Um dos primeiros posts deste blog foi sobre um desenho de Lourenço da Cunha que tinha aparecido em leilão em Lisboa. Uma pechincha, é um óptimo exemplo de como os desenhos continuam a não ter a atenção devida.  Em Portugal ou fora. E Souren Melikian, a propósito do Salon du Dessin em Paris, escreveu na Art+Auction de Junho exactamente o que penso:

The nature of drawings precludes listless crowds without a specific purpose. Done on paper, drawings are smaller than paintings, and color, if any, is mostly in subtle shades. Only viewers with a long attention span take it all. (…)

Great works on paper do not lend themselves to hype, nor can they be summed up in the sound bytes that are so dear to the media and auction houses alike. Even when they could be summed up in a few lines, neither hurried commentators nor auction-house marketing teams with their eyes firmly on the bottom line would devote time to works with laughable prices.  (…)

In contrast to paintings, which were intended for clients, artists did drawings for their own sake. They are private thoughts conveyed by visual means, The results are often surprising. Mediocre performers can suddenly rise to unimaginable heights.  (…)

And therein lies one of the attractions of drawings to connoisseurs – works of great beauty can be financially accessible. Another less serious but equally powerful attraction for buyers is the ongoing identification game. Most drawings down to the mid 18th century were unsigned and so were quite a few until the early 1900’s.  (…)

To sophisticated connoisseurs captivated by cultural history, perhaps the greatest appeal of drawings leis in some of the revolutionary trends they reveal decades or sometimes centuries before they appear in painting.  (…)

Without a doubt, drawings represent the one area of the art market where chasing rarities does not require you to think in the millions of dollars. It simply takes a great eye and a considerable artistic culture. For some reason, the hunting ground is not overcrowded.  (…)


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