PAINTINGS AND DRAWINGS

The gaze in the act of drawing can adopt a holistic or a partial approach at the same time.

The drawing can be synthetic and analytical.

From the point of view of its ability to synthesize, drawing manages to grasp and reveal the internal or intimate structure of reality. It is no coincidence that, for example, despite the extreme evolution of representative systems through digital and through the use of computers and the consequent hypertrophy of the systems of representation and multiplication of images, still today many artists are called upon to draw by hand the anatomical tables of medical and scientific texts.

This happens because the eye, in combination with the hand of the artist which allows several slight variations in pressure on the support of the drawing itself, makes it possible to "underline", although in a very subtle way and sometimes not visible at first glance, some parts instead of others.

We could say that this characteristic of drawing brings us back to what I said previously, to a fundamental characteristic of the whole drawing process: the analytical capability.

Therefore the draftsmen has the possibility to define in some “directional vectors”, as Arnheim would say, the structure of a real entity.

On the other hand the draftsmen, thanks to his ability to provide synthesis, can give a quick indication of the functioning of a machine, of the characteristics of the movement of an animal or of the kinetic peculiarities of a specific person caught in a specific situation or action.