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