Keywords: drawing; real; realism; metaphor; postmodernism.
Abstract: A theoretical-practical thesis is presented dedicated to the representational relationship between Drawing and the real, through an analysis of Realism to define it as an attitude, transversal to time and space, that is defined by premises from which theoretical-formal constants result. In order to define them, the research begins by considering the various uses of the term “realism” and the forms it assumes as a movement. In that analysis we show how, through Drawing, Realism focuses on the representation of the relationship between the individual and society (which requires consideration of the context and commentary by the author of the work) and also on the way in which representation itself operates – leading to the conclusion that the plurality of forms it assumes corresponds to the breadth of the ontological and epistemological relationship between Drawing and the real. However, when the real comes into question, this relationship comes to be considered beyond the plane of the image. From then on, the simulacrum is real and necessary to the human condition, and the possible truth is that of the shared understanding, which starts and legitimates itself in the subject, and aspires only to inter-subjectivity. From this conjecture, the possibility of a post-modern Realism is considered which, by appropriating the past through Drawing as a route to visual metaphor, comes to consider the real, like signification, as mere objects-of-desire. Disregarding the possibility of a false innocence, it is argued that Realism will be an attitude marked by an eagerness to say that precedes the how to say, leading to the continuous use of Drawing which, due to its social functions, is a continuous lifeline to human and real – allowing itself to deal with themes central to human existence, not through its representation, but by being representative of them. Finally, in the third chapter, an analysis is made of the practical component of this research, fully documented in the appendix, through the consideration of the formal components of the work and their relationship with the theoretical issues considered, clarifying their articulated evolution, and legitimating both.