Disegno dal vero – Zeichnen nach Modell Structure

Professur
Restaurierung, Kunsttechnologie und Konservierungswissenschaft
Projektarbeit

“The material used in the work of art carries the message of the image and it does so in two ways which can be defined as “structure” and “appearance”. Separating out these two fundaments is like exploring the verso and the recto of a medal or coin. Whether “appearance” prevails or “structure”, together they represent the two functions of material in a work of art […]“
(Brandi 1977, 2000, p. 51)

C. Brandi (1977, 2000) Theory of Restoration. Roma:Istituto centrale del Restauro

We believe that drawing is a personal experience and we encourage you to research, which is the best way of reproducing an external object that has been interiorized by you.
The interpretation of external objects and their expression as a work of art is a unique path from the object to its representation. Because of this, we are kindly asking you to look for the most appropriate tool for conveying the message of art that your work brings along. (Roberta Fonti)
This creative process, in the words of Cesare Brandi, sounds as follows:
“Carmine: But in this path from the inside out, the image of the object cannot be the reproduction of the panorama, a replica of the external object. This would make the image to be needless and always secondary to-and dependent from the object. Then, how does the image differ from the object?
Eftimio: Because of its formal appearance. However, this exteriorization of the image in a form is something that will not be added to the image: the image, once it has been conceived, will reveal itself in its formal appearance, and there will be no form that is not an image, or an image without a corresponding formal appearance.” (Roberta)

* Original Language:
“Carmine: Ma in questo cammino dall’interno all’esterno, l’immagine, non potendo divenire un analogo, una ripetizione dell’oggetto, perché allora sarebbe superflua e resterebbe sempre in una posizione di inferiorità e di dipendenza dall’oggetto, per che cosa ne differisce?”
Eftimio: Per la forma. Ma la forma non sarà qualcosa che si aggiunge: l’immagine, formulatesi, si rivela come forma, e non potrà esserci forma che non sia immagine, o immagine senza forma. Questo trapasso dall’oggetto alla forma ha anche un nome, e si chiama stile.” (Brandi 1947, p.38)
C. Brandi (1947) Carmine o della Pittura con due saggi su Duccio e Picasso. Firenze: Vallenchi