Art by Medium: Charcoal

Artodyssey "Julita Malinowska's paintings belong to those, which once seen - are never forgotten. The open spaces, sometimes cool and bright, at other times heavily saturated with co...

Mid Century French Portrait Josine Vignon (French 1922-2022) Medium: Pencil/ charcoal on artists paper, double sided Size: 13 (height) x 10 (width) Stamped Verso Condition: Good Pr...

This piece, titled "The Meeting 22" is an original artwork by Seth Clark as part of his newest solo exhibition, "Passing Through". made of ink transfer, charcoal, pastel, acrylic, a...

Krzysztof Gliszczyński is Professor for painting on Academy of fine arts Gdansk. The artwork is unframed and will be shipped rolled in a tube Artist Statement In the 1990s I started collecting flakes of paint – leftovers from my work. I would put fresh ones in wooden formworks, dried ones in glass containers. They constituted layers of investigations into the field of painting, enclosed in dated and numbered cuboids measuring 47 × 10.5 × 10.5 cm. I called those objects Urns. In 2016, I displayed them at an exhibition, moulding a single object out of all the Urns. The Urns inspired me to redefine the status of my work as a painter. In order to do it, I performed a daunting task of placing the layers of paint not in an urn, but on a canvas, pressing each fresh bit of paint with my thumb. In the cycle of paintings Autoportret a’retour, the matter was transferred from painting to painting, expanding the area of each consecutive one. Together, the bits, the residua of paint, kept alive the memory of the previous works. It was a stage of the atomization of the painting matter and its alienation from the traditional concepts and aesthetic relations. Thus, the cycle of synergic paintings was created, as I called them, guided by the feeling evoked in me by the mutually intensifying flakes of paint. The final aesthetic result of the refining of the digested matter was a consequence of the automatism of the process of layering, thumb-pressing, and scraping off again. Just like in an archaeological excavation, attempts are made to unite and retrieve that which has been lost. This avant-garde concept consists in transferring into the area of painting of matter, virtually degraded and not belonging to the realm of art. And yet the matter re-enters it, acquiring a new meaning. The matter I created, building up like lava, became my new technique. I called it perpetuum pictura – self-perpetuated painting. Alchemical concepts allowed me to identify the process inherent in the emerging matter, to give it direction and meaning. In a way, I created matter which was introducing me into the pre-symbolic world – a world before form, unnamed. From this painterly magma, ideas sprung up, old theories of colour and the convoluted problem of squaring the circle manifested themselves again. Just like Harriot’s crystal refracted light in 1605, I tried to break up colour in the painting Iosis. Paintings were becoming symptoms, like in the work Pulp fiction, which at that time was a gesture of total fragmentation of matter and of transcending its boundaries, my dialogue with the works of Jackson Pollock and the freedom brought by his art. The painting Geometrica de physiologiam pictura contains a diagram in which I enter four colours that constitute an introduction to protopsychology, alchemical transmutation, and the ancient theory of colour. It this work I managed to present the identification of the essence of human physiology with art. But the essential aspect of my considerations in my most recent paintings is the analysis of abstraction, the study of its significance for the contemporary language of art and the search for the possibilities of creating a new message. For me, abstraction is not an end in itself, catering to the largely predicable expectations of the viewers. To study the boundary between visibility and invisibility, like in the work Unsichtbar, is to ask about the status of the possibilities of the language of abstraction. The moment of fluidity which I am able to attain results from the matter – matter...

'Lily in Charcoal' 2023 From raw energy to sublime. 'Lily in Charcoal' is an expression piece combining an abstract charcoal drawing with a live lily emerging from a gash. The charc...

Serbian artist Dordevic (or Djordjevic) Miodrag (1936 -), known as "Miodrag," designed this stunning abstract drawing. This work is a charcoal on paper depicting a brutalist abstract...

This watercolour is hand signed and dated in pencil by the artist "Heckel 22" [1922] in the lower left image. It is also hand titled in pencil “Grauer Tag” [Grey Day] in the lower l...

Subject : Le Compotier II (French Title) The Compotier II is a charcoal drawing by Aurélie Sicas, a contemporary artist celebrated for her sensitive approach to realism and light. Th...

The artwork is unframed and will be shipped rolled in a tube Krzysztof Gliszczyński is Professor for painting on Academy of fine arts Gdansk. ...

