In the practice of graphic and pictorial figuration, photographic technique has often been used, exploiting its ability to fix moving images (or images subject to mutation) with the aim of providing a figural support to be elaborated with the specific language of drawing or painting. Parallel to this method, since the second half of the nineteenth century, various approaches of great interest have developed in which the photographic language was taken as a reference model for the graphic and pictorial one, thus transforming it into an object of study and imitation. With different operational connotations, several artists have taken on the expressive stylistic features of photography, pursuing, in some cases, even the search for a full identity between the pictorial and photographic language. Even within the field of architectural representation, traditionally the exclusive domain of drawing, photographic language has assumed enormous importance in recent times, with the spread of automatic and digital representation, the use of photo rendering programs and simulations in artificial intelligence environments. These new tools, which generally limit the field of traditional analogue drawing, at least in some cases of great interest, can contribute to defining a drawing modality that takes photorealistic quality as a visual parameter, allowing the development of operational methods based directly on techniques and traditional approaches. Starting from the examination of a surprising manual copy of a nineteenth-century photograph of Palermo, up to the analysis of some hand drawings made by a young author, in this note we want to show how, using photographic language as a point of reference, it is It is possible to develop a direct continuity between apparently obsolete techniques and up-to-date tools.
Nella pratica della figurazione grafica e pittorica si è fatto spesso ricorso alla tecnica fotografica sfruttandone la capacità di fissare immagini in movimento (o comunque soggette a mutazione) allo scopo di restituire un supporto figurale da elaborare in seguito con lo specifico linguaggio del disegno o della pittura. Parallelamente a questa modalità, fin dalla seconda metà dell’Ottocento, si sono sviluppati dei diversi approcci di grande interesse in cui il linguaggio fotografico è stato assunto come modello di riferimento per quello grafico e pittorico, trasformandolo così in oggetto di studio e di imitazione. Con diverse connotazioni operative, parecchi artisti hanno assunto gli stilemi espressivi della fotografia inseguendo, in alcuni casi, persino la ricerca di una piena identità fra il linguaggio pittorico e quello fotografico. Anche all’interno dell’ambito della rappresentazione architettonica, tradizionalmente esclusivo dominio del disegno, il linguaggio fotografico nel periodo recente ha assunto un’enorme rilevanza, con la diffusione della rappresentazione automatica e digitale, l’uso programmi di foto rendering e le simulazioni in ambienti di intelligenza artificiale. Questi nuovi strumenti, che generalmente tendono a limitare il campo del disegno analogico tradizionale, almeno in alcuni casi di grande interesse, possono contribuire a definire una modalità di disegno che assuma la qualità fotorealistica come parametro visuale, consentendo di elaborare modalità operative fondate direttamente su tecniche e approcci canonici. A partire dall’esame di una sorprendente copia manuale di una fotografia del tardo Ottocento palermitano, fino all’analisi di alcuni disegni analogici di architettura realizzati da un giovane autore, in questa nota si vuole mostrare come, utilizzando il linguaggio fotografico come punto di riferimento, sia possibile sviluppare una diretta continuità tra tecniche apparentemente desuete e strumenti aggiornatissimi.
Riflessi. Il linguaggio fotografico nella figurazione grafica e pittorica
E. Dotto
2023-01-01
Abstract
In the practice of graphic and pictorial figuration, photographic technique has often been used, exploiting its ability to fix moving images (or images subject to mutation) with the aim of providing a figural support to be elaborated with the specific language of drawing or painting. Parallel to this method, since the second half of the nineteenth century, various approaches of great interest have developed in which the photographic language was taken as a reference model for the graphic and pictorial one, thus transforming it into an object of study and imitation. With different operational connotations, several artists have taken on the expressive stylistic features of photography, pursuing, in some cases, even the search for a full identity between the pictorial and photographic language. Even within the field of architectural representation, traditionally the exclusive domain of drawing, photographic language has assumed enormous importance in recent times, with the spread of automatic and digital representation, the use of photo rendering programs and simulations in artificial intelligence environments. These new tools, which generally limit the field of traditional analogue drawing, at least in some cases of great interest, can contribute to defining a drawing modality that takes photorealistic quality as a visual parameter, allowing the development of operational methods based directly on techniques and traditional approaches. Starting from the examination of a surprising manual copy of a nineteenth-century photograph of Palermo, up to the analysis of some hand drawings made by a young author, in this note we want to show how, using photographic language as a point of reference, it is It is possible to develop a direct continuity between apparently obsolete techniques and up-to-date tools.File | Dimensione | Formato | |
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