I'd say there's two parts. There's the mechanical side. Putting lines/shading/etc exactly where you mean to. And there's the creative part where you make the decisions of where to place them. To be any good you need both.
I really don't say it to be obnoxious. And I don't necessarily disagree with you, but I think stating it as such overlooks some important details.
One one hand, your theory offers a fearful challenge for the mechanic and an awkward walk in the park for the puppet master, or vice versa. On another hand, I'm not sure it acknowledges how the two inform each other in art. It's that informing, whether between one mind or many, that is the creativity. And so, I mean to point out the connections between the mechanical, perceptions of the world, and the decision making, are something of a big weave. Becoming an artist can start with any one of them, and the creativity happens between.
Art history (save for some some deviation in the past 40 years) well supports this strange and crucial overlap.
The more bureaucratic view becomes more common as commerce and creativity start cherrypicking from one another.
