Surrealist inheritance in drawing

Sequential movements in history of art have led to revolutions during the times they originated. Thereafter, they maintained their existence in work of art with their indications. These heritages artists have acquired take them away from their pasts, bring them to present, and at this very point where past and present intersect, enable them to view future. Drawing is the origin of creative practice in all plastic arts, from painting to architecture. Artistic contemplation begins with nature we are part of and a familiar object close by. Examining entity and life-drawing teaches us how to observe. Identifying and contrasting objects are only complete with mathematical discipline, coordination of eyes and hands, and finally with a self-styled line of plastics. In the present paper, drawing is explained in relation to the influence of surrealism. To this end, quotations of portray able examples of our memories’ and dreams’ nonvisible worlds, rather than drawings of entities confined in their external appearances, are given. Line, emerging from imitating the visible, has responded to the messages of the unconscious. This paper examines the drawings of three surrealist artists, namely, Alberto Giacometti, Paul Klee, and Réne Magritte. According to surrealists, the unconscious does not aim solely for the creativity of meaningless facts, yet, it establishes a relationship between facts and objects in human contemplation. In this context, surrealist creation is a rich synthesis for drawing. Today, surrealist aspects can be seen in many drawings. Surrealism will continue to update itself and influence artists’ imagination post its time.Keywords: Drawing, surrealism, dream, nature