"I lived near Little Tolmennor where Michael Cadman was painting in the 70's. I admired his work and shared his enthusiasm for the beautiful cornish hedgerows. I have three of his paintings of Porthleven. He painted there often. I remember that he painted a large picture of the engine house at Rinsey. The painting was auctioned to raise the funds to restore the stonework that was in a bad state. It is perhaps one of the best preserved engine houses that stands close to the cliffs. I have often wondered what happened to the painting..."   Tom RICHARDS

"Michael lived between Dorset and Cornwall, always yearning for the other county. After one move to Dorset, he wrote to me 'I would give a year of my life to go back to Cornwall'..."  Judith Coomber GLEESON

"MLC studied at the Royal College of Art at a time when the College was evacuated to the Lake District, where it took over most of the village of Ambleside. Michael's professor was Gilbert Spencer, brother of Stanley Spencer. His fellow students at this time included Frederick Brill, later to become Principal of Chelsea School of Art, the late Lesley Worth, former President of the Royal Watercolour Society, and Charles Bone, former President of the Royal Institute of Painters in Watercolours (RIPW). These friendships remained throughout Michael's life.
Michael became a much appreciated tutor at the Epsom College of Art and also Croydon College of Art and continued with numerous exhibitions. On the strength of his work, he was elected a member of the RIPW. His early work was very much influenced by painters such as Girtin, Turner and Constable, and at one time, he spent a whole year travelling around England painting the characteristics of each part of the country. Later the French painters had an influence on his work, especially Cezanne. He loved France and eventually purchased a house there. His work is much appreciated by his many clients - he is a painter of his time. His work was representational but with some influence of cubism. He lived for a time in Cornwall.”
  Charles BONE

"As a young art student at Epsom School of Art in the late 1940s I have always been grateful to Michael Cadman for his beautiful drawings and opening our eyes up to the work of Michelangelo and Leonardo da Vinci. Michael was always good with us students socially - going for rambles, playing tennis and hockey. I have been very fortunate in seeing Michael and Sheila in the last couple of years and able to thank him - he was still as enthusiastic about drawing and painting"  Angela Sherborne (Prince)

"I only met Michael once at his home on the South coast of England. I was struck by his laid back attitude to life and his distinctive style. Michael tended to stick to a limited palette, typically made up to subtle reds and blues and he unified his paintings by composing each subject of broad flat brushstrokes. The image as a whole revolved through restrained suggestions of form, generating a strong sense of atmosphere, while the structure of his painting was reinforced through a predominance of vertical and horizontal elements. I enjoyed his company tremendously being inspired and entertained by his recollections of journeys throughout France in his old VW camper van."   Andrew HILLIER, Fine Art UK

"My Dad (known to the staff as Jock) joined Epsom Art School in the late '40s in charge of 3-dimensional design and later also became Vice-Principal. I remember him telling me in those early days about a tutor who had spent some time travelling the country as a tramp. I later found that this was Michael, who told me that during that time he discovered how warm hay was to sleep on."  Trevor HEATH

“He will be a very great loss to the school, where he has worked enthusiastically and successfully for many years, but he has decided to leave the district and to concentrate more on his own private work”.
R.A. STRAND, Principal of Epsom School of Art, in a Report to the Governers (following Michael's resignation in April 1969)

“Mick Cadman seemingly was never without the roll up firmly clasped between his fingers, he may not have smoked that much, as he squeezed the life out of them and was always relighting. This he tried to accomplish while talking passionately about someone's drawing he was discussing. So often the match would burn his finger before he realised, having got so involved with teaching. He didn't suffer fools gladly, and if the student wasn't that interested he gave more attention to those who were.
I hadn't seen him for over 40 years when we met at the Watercolour reception, a couple of years ago and he remembered strangely, not a drawing or painting I had done but a multi layered lino cut involving a haycart and a corn dolly."
  Ian David BAKER (Student Epsom 1960-64)

"Michael Cadman was one of my tutors at Epsom Art School. Once when I was starting a painting of St Francis with a green wash, Cadman told me “You should always start with a burnt umber wash”. I didn’t agree, but I thought it was an apt phrase for his portrait, which I didn’t start with a burnt umber wash."   Trevor HEATH