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At about 3 hours I am still trying to figure out where the nose goes. Do you mean your students paint in dimmed light like Gainsborough, so they will be only concerned with the major shapes?
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As to where the nose goes, me too - If I had it exactly right I would consider the likeness complete.It is not.
As to the cave painting thing, I think I first read of this phenomenon from Peggy Baumgaertner. Then I studied with Bill Whitaker, who completely reinforced the idea that the notion of "wall presence" ( to me, few values,beautifully stated) requires diminished light. Sherri McGraw paints in the dark, too.
I don't know anything about Gainsborough's Garrett. But I have come to believe that a painting painted in dim light, when successful, will absolutely soar in any other (better) light.
On the other hand, perhaps we will all end up with beady little mole-eyes, scurrying around in our modern day mausoleums, unfit for human contact. But at least our paintings will look good
Actually I noticed that Tony Pro mentioned the (possible) pitfalls of painting in too bright an environment.