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Marion Milner - On Not Being Able to Paint

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Marion Milner On Not Being Able to Paint
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Milners great study discusses the nature of creativity and those forces which prevent its expression. With a new introduction by Janet Sayers this book brings the text to the present generation of readers in the field of psychoanalysis

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On Not Being Able to Paint

Milners great study, first published in 1950, discusses the nature of creativity and those forces which prevent its expression. In focusing on her own beginners efforts to draw and paint, she analyses not the mysterious and elusive ability of the genius but as the title suggests the all too common and distressing situation of not being able to create.

With a new introduction by Janet Sayers this edition of On Not Being Able to Paint brings the text to the present generation of readers in the fields of psychoanalysis, education and all those, specialist and general audiences alike, with an interest or involvement in the creative process and those impulses impeding it in many fields.

Marion Milner (19001998) was a distinguished British psychoanalyst, educationalist, autobiographer and artist.

Janet Sayers is Professor of Psychoanalytic Psychology at the University of Kent in Canterbury where she works as an NHS psychotherapist. Her books include Mothering Psychoanalysis (1991), Freudian Tales (1997), Kleinians (2000), Freuds Art (2007), and recent completion of a biography of Adrian Stokes.

Emma Letley is a writer, academic and psychoanalytic psychotherapist, trained with the Arbours Association, and practising in Notting Hill Gate and at Kings College London. She is the biographer of Marion Milner.

On Not Being Able to Paint

Marion Milner

New introduction by Janet Sayers

Series Editor: Emma Letley

Literary Executors: John Milner and Margaret Walters

On Not Being Able to Paint - image 1

LONDON AND NEW YORK

First published 1950 by Heinemann Educational Books Ltd
Reprinted 2010 by Routledge
27 Church Road, Hove, East Sussex BN3 2FA

Simultaneously published in the USA and Canada
by Routledge
270 Madison Avenue, New York, NY 10016

Routledge is an imprint of the Taylor & Francis Group, an Informa business

This edition published in the Taylor & Francis e-Library, 2010.


To purchase your own copy of this or any of Taylor & Francis or Routledges collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.

2010 The Estate of Marion Milner by arrangement with John Milner
and Margaret Walters c/o Paterson Marsh Ltd.
Introduction Janet Sayers

Paperback cover design by Andrew Ward

All rights reserved. No part of this book may be reprinted or
reproduced or utilised in any form or by any electronic, mechanical
or other means, now known or hereafter invented, including
photocopying and recording, or in any information storage or
retrieval system, without permission in writing from the publishers.

This publication has been produced with paper manufactured to strict
environmental standards and with pulp derived from sustainable forests.

British Library Cataloguing in Publication Data
A catalogue record for this book is available from the British Library

Library of Congress Cataloging-in-Publication Data
Milner, Marion Blackett.
On not being able to paint / Marion Milner ;
edited by Emma Letley.
p. cm.
Originally published: London : Heinemann, 1950.
Includes bibliographical references and index.
1. Painting. 2. Creation (Literary, artistic, etc.)
I. Letley, Emma. II. Title.
ND1140.M5 2010
750.19dc22
2010025616

ISBN 0-203-83365-1 Master e-book ISBN

ISBN 9780415550765 (hbk)

ISBN 9780415550789 (pbk)

To my son and his generation and may they not take as long as
I have in finding out about these matters

Contents
Illustrations

The Angry Parrot frontispiece

Mrs. Punch

Beautiful Young Girl

Summer Morning

Summer Beeches

Nursery

Spanish Garden

Milkman

Two Jugs

Thunder over The Sea

Earth (a, b, c, d)

Sea Wall (a, b)

Blasting Witch

Frugal Mouse

Innocent Donkey

The Demanding Bottle

Freedom

Lamb in Wolfs Clothing

Salome

Macbeth and the Witches

Skeleton under the Sea

Ape in the Garden of Eden

Comment

The Escaping Bear

Small Porgies

Horrified Tadpole

Drawing without a Name

The Pregnant Butcher

The Farmers Wife

Queen Elizabeth and the Bashful Parrot

The Mount of Olives

Two Ways of Drawing (a)

Two Ways of Drawing (b)

Chaos

N.B.G.

Rats in the Sacristy

The Mills of God

The Dodder Clown

The Turkey-Conductor

The Eagle and the Cave-man

Many-eyed Insect

Entombment

If the Sun and Moon...

Termagant Wife

Bonfire

Figure of Eight

Body Postures (a)

Body Postures (b)

Two-face Dog-cat

Ego-Island

O Dismay, I, a Wingless Mortal...

Bursting Seed-pod

O Jerusalem! Jerusalem! I have forsaken thy courts, Thy pillars of ivory and gold, thy curtains of silk and fine Linen, thy pavements of precious stones, thy walls of pearl And gold, thy gates of Thanksgiving, thy windows of Praise,

Thy clouds of Blessing, thy Cherubims of Tender Mercy,

Stretching their Wings sublime over the Little Ones of Albion.

O Human Imagination! O Divine Body, I have crucifid!

I have turnd my back upon thee into the Wastes of Moral Law:

There Babylon is builded in the Waste, founded in Human desolation.

O Babylon! thy Watchman stands over thee in the night;

Thy severe Judge all the day long proves thee, O Babylon,

With provings of Destruction, with giving thee thy hearts desire.

William Blake

Concepts can never be presented to me merely, they must be knitted into the structure of my being, and this can only be done through my own activity.

M. P. Follett, Creative Experience

Foreword

Marion Milners treatment of psychic creativity differs in several respects from those well-established approaches to the subject to which psycho-analytic readers owe whatever familiarity with it they possess. She chooses as the object of her scrutiny not the professional and recognised artist but herself as a Sunday-painter; not the finished masterpiece but her own fumbling and amateurish beginners efforts to draw and paint. In short, she analyses not the mysterious and elusive ability of the genius who achieves self-expression through the medium of painting, but as the title of the book suggests the all too common and distressing restrictions by which the creativity of the average adult individual is held in check.

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