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As Paisagens Do Desenho.Pdf UNIVERSIDADE DE LISBOA FACULDADE DE BELAS ARTES AS PAISAGENS DO DESENHO CARACTERÍSTICAS FORMAIS DO DESENHO DE PAISAGEM António José Santos Meireles MESTRADO EM DESENHO 2004 UNIVERSIDADE DE LISBOA FACULDADE DE BELAS ARTES AS PAISAGENS DO DESENHO CARACTERÍSTICAS FORMAIS DO DESENHO DE PAISAGEM António José Santos Meireles MESTRADO EM DESENHO Dissertação orientada pelo Professor Associado António Pedro Marques 2004 SUMÁRIO O desenho de paisagem partilha com outras expressões bidimensionais, como a pintura ou a gravura, a exploração de um género que assume o espaço natural como motivo privilegiado. A identidade comum destas expressões consubstanciada em características partilhadas, bem como a prevalência da pintura sobre as demais expressões, têm condicionado a consideração do desenho de paisagem nas suas especificidades próprias. É objectivo da presente dissertação, identificar as características formais maioritárias do desenho de paisagem europeu dos séculos XVII, XVIII e XIX, permitindo definir o que lhe é próprio e enquadrar o desenho no corpo global da paisagem. É adoptada a metodologia da análise de conteúdo, categorizando a análise de uma amostra representativa de desenhos de paisagem, sendo desenvolvidos três níveis de análise: geral, intermédia e pormenorizada. A análise geral é relativa aos modos de exploração e interacção entre a mancha gráfica e o suporte. A análise intermédia refere-se aos modos de sugestão e articulação de espaços. A análise pormenorizada é relativa às formas representadas. As conclusões desta investigação incidem sobre a função do desenho no corpo global da paisagem e nas características formais do desenho de paisagem. O desenho desempenha duas acções no corpo global da paisagem: o registo de espaços naturais em locais específicos, fornecendo os modelos formais iniciais da paisagem e a função processual que desempenha no desenvolvimento de obras finalizadas. As características formais do desenho de paisagens, materializadas em modelos formais específicos de uso recorrente, mostram estarem todos os seus recursos direccionados para a eficácia das obras, através da maximização do seu potencial perceptivo. Esta eficácia traduz-se na construção verosímil de espaços e formas susceptíveis de serem percepcionados através da visão média de um observador, em que dois extremos se encontram abrangidos e não se opõem - a pormenorização de formas e a sugestão de espaços extensos. PALAVRAS – CHAVE Paisagem; Desenho; Características I ABSTRACT Drawing, with other two-dimensional expressions, such as painting or engraving, share the exploration of landscape, the artistic genre that has natural environment as its main subject. Due to the affinities that these expressions have both in space and form representation and construction, they structure the global body of landscape in art. The common identity that they share and the prevailing influence that painting has over the other expressions, have conditioned landscape drawing own specifications and distinctiveness. The purpose of this research is to identify main formal characteristics from 17th to 19th century European landscape drawings, and thus frame it in the global corpus of landscape. We have adopted the methodology of content analysis, categorizing the analysis of a representative sample of the corpus of landscape-drawing. Three levels of analysis have been applied into the image database sample, constituted by selected drawings of the period under study. The first level of analysis concerns the way that supports relate with graphic stains. The second level of analysis refers to the space suggesting resources. The third level of analysis is related to the forms that are represented. As conclusion, we present drawing’s main functions within landscape as a whole, and in landscape drawing through its formal characteristics, fulfilling the objectives of this research. Drawing has two different functions in landscape – it is the main method of registering specific places, and the key technique in the process of developing changes into final compositions of landscape. The formal characteristics of landscape drawing show that all its resources are directed towards efficiency in composition. This efficiency is shown in a believable construction of forms and spaces, likely to be perceived by an average observer through the use of specific formal models. This credible vision allies two different extremes – detailing of form and suggestion of large spaces. KEY WORDS Landscape; Drawing; Characteristics II AGRADECIMENTOS À minha mulher Ana, cujo apoio em todos os momentos foi fundamental para o desenvolvimento desta dissertação, deixo um agradecimento muito especial. Este agradecimento é naturalmente extensível à minha família – pais, tias, sogra, irmãos e cunhadas, por