Álvaro Siza, Page 61, Caderno 31, 1979. Pen on paper, 300 × 210 mm. DMC 2528.61.
For the artist drawing is discovery. And that is not just a slick phrase, it is quite literally true. It is the actual act of drawing that forces the artist to look at the object in front of him, to dissect it in his mind’s eye and put it together again; or, if he is drawing from memory, that forces him to dredge his own mind, to discover the content of his own store of past observations.
It is a platitude in the teaching of drawing that the heart of the matter lies in the specific process of looking. A line, an area of tone, is not really important because it records what you have seen, but because of what it will lead you on to see. Following up its logic in order to check its accuracy, you find confirmation or denial in the object itself or in your memory of it. Each confirmation or denial brings you closer to the object, until finally you are, as it were, inside it: the contours you have drawn no longer marking the edge of what you have seen but the edge of what you have become. Perhaps that sounds needlessly metaphysical. Another way of putting it would be to say that each mark you make on the paper is a stepping stone from which you proceed to the next, until you have crossed your subject as though it were a river, have put it behind you.
Excerpted from Drawing is Discovery (1953) by John Berger (reprinted in New Statesman, 3-9 May, 2013, 53.)
Drawing is discovery (1953)
– John Berger
For the artist drawing is discovery. And that is not just a slick phrase, it is quite literally true. It is the actual act of drawing that forces the artist to look at the object in front of him, to dissect it in his mind’s eye and put it together again; or, if he is drawing from memory, that forces him to dredge his own mind, to discover the content of his own store of past observations.
It is a platitude in the teaching of drawing that the heart of the matter lies in the specific process of looking. A line, an area of tone, is not really important because it records what you have seen, but because of what it will lead you on to see. Following up its logic in order to check its accuracy, you find confirmation or denial in the object itself or in your memory of it. Each confirmation or denial brings you closer to the object, until finally you are, as it were, inside it: the contours you have drawn no longer marking the edge of what you have seen but the edge of what you have become. Perhaps that sounds needlessly metaphysical. Another way of putting it would be to say that each mark you make on the paper is a stepping stone from which you proceed to the next, until you have crossed your subject as though it were a river, have put it behind you.
Excerpted from Drawing is Discovery (1953) by John Berger (reprinted in New Statesman, 3-9 May, 2013, 53.)
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