As origens do esquisso como ideia da forma

Tese de mestrado em Desenho, apresentada à Universidade de Lisboa através da Faculdade de Belas Artes, 2006The purpose of this dissertation is to establish the connection between the expressive characteristics of the conception drawings of the artistic project, which are generally called sketches (schizzi), and the way they allowed that kind of drawings evolved to an autonomous graphic object. We will see how its incomplete and fragmented character, which results, through the running back to imagination, from the rapid formulation of graphic hypothesis, formaily simplified, to a certain project problem, it will end, since its origin the Renaissance, to reveal an inventive process and, therefore, to contribute to the identification of an authorship for that same project, that is the reason why the conception drawings begin to assume exterior visibility. In a way of having a more profound vísion of the sketch (schizzo) concept, we ran over to the definition that is created by the treaties of Francisco de Holanda and Giorgio Vasari, taking advantage, this way, to separate the sketch (schizzo} from other kind of drawings often confounded with its practise, such are the sketch (bozzeto) and the croquis. Still based on these definitions, we decided to separate which we called "real" and "false" sketches (schizzí), that is to say introspective sketches (schizzi}, which are connected to the creative moments of the project, and sketches (schizzl) which seem to be developed purposely to be seen. Based on this assertion, we admit that, nowadays, the anonymous character of the digital registration in the architecture and design project, in a perspective of the project identification, still exalts the sketch (schizzo}, through the acknowledgement of its own characteristics, in a way next to the one which is connected to its own origi