todos os contributos que deram para que o mestrado de que esta dissertação é conclusão fosse uma realidade. Aos órgãos directivos da Escola Superior de Educação de Bragança, agradeço a imprescindível articulação de horários para a compatibilização entre a actividade lectiva e esta investigação, bem como a disponibilidade reiterada em todos os momentos pelos meus colegas de departamento para resolução de qualquer dificuldade. Agradeço ao Dr. José Luís Porfírio a autorização para consulta dos desenhos de paisagem no Museu Nacional de Arte Antiga, assim como a atenção dispensada pelas funcionárias do departamento de estampas desta instituição. Agradeço ao Dr. João Castel Branco a autorização para consulta da colecção de desenhos de paisagem do Museu Calouste Gulbenkian em condições excepcionais, contando com o profissionalismo e cortesia inexcedíveis da Dra Manuela Fidalgo. Agradeço aos funcionários da secção de Iconologia da Biblioteca Nacional todo o apoio que prestaram nas consultas efectuadas. Na figura da Dra. Vitória Mesquita do Instituto Português de museus Divisão de Documentação Informática, agradeço a todos os funcionários deste instituto na pesquisa efectuada. Aos funcionários do Departamento de Desenho e Gravura do Museu Städel de Frankfurt, agradeço a consideração e solicitude dispensadas. Agradeço igualmente a todas as outras instituições contactadas, que franquearam sempre com a maior das amabilidades as portas das suas colecções. Ao Professor António Pedro, devo um agradecimento muito especial pelo modo como orientou esta dissertação, proporcionando através dos seus contributos, uma inestimável liberdade e consequente responsabilidade de pensamento e acção. III ÍNDICE SUMÁRIO.......................................................................................................................................I PALAVRAS CHAVE.......................................................................................................................I ABSTRACT.............................................................................................................…………........II KEY WORDS...................................................................................................……………….…...II AGRADECIMENTOS…………………………………………………………………….................….III ÍNDICE............................................................................................................….........................IV INTRODUÇÃO............................................................................................................................. 1 PARTE 1 1 - A GÉNESE DO TERMO PAISAGEM E AS SUAS ESPECIFICIDADES................................ 6 1.1 - A ambiguidade do termo paisagem.................................................................................. 6 1.2 - Os primeiros termos conhecidos de nomeação de explorações plásticas....................... 7 1.3 - O estabelecimento do termo paisagem e suas especificidades...................................... 9 1.4 - O termo paisagem e a especificação dos seus significados.......................................... 11 Imagens...................................................................................................................................16 2 - CONCEITOS DE PAISAGEM............................................................................................... 17 2.1 - A relação do homem com a natureza............................................................................ 17 2.2 - O nível de proximidade à natureza da exploração artística........................................... 19 2.3 - As características da exploração artística...................................................................... 20 3 - CONTEXTUALIZAÇÃO CRONOLÓGICA E ESPACIAL....................................................... 24 3.1 - Critérios da abordagem cronológica e espacial da paisagem........................................ 24 3.2 - Gravuras e pinturas rupestres – Alguns elementos para uma paisagem...................... 26 3.3 - A agricultura – Representação codificada de elementos naturais................................. 27 3.4 - As civilizações agrícolas–Transição de paradigma na representação da natureza........29 3.5 - As proto-paisagens da tradição ocidental e europeia.................................................... 30 3.6 - Idade Média, codificação da realidade........................................................................... 31 3.7 - O Renascimento e o estabelecimento dos fundamentos da paisagem......................... 33 3.8 - O desenho na paisagem................................................................................................ 36 3.9 - O século XVII................................................................................................................
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