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At CWM Galleries we subscribe to the unfashionable view "can't draw, can't paint". An example is the major painting titled First Light by Christopher Mcleod.

From this (day 5) Drawing


First Light completed painting (at day 28) H122cm x W244cm

This example of the creation of First Light by the artist really say's it all - the drawing is the plan for everything that follows. This highly regarded artist a former winner of the Outback Open Art Prize would never complete such a detailed work without the basic skills as the basis of all that follows in this superb major painting.

The above basically answers the most commonly asked question: "what makes a successful painter?"

Whilst there are many answers to this question, the most common characteristic is the underlying ability to draw. Put simply, most successful artists have learnt to draw and have excellent draughting skills.

While an artist may not choose to create a work in a totally realist fashion, for reasons of effect or emphasis, this is a matter of choice for the artist who has learnt the basic skills of drawing. For the artist who has not been taught to draw, the full range of expression in creating their artwork is denied to them. The artist who has not acquired this basic skill has dramatically diminished their likely hood of ever achieving a fulfilling and successful career as a full time artist.

It never ceases to amaze us that it has become acceptable in many quarters for artists to be sent off into the world so poorly equipped to practice their craft. Somehow it has become acceptable that the basic skills of still life and life drawing are not regarded as the cornerstone of an artist's career. How can the acquisition of a basic skill be other than essential? One suspects that many teachers of "fine art" cannot draw.

In our view educational institutions teaching "fine art" to committed and enthusiastic people seeking to be full time artists are failing their students badly if drawing is not a compulsory and major stream of their course.

We beleive in this so strongly that where an artist asks us to exhibit their paintings, we insist on seeing their drawings.