(NOTE: if you enter "Gridish" into the 1stDibs search field you will see others in this series come up) (Comes framed in a maple high-profile "floater" frame.) Artist’s Statement: ...

Desmond Mclean (1929-2015). Untitled, ca. 1960 Mixed media on paper. Sheet measuring 11 x 14 inches. Taped at corners to backing backing board measuring 17.5 x 21.5 inches. Unfr...

Title: Mid Century French Male Study Artist: Josine Vignon (French 1922-2022) Medium: Pencil/ charcoal on artists paper Size: 25 (height) x 19 (width) Stamped: Verso Condition: ...

Artist: Ian Hornak (1944-2002) Title: Renaissance Male Nude Figure Study Year: circa 1963 Medium: Original drawing on vélin paper Size: 23 x 18 inches Condition: Good Provenance: Est...

Geoff Rees (1930–2018) A Modernist Voice of the West Coast Geoff Rees was a defining figure in Western Canadian abstraction, known for paintings that balance radiant colour, medita...

Fragments is a striking triptych by Italian artist Marilina Marchica. Each original, non-reproducible drawing is made on delicate vegetal (vellum) paper and individually framed in cu...

Swedish artist Jonas Fisch’s imagery is vibrantly buzzing with colorful commentary on society - past and present - morphed into figures, words, and shapes. His heavily layered canvas...

"Elevate" is a beautiful and unique charcoal drawing on paper of a dynamic horse jumping in mid-air. The composition is contemporary, playing with the positive and negative space. Th...

The paintings of Bruce Rubenstein seamlessly marry sophistication with affordability. His original art merges the creative attitudes of the two distinct art hot spots of New York and...

The Roman Court French School, circa 1780-1820 period pencil/charcoal/white chalk drawing on artist paper stamped with a name (either a collector or the artist) size: 18 x 24 inches ...

'Lily No.3' Lily was photographed using a large format 4x5 black and white film. From Limited edition of 10. Printed on archival Hahnemühle Photo Rag Baryta paper. Signed both fr...

Henry OTTMANN (1877-1927) Baby, circa 1920 Charcoal on paper Signed lower right 32.5 x 28 cm Listed in the artist's catalogue raisonné under number 639. Henry Ottmann was born in 18...

Judith Williams’ “Longing” evokes quiet intimacy through fluid linework and soft washes of charcoal and acrylic. The painting’s muted tones and subtle textures heighten its emotional...

Paris: City Winter Scene by Henri Miloch (1898-1979) watercolour and gouache painting with charcoal on artist's paper, unframed Sheet: 9.75 x 13.5 inches Intriguing painting by the...

The paintings of Bruce Rubenstein seamlessly marry sophistication with affordability. His original art merges the creative attitudes of the two distinct art hot spots of New York and...

The quarrel is an original charcoal drawing realized by Mino Maccari in 1950s. Wireless Communication is hand-signed by the artist on the lower right corner of the worn yellowed pap...

This drawing studied of Van Gogh's self-portrait at his Solo exhibition " Poets and Lovers" in National Gallery, London, 2024. Shizico Yi learned her craft in drawings from old mast...

Radiant ink and charcoal painting of a nude female figure seated on a stool in a rich rust hue, circa 1960. Original artwork on paper displayed on a white mat with a gold border. A...

A Finely Drawn 1930s, Modern Academic Figure Study Drawing of a Standing Male Nude Model by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). An exceptionally well executed, ea...

Estate stamped, lower right, 'Arthur B. Davies' for Arthur Bowen Davies (American, 1862-1928) inscribed, 'Per NMD' and created circa 1900. Born in Utica, New York, Arthur Davies att...

Shipping Procedure FREE Shipping Worldwide Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. Your purpose is to simply exist, without identifying as something specific. The ultimate truth is encapsulated in the phrase 'I am that I am'. The path to realizing this truth is elegantly simple: just 'Be still'. Stillness means letting go of your ego and the labels you've assigned yourself. Any definition or identity you cling to is a source of suffering. Release your attachment to thinking 'I am this' or 'I am that'. To discover your true nature, all you need to do is quiet your mind and be present. About Artist Samson Adetunji...

