graphic Short Story Prize and is

currently working on a full-length

graphic novel. She has also written

and performed stand-up comedy

at many London venues, and was

a finalist in the 2007 Nivea Funny

Women Awards.

Julie Held

Julie Held studied at Camberwell

and the Royal Academy Schools. She

has exhibited in group exhibitions

at the the Royal Academy Summer

Exhibition, The Jerwood Drawing

Prize, Threadneedle Prize and

internationally in solo shows in

Prague, Hamburg and Leipzig as well

as the UK. Her work is in a number of

public collections including Nuffield

College, Oxford University; Ben Uri Art

Society Collection; New Hall College,

Cambridge and St. Thomas Choir,

Leipzig. Julie is an elected member of

the RWS, The London Group and The

NEAC, winning the Doreen Macintosh

Prize in 2011.

Francis Hoyland

Francis Hoyland's series of 35 etchings

about St. Francis have recently been

acquired by the printroom of The

British Museum. Since completing

the series, he has focused on religious

paintings in the winter and in the

summer he is a cat, garden and wife

painter. Because he is working so

much with imagined figures he is

hungry for information. This has

enabled him to search diligently

for information from the model.

This search has been conducted in

the company of his students and he

thinks it benefits both parties. He

believes that each talent is unique

and that the needs of each student

are different. His vocation as a

teacher is to empathise with and

serve everyone. During his time

as Course Director of Fine Art

at Camberwell, he worked with

conceptual artists, which enabled

him to see his own position clearly

and to respect other disciplines.

Maggie Jennings

Maggie Jennings is an artist based in

North London. Exuberant, colourful

and vibrant, her work celebrates the

energy of living things. She works

with the vigour and dynamism that

she perceives in the world around her

to produce strong sensuous images

that glow, breathe and proclaim their

existence with a sense of certainty

and pleasure. She has taken

workshops in Namibia, Zimbabwe,

Romania, and featured in “Art for

Sale” for The Guardian newspaper.

Maggie held a residency in computer

imaging at London Print Studio:

Artist in Residence, University

of Westminster and received a

Greek Government Scholarship.

Internationale de Santa Cruz, Canary

Isles. She has work in National &

International Collections. She is

represented by the Rebecca Hossack

Gallery, London W1.

Tarka Kings

Tarka Kings works from her studio

in London. She trained at the RA

Schools and since then has had many

shows in the UK and recently finished

a large scale gouache landscape for

Frank Gehry's award-winning

building in Dundee. All her work is

painted from life.

James Lloyd

James Lloyd held the Paul Smith

Scholarship at the Slade School of

Art (1994-96). He won the BP Portrait

Prize in 1997. Other prizes he has

won include the Ondaatje Portrait

Prize, Royal Society of Portrait

Painters, 1st Prize in 2008, ING

Discerning Eye Award in 2003 and

the Carroll Foundation Award (now

the de Laszlo Foundation Award) in

1999. He has undertaken a number of

commissions of prominent figures

and has two portraits hanging in the

National Portrait Gallery including

his portrait of Paul Smith.

Charlotte Mann

Charlotte Mann is an artist known for

her life-sized drawings of rooms:

55


wall drawings and installations of

rooms. She was born in London

where she currently lives and works.

She is an Associate Lecturer at

Central St Martin’s College of Art

and Design, Chelsea College of Art

and Design and Camberwell College

of Art, for whom she also curates

a film program held at the Vue

Cinema Leicester Square.

Frances Mann

After reading French at Kent

University Frances Mann went to

Camberwell School of Art to do a

BA in Textiles with painting as a

subsidiary subject. She later taught

drawing and the history of drawing

materials in the Conservation and

History of Drawing departments.

After moving to Suffolk in 1990

she has mainly painted landscape,

running occasional landscape

painting and life drawing classes.

