Reinvention of a Gesture
Drawing and Its Origins
DOI:
https://doi.org/10.35699/2238-2046.2024.47874Keywords:
Dibutades , Drawing, Shadows, ProjectionAbstract
This paper revisits the legend of Dibutades, told by Pliny the Elder from the point of view of the language of drawing. The purpose is to analyze the main founding elements of this story, such as shadows, inscription and projection, and their relations with a phenomenology of drawing. The path that transforms the legend of origin of painting into origin of drawing, while reinforcing its mythical character, prepares the autonomy of this language in art.
References
ATHÉNAGORE. Supplique aux sujets des Chrétians. Tradução de Gustave Bardi. Paris: Edições du
Cerf, 1943.
D’ARGENVILLE, Dezzalier. Discours préliminaire sur la connaissance des dessins. Abrégé de la vie
des plus fameux peintres avec leurs portraits gravés en taille douce et les indications des leurs
principaux ouvrages. Paris: [s. n.], 1762. (tomo 1).
BERGER, John. The Sense of Sight: Writings. New York: Vintage Books, 1993.
BISCHOFF, Ulrich. Eduard Munch. Paris: Taschen, 1993.
BISMARK, Mário. Contornando a origen do desenho. Psiax: Estudos e Reflexões sobre Desenho e
Imagem, n. 3, p. 36-38, 2004. Disponível em: https://sigarra.up.pt/faup/pt//pub_geral.pub_view?
pi_pub_base_id=103310. Acesso em: 26 fev. 2024.
DIDI-HUBERMAN, Georges. Le disegno de Vasari, ou le bloc-notes magique de l’histoire de l’art. La
Part de L’oeil, Bruxelas, n. 6, dossier dessin, p. 31-51, 1990.
DUBOIS, Philippe. L’acte photographique. Paris: Nathan, 1990.
ELIADE, Mircea. Mito e realidade. São Paulo: Perspectiva, 1972.
FRESNAULT-DERUELLE, Pierre. Le reflet opaque: le revenant, la mort, le diable (petite iconologie de
l’ombre portée). Semiotica, v. 79, n. 1-2, p. 137-153, out. 1990.
GOGUEL, Catherine Monbeig. La science du connaisseur. In: L’oeil du connaisseur: hommage à
Philip Pouncey. Catálogo da exposição. Paris: Musée du Louvre, 1992. p. 23-30.
GONÇALVES, Flávio. Um percurso para o olhar: o desenho e a terra. Revista Porto Arte, Porto
Alegre, v. 13, n. 23, p. 31-40, nov. 2005. Disponível em:
https://seer.ufrgs.br/index.php/PortoArte/article/view/27917. Acesso em: 26 fev. 2024.
GONÇALVES, Flávio. Através. Revista-Valise, Porto Alegre, v. 3, n. 5, ano 3, p. 95-108, jul. 2013.
Disponível em: https://seer.ufrgs.br/index.php/RevistaValise/article/view/41369/26209. Acesso em:
fev. 2024.
GOMBRICH, Ernst H. Ombres Portées: leur représentation dans l’art occidental. Paris: Gallimard,
HAAS, Patrick de. Entre projectile et projet: aspects de la projection dans les années vingt. In: PAÏNI,
Dominique (dir.). Projections: les transports de l’image. Paris: Hazan: Le Fresnoy, 1997. p. 95-125.
(Publicação que acompanha a exposição de mesmo título, realizada de nov. 1997-jan. 1998, no
Fresnoy, Studio national des arts contemporains, Tourcoing, França).
HUTTER, Heribert. Drawing: History and Technique. London: Thames and Hudson, 1968.
KAUFMANN, Thomas da Costa. The Perspective of Shadows: The History of the Theory of Shadow
Projection. Journal of the Warburg and Courtald Institutes, London, v. 38, p. 258-287, 1975.
MERLEAU-PONTY, Maurice. Phenomenologie de la perception. Paris: Gallimard, 1998.
MONDZAIN, Marie-Jose. What does seeing an image means? Journal of Visual Culture, n. 9-3, p.
-315, 2010.
MUECKE, Frances. Taught by love: The Origin of Painting Again. Art Bulletin, v. 81, n. 2, p. 297-302,
jun. 1990.
NOUGARET, Pierre Jean-Baptiste. Anecdotes des Beaux-Arts, volume I: Contenant Tout Te Que la
Peinture, la Sculpture, la Gravure, l’Architecture, la Littérature, la Musique, & C. Paris: Jean François
Bastien, 1776.
PANOFSKY, Erwin. Idea: a evolução do conceito de belo. São Paulo: Martins Fontes, 1994.
PEIRCE, Charles Sanders. The New Elements of Mathematics, Vol. 4. New Jersey: Humanities
Press, 1960.
PLINY. The Natural History. Edited by John Bostock and H. T. Riley. London: Taylor & Francis, 1855.
Disponível em: http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext
%3A1999.02.0137%3Abook%3D35%3Achapter%3D43. Acesso em: 26 fev. 2024.
PLINY. Pliny Natural History: with an english translation in ten volumes. Tradução H. Rackham.
Harvard: Harvard University Press, 1961. (volume IX, livro XXXV).
ROSAND, David. Drawing Acts: Studies in Graphic Expression and Representation. Cambridge:
University Press, 2002.
ROSE, Bernice. Drawing Now. Catálogo de exposição. New York: Museum of Modern Art, 1976. 96 p.
Disponível em: https://www.moma.org/calendar/exhibitions/2034?locale=pt. Acesso em: 26 fev.
ROSEBLUM, Robert. The Origin of Painting: A problem in the Iconography of Romantic Classicism.
The Art Bulletin, v. 39, n. 4, p. 279-290, Dec. 1957.
SANTAELLA, Lúcia. O método anticartesiano de C. S. Peirce. São Paulo: Editora Unesp, 2004.
STOICHITA, Victor. Short History of Shadows. London: Reaktion Books, 1997.
TISSERON, Serge. Le Dessein du Dessin: geste graphique et processus du deuil. In: WIART, Claude et
al. Art et Fantasme. Paris: Champ Valon, 1984. p. 91-105.
VÁLERY, Paul. Degas Dance Dessin. Paris: Gallimard, 1983.
Downloads
Published
Versions
- 2024-05-13 (2)
- 2024-04-01 (1)
Issue
Section
License
Copyright (c) 2024 Flávio Roberto Gonçalves
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
Authors who publish in this journal agree to the following terms:
- Authors retain copyright and grant the journal the right of first publication, with the work simultaneously licensed under the a Creative Commons Attribution-NonCommercial 4.0 International License that permits sharing of the work with acknowledgement of authorship and initial publication in this journal;
- Authors are permitted to enter into additional contracts separately, for non-exclusive distribution of the version of the work published in this journal (e.g., the Creative Commons Attribution License).
- Authors are permitted and encouraged to publish and distribute their work online (e.g., in institutional repositories or on their home page) at any point before or during the editorial process, as this may generate productive changes as well as increase the impact and citation of the published work.
- It is the responsibility of the authors to obtain written permission to use in their articles materials protected by copyright law. Revista PÓS is not responsible for copyright breaches made by its contributors.
| 