Leigh Ann Van Fossan's "Sanctuary" is an original acrylic and pastel painting depicting a warm interior with a cozy cat perched on a chair peering out a picturesque window. Van Fos...

"Portrait of Willy" by Samson Tolulope Daramola is a captivating artwork that masterfully captures the essence and personality of a young lady named Willy. Daramola's artistic prowes...

Danny Avidan’s paintings explore the tension between form and formlessness, using it as a way to reflect on the body and the creative process. His expressive gestures continuously at...

Desmond Mclean (1929-2015). Untitled, ca. 1965 oil on canvas 16 x 20 inches; 18 x 22 inches in wood frame. Born: Ireland Studied: Heatherly School of Art, London; American Sc...

The artwork is unframed and will be shipped rolled in a tube Krzysztof Gliszczyński is Professor for painting on Academy of fine arts Gdansk. Krzysztof Gliszczyński born in Miastko in 1962. Graduated from the Gdańsk Academy of Fine Arts in 1987 in the studio of Prof. Kazimierz Ostrowski. Between 1995 and 2002 founder and co-manager of Koło Gallery in Gdańsk. lnitiator of the Kazimierz Ostrowski Award, con-ferred by the Union of Polish Artists and Designers (ZPAP), Gdańsk Chapter. Dean of the Painting Faculty of the Gdańsk Academy of Fine Arts in the years 2008-2012. Vice Rector for Development and Cooperation of the Gdańsk Academy of Fine Arts in the years 2012-2016. Obtained a professorship in 2011. Currently head of the Third Painting Studio of the Painting Faculty of the Gdańsk Academy of Fine Arts. He has taken part in a few dozen exhibitions in Poland and abroad. He has received countless prizes and awards for his artistic work. He is active in the field of painting, drawing, objects, and video. Artist Statement In the 1990s I started collecting flakes of paint – leftovers from my work. I would put fresh ones in wooden formworks, dried ones in glass containers. They constituted layers of investigations into the field of painting, enclosed in dated and numbered cuboids measuring 47 × 10.5 × 10.5 cm. I called those objects Urns. In 2016, I displayed them at an exhibition, moulding a single object out of all the Urns. The Urns inspired me to redefine the status of my work as a painter. In order to do it, I performed a daunting task of placing the layers of paint not in an urn, but on a canvas, pressing each fresh bit of paint with my thumb. In the cycle of paintings Autoportret a’retour, the matter was transferred from painting to painting, expanding the area of each consecutive one. Together, the bits, the residua of paint, kept alive the memory of the previous works. It was a stage of the atomization of the painting matter and its alienation from the traditional concepts and aesthetic relations. Thus, the cycle of synergic paintings was created, as I called them, guided by the feeling evoked in me by the mutually intensifying flakes of paint. The final aesthetic result of the refining of the digested matter was a consequence of the automatism of the process of layering, thumb-pressing, and scraping off again. Just like in an archaeological excavation, attempts are made to unite and retrieve that which has been lost. This avant-garde concept consists in transferring into the area of painting of matter, virtually degraded and not belonging to the realm of art. And yet the matter re-enters it, acquiring a new meaning. The matter I created, building up like lava, became my new technique. I called it perpetuum pictura – self-perpetuated painting. Alchemical concepts allowed me to identify the process inherent in the emerging matter, to give it direction and meaning. In a way, I created matter which was introducing me into the pre-symbolic world – a world before form, unnamed. From this painterly magma, ideas sprung up, old theories of colour and the convoluted problem of squaring the circle manifested themselves again. Just like Harriot’s crystal refracted light in 1605, I tried to break up colour in the painting Iosis. Paintings were becoming symptoms, like in the work Pulp fiction, which at that time was a gesture of total fragmentation of matter and of transcending its boundaries, my dialogue with the works of Jackson Pollock and the freedom brought by his art. The painting Geometrica de physiologiam pictura contains a diagram in which I enter four colours that constitute an introduction to protopsychology, alchemical transmutation, and the ancient theory of colour. It this work I managed to present the identification of the essence of human physiology with art. But the essential aspect of my considerations in my most recent paintings is the analysis of abstraction, the study of its significance for the contemporary language of art and the search for the possibilities of creating a new message. For me, abstraction is not an end in itself, catering to the largely predicable expectations of the viewers. To study the boundary between visibility and invisibility, like in the work Unsichtbar, is to ask about the status of the possibilities of the language of abstraction. The moment of fluidity which I am able to attain results from the matter – matter...

