Publicação
Da presença do desenho na pintura : a linha transformadora
| Resumo: | Drawing is understood as a means of foundational expression of artistic activity and as the most effective tool to access the representation. The paradoxical situation of drawing and painting remaining as taxonomically diferent activities, since there are approximations by practice while subsisting as actions described differently, requires a theoretical review from within the artistic practice in the context of studio practice. The gap between drawing and painting, stimulates demand for a change of procedures within the art project. In the territory of figuration, universe in which the artistic project is developed, it is necessary to find an element that allows this approach. The connection between drawing and painting is questioned based on three main ideas: the relationship between drawing typologies and painting, drawing protagonism within the hierarchical work established by historical practices of painting, and visual participation of drawing in the finished painting. Drawing is considered as belonging to a tradition which becomes active through its reassessment by working in the studio with the potential to reconfigure the territory of painting. In this case the support, as the first distinctive feature of the two practices, is thought of as a continuous territory through the action that is developed on it. In this sense, the modest character of the paper works as a model for the work on canvas that becomes materially rarefied. The line is understood as an element that inhabits the drawing and painting using different graphic expressions. It is understood that through the intervention of brush you can find a common configuration for both practices. The characteristics of the material and support are no longer relevant in the classification of a work as drawing or as painting, this function being assigned to the graphic element that builds the representation, in this case the line drawn with a brush. By using the line as painting’s building element it becomes potentially a hybrid entity, which is necessary to understand as an extended field of drawing practice |
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| Autores principais: | Leal, Jorge, 1975- |
| Assunto: | Monet, Claude, 1840-1926 Cézanne, Paul, 1839-1906 Van Gogh, Vincent, 1853-1890 Matisse, Henri, 1869-1954 Giacometti, Alberto, 1901-1966 Guston, Philip, 1913-1980 Desenho Pintura Linhas Processo Transformação |
| Ano: | 2017 |
| País: | Portugal |
| Tipo de documento: | tese de doutoramento |
| Tipo de acesso: | acesso aberto |
| Instituição associada: | Universidade de Lisboa |
| Idioma: | português |
| Origem: | Repositório da Universidade de Lisboa |
| Resumo: | Drawing is understood as a means of foundational expression of artistic activity and as the most effective tool to access the representation. The paradoxical situation of drawing and painting remaining as taxonomically diferent activities, since there are approximations by practice while subsisting as actions described differently, requires a theoretical review from within the artistic practice in the context of studio practice. The gap between drawing and painting, stimulates demand for a change of procedures within the art project. In the territory of figuration, universe in which the artistic project is developed, it is necessary to find an element that allows this approach. The connection between drawing and painting is questioned based on three main ideas: the relationship between drawing typologies and painting, drawing protagonism within the hierarchical work established by historical practices of painting, and visual participation of drawing in the finished painting. Drawing is considered as belonging to a tradition which becomes active through its reassessment by working in the studio with the potential to reconfigure the territory of painting. In this case the support, as the first distinctive feature of the two practices, is thought of as a continuous territory through the action that is developed on it. In this sense, the modest character of the paper works as a model for the work on canvas that becomes materially rarefied. The line is understood as an element that inhabits the drawing and painting using different graphic expressions. It is understood that through the intervention of brush you can find a common configuration for both practices. The characteristics of the material and support are no longer relevant in the classification of a work as drawing or as painting, this function being assigned to the graphic element that builds the representation, in this case the line drawn with a brush. By using the line as painting’s building element it becomes potentially a hybrid entity, which is necessary to understand as an extended field of drawing practice |
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