Daniel Miller

Daniel Miller studied at The Slade

and has painted in both Europe

and the US. Daniel has had a book

titled ‘London Rites’ recently

acquired by the Prints & Drawings

department at The British Museum.

Daniel is currently working on a

‘Modern Bestiary’.

Harriet Miller

Harriet Miller studied at St Martin’s

School of Art and the RCA. She has

won several awards including the

Berkeley Square Gallery Award.

Over the last 20 years Harriet has

exhibited in London and Europe.

56

Her teaching experience includes

Reading University as a lecturer in

Fine Art and De Montfort University.

Ishbel Myerscough

Ishbel Myerscough studied at

Glasgow and the Slade Schools

of Art; three times a minor prizewinner

in the National Portrait

Gallery’s annual BP Portrait

Award competition, she won first

prize in 1995 and as a result was

commissioned to paint Helen

Mirren’s portrait for the collection;

in 1992 she painted Graham Gooch’s

portrait for the Marylebone Cricket

Club. She paints entirely from life

and usually has numerous sittings

with her subjects.

Thomas Newbolt

Thomas Newbolt, who was born in

1951 and studied at Camberwell, has

been painting, exhibiting (in Britain

and the USA) and teaching for many

years. He has lived in Italy and the

USA. He exhibits at Piano Nobile

Fine Art Ltd and lives in East Anglia.

Andy Pankhurst

Andy Pankhurst studied and

taught at the Slade School of Fine

Art. He is a figurative painter

with work represented in various

public,
corporate and private

collections and museums in the

UK and USA. Andy exhibits with

Browse & Darby in London with

his most recent show of paintings

and drawings in November 2008.

‘“Models, set ups and ideas,

normally without narrative, come

about by chance and fate, of course

to me inspiring and beautiful. In the

attempt to manifest these

sensations, my concerns are formal

and analytical, always striving

towards the beauty that is right.”

CHERRY PIckles

Born in Bridgend, South Wales,

Cherry Pickles took a degree in

mathematics in Northern Ireland

before going on to study painting

at Chelsea and the Slade. Her first

job was artist-in-residence at St

Andrews University. She has taught

at a number of Art Schools including

Canterbury and Falmouth and

for a number of years was a senior

lecturer at Cardiff. She has painted

extensively abroad in Jordan,

Berlin, Italy, India, the USA and,

in particular, Greece. Much of her

recent work has been based on time

spent in Haiti and the Domincan

Republic where she has developed

a long term working relationship

with the Altos de Chavon School

of Art and Design. Cherry exhibits

in Athens, London, New York and

West Wales. Much of her painting

involves more or less obvious selfportraiture,

in part used to try to

position the viewer very precisely in

terms of both space and experience.

The way the mirror, the windscreen

and the lens can enliven what we see

is often central to the work.

Ivy Smith

Ivy Smith studied at Chelsea and

Royal Academy Schools (RA Gold

Medal). She has taught at The

Prince’s Drawing School since

2001. She has work in many public

collections including the National

Portrait Gallery, Graves Art Gallery

Sheffield and Norwich Castle

Museum. Awards include winner:

John Player Portrait Award 1986, Arts

Council Grants for the Arts 2005.

Public commissions include Sir

Richard and Sir David Attenborough

for the National Portrait Gallery

and paintings for various hospitals.

Her solo exhibition ‘Drawings for

Paintings’ was shown at the Cut,

Halesworth in 2006 and The Prince’s

Drawing School gallery in 2007.

In 2010 two of her drawings were

included in the exhibition

‘Identity’ at the Wellcome Collection.

Sophie de Stempel

Sophie de Stempel studied painting

at the City and Guilds School of Art

followed by eight years working for

Lucien Freud. She has exhibited at

the Albemarle Gallery with Pippa

Houldsworth and also Rebecca

Hossack. She has been in mixed

shows curated at the Sigmund

Freud Museum. She works from

life, drawings and memory, often

all in one picture to try and bring

about something imaginative and

surprising . She has lived in France

and Spain as well as four years in

Morroco, painting.