Outstanding male portrait by 20th-century American artist, Vito Tomasello. Portrait of a Violinist, 1950. Charcoal on paper, sheet measures 13 x 19 inches. Signed lower left. A ...

18 x 14 inch drawing on 20 x 16 inch Aquarelle Arches Paper 24 x 20 x .5 inches framed Thin profile black metal frame, 8 ply white mat Ralph Stout's works on paper reveal a drau...

Robert Lebsack creates artworks using mixed media with ink, acrylic, and charcoal on archival copies of newspapers, textbooks, and sheet music. As a visionary artist, Lebsack weaves ...

A Finely Drawn, 1930s Art Deco Modern Female Figure Study, Portrait of a Young Woman by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). An exquisite studio portrait study, ch...

When it came to decorating his residences, haute-couture iconoclast Karl Lagerfeld (1933–2019) was known for committing completely to a given style—and then dispensing with it. Follo...

Art: 20"x 26" Frame: 28-1/2"x 32-1/2" Charcoal on paper. Signed, dated and inscribed to David Barnett. Claude Weisbuch was born in Thionville, France in 1927 and was a pupil at L' É...

The piece is signed by the artist on the reverse and includes a Certificate of Authenticity officially stamped by the gallery. We are committed to upholding the highest standards of...

Orazio De Gennaro's "Terra Bruciata (Scorched Earth) is a 10 x 10-inch abstract painting on paper mounted on board. The artist works with natural earth,...

Title: Mid Century French Male Bust Artist: Josine Vignon (French 1922-2022) Medium: Pencil/ charcoal on artists paper Size: 19 (height) x 12.5 (width) Stamped: Verso Condition:...

Shipping Procedure FREE Shipping Worldwide Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Signed on the front side and accompanie...

Charcoal and watercolor drawing realized by Mino Maccari in 1960s. Hand signed in pencil lower right. Good condition.

A Finely Drawn, 1930s Art Deco Modern Figure Study of a Seated Female Nude Model by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). An early charcoal drawing by Haydon demon...

You may be as different as the sun and the moon, but the same blood flows through both your hearts. You need her, as she needs you. Painting Ships in a well-protected tube from Nige...

'Small Boat and Bather in Dinard', gouache and charcoal on art paper, by French artist, Jean Pons (1961). Painted in a naïve style, the piece dep...

Shipping Procedure Ships in a well-protected tube. This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About the Artist Joy Eyitayo...

His confidence shines bright, a beacon in the night Unshakable and strong, his presence commands respect and light With unwavering conviction, he conquers every fear His confidence r...

Shipping Procedure FREE Shipping Worldwide Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authent...

Ulysse Butin Saint-Quentin (Aisne), 1838 – Paris, 1883 The Fisherman's Boy Charcoal 39 x 26 cm (54 x 39.5 cm with frame) Signed and dedicated lower right "Ulysse Butin / To my friend...

This elegant work by Jean-Gabriel Domergue (1889–1962) perfectly captures the glamour and sophistication of the Parisian woman that made the artist famous. Often called the painter o...

Mid Century French Portrait Signed by Josine Vignon (French 1922-2022) Medium: Pencil/ charcoal on artists paper, double sided Size: 10.75 (height) x 8.5 (width) Stamped Verso Cond...

(NOTE: if you enter "Gridish" into the 1stDibs search field you can view other paintings in this series) Artist’s Statement: “As I often do, I chose a very simple form to work with ...

The Anatomy of a Horse by Robert Ladou (French 1929-2014) original drawing stuck on card in black folder/ thick paper, unframed drawing: 12 x 17.75 ...

Description: Artist: Marilina Marchica (b. 1984, Italy) Title: Frammento CN Year: 2025 Medium: Charcoal on translucent drafting paper (carta da lucido) Size: 75 × 145 cm Framing: Unf...

Charcoal with red and white conté crayon on Rives BFK paper Signed and dated, recto This artwork is offered by ClampArt, located in New York City. Mark Beard, born in 1956 in Salt ...

This is an original paper, charcoal, pastel, graphite, and acrylic on wood panel artwork by Seth Clark measuring 48”h x 72”w. About the Collection // Continuing the artist's ongoin...