The Burgeoning Body: Charles Bargue

The technique was made popular by French artist Charles Bargue (1826-1883), who developed a course in collaboration with academic painter Jean-Léon Gérôme. Bargue’s cours de dessin, published as The Art of Drawing between the years of 1868 and 1871, still today is used as a revolutionary training tool for the artist’s understanding of the figure through tailored charcoal, pencil, or ink drawings.

Contemporary Charcoals:
Stephanie Rew

Her work described by Informed Collector in 2014 as bearing a “hidden mystery that lies deep within,” Edinburgh-based artist Stephanie Rew is renowned for her captivating range of works. As the latest artist to be featured in our Contemporary Charcoals interview series, Rew generously shared some insights into her working process as well as the […]

Witnessing Max Weber: Charcoals
of an Early 20th-Century Modernist

While the medium of charcoal is often celebrated for its ability to so closely capture the hand of the artist, it also deserves credit for chronicling an artist’s evolution as he or she navigates the development of a unique artistic approach. Such can be seen in the charcoal compositions of early 20th-century artist Max Weber. An integral member of the American avant-garde, Weber actually began with a conventional compositional style.

Contemporary Charcoals:
Laia Gonzalez

In our last 2015 installment of our “Contemporary Charcoals” interview series, we are fortunate to showcase the remarkable work of Laia Gonzalez. An artist currently based in Barcelona, Gonzalez capitalizes in her compositions on the power of charcoal for rich tonal and contour contrasts, which results in fantastic finished compositions

The Didactic Nature of Drawings
Part II: Learning from the Masters

One of the charcoal medium’s most essential benefits is its effectiveness for the artist who wishes to study the line, contour, and shading of another. This aspect is particularly important when that source drawing was composed by one of the masters of art history.

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