Abstract:

Pliny the Elder, in his Natural History, narrates the myth of Painting birth, in which he tells how the potter’s, Butades of Sicyon daughter, drew with a line on a wall the outline of her beloved shadow caused by a candle.

This constant that closely relates the concept of image and casting as an abstract synthesis that gives rise to an representation, still lives from the most distant times until present days.

Many artists used machines that would help to create the images of the observed and optical devices that would help to give expression of scenes through the projection or reflection of light and those, would later turn into prephotographyc instruments.
The birth of Photography started a change in the paradigm of Arts and Drawing in particular. Artists as Matisse, Picasso, Chillida, Warhol or Gego, researched and experienced other ways to approach Drawing.

Nowadays, the powerful technological devices of creation and three dimensional representation, offer us the service of new ways of conceiving these approaches and relations among the observed – imagined - represented thing. If there is drawing, there is knowledge, in the course of drawing process our intellect provokes the interaction and feedback between the utopic and the feasible, the imagined and the created, the desired and achieved.

This paper has its origin in part of the research carried out by the author, that concluded with his PhD thesis and attempts to coordinate as a storyline reference in order to understand that drawing practice goes beyond the paper. References of some of the works of art quoted. They clearly show that conceptually, drawing language prevails going beyond the bounds of more traditional considerations.

Keywords:

Drawing, Fine Arts, Art.