Glenn Sujo

Glenn Sujo has taught in art

colleges and universities in Britain,

US and Israel, since 1976 and,

more recently, as Convenor of the

Drawing Symposium and ‘mindspiritbody-matter:

drawn to the human’

workshops at Kettle’s Yard, University

of Cambridge. As Paul Mellon

Research Fellow in 1993-4 he was

author and curator of Drawing

on these Shores, A View of British

Drawing and its Affinities (national

tour). The work of memory and the

imagination in internment are the

subjects of his book Legacies

of Silence: The Visual Arts and

Holocaust Memory, (Imperial

War Museum, 2001) and doctoral

dissertation Disseminating Memory:

Lines Across an Abyss (Courtauld

Institute, 2009). Sujo’s works

have been acquired by The British

Museum, Victoria & Albert Museum,

Fitzwilliam Museum, Cecil Higgins

Art Gallery; Metropolitan Museum of

Art and Jewish Museum, New York;

Israel Museum, Jerusalem; Tel Aviv

Museum of Art; Galería Nacional and

Museo de Bellas Artes, Caracas.

Charlotte Verity

Charlotte Verity studied at the

Slade from 1973-77 under William

Coldstream, Lawrence Gowing,

Patrick George, Noel Forster and

Euan Uglow amongst others. She has

had several solo shows with Anne

Berthoud and more recently with

Browse and Darby. She has been

included in many group exhibtions

including The Whitechapel Open, The

Hayward Annual, John Moores, The

Royal Academy Summer Exhibition

and at the LA Louver Gallery in

California. Her work is in many

private and corporate collections.

She has been teaching at The Prince’s

Drawing School since 2001. In 2010

Charlotte was the Artist in Residence

at The Garden Museum, London.

Greg Ward

Greg Ward studied at Byam Shaw

School of Art and at the Slade. As

a student and for a long time after

leaving art school he painted solely

from direct observation, but in recent

years has been more concerned with

making “constructed” paintings. He

continues to work from life which

informs all his work.

Susan Wilson

Susan Wilson grew up in the

mountain foothills of New Zealand’s

South Island and roamed around

Peru, Bolivia and Ecuador in buses

and trucks as a young woman,

which led to her love of Hispanic

Art. She attended Camberwell and

Royal Academy Schools and was a

Fellow of Painting at Cheltenham

and Gloucester College of Art and

Technology in 1986. She held the

Richard Ford Award to Madrid (1986),

Italian Govt Borso di Studio to Venice

and the Veneto (1985), and the Abbey

Award British School at Rome (1993).

Susan taught at Chelsea School of Art

and Wolverhampton Polytechnic in

the 1990’s. She illustrated Katherine

Mansfield’s Short Stories (Folio

Society 2000) with a subsequent

touring exhibition in 2003. Susan is

represented by Browse and Darby

has work in public collections in UK

and NZ.

57


{ It is only by drawing often,

drawing everything, drawing

incessantly, that one fine day

you discover to your surprise

that you have rendered

something in its true

character.} Camille Pisarro

60

Right Drawing by Sophie Charalambous

61


Our

mission

Trustees, Assessment

and Academic Board

The mission of The Prince’s

Drawing School is to raise the

standard and profile of drawing in

teaching and practice. It is one of

only a few institutions in the world

offering in-depth, quality tuition

for those who wish to develop their

observational drawing skills.

As well as The Drawing Year, the

School runs a broad range of

affordable public courses designed

for both professional artists and

other interested adults, including

classes in the life room, in museums

and galleries and in the streets

and parks of London. Over 7,000

students have attended classes since

2000; there are over 270 alumni of

the Postgraduate Programme.

The School is also committed to

making it possible for every child

with an interest or aptitude for

drawing to achieve their potential.

