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Drawing Myth and History in visual art

By Jaime de Córdoba

Abstract

After the famous exhibition “Copier créer” curated by Jean Pierre Cuzin in\ud the “Musée du Louvre” in 1993, the practice of drawing art has acquired a renovated\ud interest.\ud This exhibition revised the theoretical concepts introduced by Bober and others in the\ud second half of the XXth century and increased the value of the contribution of drawing\ud in the study of art history instead of the idea of copying. An important catalog and essay\ud by Haverkamp, Begemann and Login, titled “Creative copies”, appeared in 1988 and\ud contained the best examples of the main collections.\ud The last but not least important consequence was the collaboration between\ud international museums, using their own spaces, with contemporary artists. The\ud hermeneutic drawings and paintings by Markus Lüpertz in the Munich Glyptotheck and\ud the exhibition of Giacometti’s drawings shown in the IVAM in 2000 are two excellent\ud examples of the European relevance in this field.\ud I want to analyze here twenty years of drawing done in different museums and\ud institutions around the world and its close relationship with the process of recovering\ud our historical memory by using visual art

Topics: Drawing, History of Art, translation, interpretation, experimentation, Geography. Anthropology. Recreation, G, History of Oceania (South Seas), DU1-950
Publisher: Universitat de Barcelona
Year: 2009
DOI identifier: 10.1344/co2009
OAI identifier: oai:doaj.org/article:008ce51418f34346928157277d4e78ef
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