The School provides serious,

sustained tuition for children

age 10-18, from all backgrounds,

through affordable programmes

which are provided when and where

it works for students.

In addition, the School runs a one

year foundation course with drawing

at its core, that is free to all students

aged 18 and 19. The New Fine Art

Foundation Course runs from

studios at Trinity Buoy Wharf, near

the Olympic site.

The Prince’s Drawing School is one

of the Prince’s Charities, a group of

not-for-profit organisations of which

The Prince of Wales is President:

18 of the 20 charities were founded

personally by The Prince. The group

is the largest multi-cause charitable

enterprise in the United Kingdom,

raising over £100 million annually.

The organisations are active across

a broad range of areas including

opportunity and enterprise, the built

environment, responsible business,

education and health. The charities

reflect The Prince of Wales’ longterm

and innovative perspective and

seek to address areas of previously

unmet need. To find out more visit

the Prince’s Charities website at

http://princescharities.org

HRH The Prince of Wales,

President

Catherine Goodman,

Artistic Director

Trustees

Duncan Robinson, Chairman

Lady Bacon, Vice Chair

Shankara Angadi

Christopher Balfour

Charles Booth-Clibborn

Linda Heathcoat Amory

Katrin Henkel

Christopher Le Brun RA

Nancy Marks

Julie Nicholls

Marie-Christine Poulain

Felix Robyns

The Dowager Viscountess

Rothermere

Charles Saumarez Smith

Baroness Ullens

Assessment Board

Andrea Rose, Chair

Syndey Picasso

Graham Southern

Andrew Stahl

Academic Board

Christopher Le Brun RA, Chairman

Humphrey Ocean RA, Vice Chair

Susan Bacon

Liza Dimbleby

William Feaver

Catherine Goodman

Linda Heathcoat Amory

Timothy Hyman RA

John Lessore

Martin Shortis

Mark Chester,

Executive Director

60 61


Contact

For more information

please contact:

Senior Drawing Year

Co-ordinator

020 7613 8529

drawingyear@

princesdrawingschool.org

WHERE TO FIND US:

19–22 Charlotte Road,

London EC2A 3SG

www.princesdrawingschool.org

twitter.com/PrincesDrawing

facebook.com/The-Princes-Drawing-School

AccessIBILIty

The School is fully accessible

by wheelchair.

Tube

The School is a five-minute walk

from Old Street tube (Northern

Line City Branch - leave the Station

by exit 3 on to Old Street south side),

or a ten-minute walk from

Liverpool Street.

Bus

26, 35, 48, 149 and 242 run along

Shoreditch High Street. Buses 43,

76, 141, 214 and 271 run along City

Road south of Old Street. Buses 55

and 243 run along Old Street.

TrAIn

The nearest mainline station

is Liverpool Street. Kings Cross

and Euston are 2 and 3 stops away

on the Northern line. There are

also overland trains to Old Street

and Moorgate, both within

walking distance.

OVERGROUND

The School is a five-minute walk

from Shoreditch High Street

overground station.

Bicycle

There is no bicycle parking

immediately outside the building.

There are racks further up Charlotte

Road, on Old Street, the top of

Curtain Road and also in Hoxton

Square. It is advisable not to leave

anything easily detachable or

overnight. There are Barclays

Cycle Hire docking stations on

Shoreditch High Street at the corner

of Rivington Street.

Car

Car parking is extremely limited,

but there is an NCP car park on

Great Eastern Street. After 5.30pm

and on Saturdays street parking is

free off Shoreditch High Street near

Arnold Circus.

{ Drawing has now has become a

daily activity. The versatility and

unpredictability of drawing in its different

forms continues to lead my studio practice

in ways I could not have foreseen before

applying to the Drawing Year.}

Disclaimer The information given in this publication is as far as possible accurate at the date of publication.

The programme is subject to change without notice.

64 Left Drawing by Constanza Dessain Overleaf Drawing by Max Naylor

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