Charcoal Drawings

Page 6 of 34
Niels Ellmoos, Adrian Pickett, Dario Raffaele Orioli, Dana Zivanovits, Narasimha Murthy Gollapudi, Lynette Vought, Timothy King, Georges Fikry Ibrahim offering original Charcoal Drawings artworks.


Contemporary Art / Drawing Categories / Charcoal Drawings / Previous / Next
Adrian Pickett: 'Bourbon street', 2007 Charcoal Drawing, People.  original portrait done in charcoal on paper  ...
People - Drawing
20 x 24 inches (50.8 x 61.0 cm)
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Dario Raffaele Orioli: 'Portraites from Academy 3', 1976 Charcoal Drawing, Portrait.
Portrait - Drawing
70 x 100 cm (27.6 x 39.4 inches)
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Dana Zivanovits: 'MAGIC  WAND', 1994 Charcoal Drawing, Magical.  Charcoal and ink on all rag [ acid free] Arches paper- a signed and dated Zivanovits original. ...
, 1994
Magical - Drawing
12 x 14 inches (30.5 x 35.6 cm)
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Narasimha Murthy Gollapudi: 'untitled 1a', 2007 Charcoal Drawing, Abstract.  Charcoal on Paper ...
Abstract - Drawing
11 x 15 inches (27.9 x 38.1 cm)
Dana Zivanovits: 'WAITING MODEL', 2003 Charcoal Drawing, nudes.  Charcoal on linen paper from about the 1940's. A signed Zivanovits original. ...
nudes - Drawing
13 x 20 inches (33.0 x 50.8 cm)
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Dana Zivanovits: 'PATIENT', 2002 Charcoal Drawing, nudes.  Charcoal on all cotton, Strathmore charcoal paper. A signed Zivanovits original. ...
, 2002
nudes - Drawing
19 x 12 inches (48.3 x 30.5 cm)
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Dana Zivanovits: 'FARM', 1982 Charcoal Drawing, Farm.  A early work in charcoal on sketch paper- a signed and dated Zivanovit's original. ...
, 1982
Farm - Drawing
14 x 11 inches (35.6 x 27.9 cm)
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Lynette Vought: 'The Fitting Room', 2007 Charcoal Drawing, Undecided.  A girl wearing a gorilla mask, looking in amirror ...
Undecided - Drawing
8 x 10 inches (20.3 x 25.4 cm)
Dana Zivanovits: 'CROUCHING NUDE', 2003 Charcoal Drawing, nudes.  Charcoal on all cotton Strathmore paper. A signed Zivanovits original. ...
nudes - Drawing
12 x 19 inches (30.5 x 48.3 cm)
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Adrian Pickett: 'nude woman ', 2007 Charcoal Drawing, nudes.  original portrait of nude woman done in charcoal on w/ c paper  ...
nudes - Drawing
20 x 24 inches (50.8 x 61.0 cm)
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Dana Zivanovits: 'STUDIO NUDE', 2002 Charcoal Drawing, nudes.  Oil on linen mounted on masonite- highly permment and sturdy to ship- a signed Zivanovit's original ...
nudes - Drawing
26 x 20 inches (66.0 x 50.8 cm)
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Dana Zivanovits: 'AFTER COROT', 1986 Charcoal Drawing, Landscape.  Study after Corot in charcoal on acid free paper- a signed Zivanovits original. ...
Landscape - Drawing
11 x 14 inches (27.9 x 35.6 cm)
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Dana Zivanovits: 'THE COLLECTOR', 1987 Charcoal Drawing, People.   Charcoal on acid free sketch paper- a signed and dated Zivanovit' s original...
People - Drawing
11 x 14 inches (27.9 x 35.6 cm)
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Dana Zivanovits: 'NUDE STUDY', 1999 Charcoal Drawing, nudes.  Charcoal on acid free sketch paper- a signed and dated Zivanovit's original. ...
, 1999
nudes - Drawing
11 x 14 inches (27.9 x 35.6 cm)
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Dana Zivanovits: 'EROTIC NUDE 6', 2002 Charcoal Drawing, Erotic.  Charcoal on all cotton, acid free, Strathmore paper. A signed Zivanovit's original. ...
Erotic - Drawing
12 x 19 inches (30.5 x 48.3 cm)
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Lynette Vought: 'Administrative Oni', 2007 Charcoal Drawing, Surrealism.  Oni are Japanese ogres or goblins.  ...
Surrealism - Drawing
10 x 8 inches (25.4 x 20.3 cm)
Lynette Vought: 'Journeyman', 2007 Charcoal Drawing, Surrealism.  A guitar kami in training. ...
, 2007
Surrealism - Drawing
4 x 6 inches (10.2 x 15.2 cm)
Lynette Vought: 'Guitar Kami', 2007 Charcoal Drawing, Surrealism.  Kami are Shinto forest spirits. I have tranformed a guitarist into a kami for this drawing. ...
Surrealism - Drawing
4 x 6 inches (10.2 x 15.2 cm)
Timothy King: 'Model standing', 2003 Charcoal Drawing, nudes.
nudes - Drawing
11 x 14 inches (27.9 x 35.6 cm)
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Timothy King: 'Model seated', 2003 Charcoal Drawing, nudes.
nudes - Drawing
11 x 14 inches (27.9 x 35.6 cm)
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Timothy King: 'Model reclining', 2003 Charcoal Drawing, nudes.
nudes - Drawing
11 x 14 inches (27.9 x 35.6 cm)
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Timothy King: 'Man in Chair', 2003 Charcoal Drawing, Figurative.
Figurative - Drawing
11 x 14 inches (27.9 x 35.6 cm)
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Timothy King: 'Seated Man bending forward', 2003 Charcoal Drawing, Figurative.
Figurative - Drawing
11 x 14 inches (27.9 x 35.6 cm)
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Timothy King: 'Male Nude 3', 2003 Charcoal Drawing, nudes.
nudes - Drawing
11 x 14 inches (27.9 x 35.6 cm)
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Timothy King: 'Male Nude 2', 2003 Charcoal Drawing, nudes.
nudes - Drawing
11 x 14 inches (27.9 x 35.6 cm)
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Timothy King: 'Male  Nude', 2003 Charcoal Drawing, nudes.
, 2003
nudes - Drawing
11 x 14 inches (27.9 x 35.6 cm)
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Timothy King: 'Joy KneeUp', 2003 Charcoal Drawing, Figurative.
, 2003
Figurative - Drawing
11 x 14 inches (27.9 x 35.6 cm)
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Timothy King: 'Seated Nude', 2003 Charcoal Drawing, nudes.
nudes - Drawing
11 x 14 inches (27.9 x 35.6 cm)
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Georges Fikry Ibrahim: 'icons', 2002 Charcoal Drawing, Abstract Figurative.  icons ...
, 2002
Abstract Figurative - Drawing
30 x 28 inches (76.2 x 71.1 cm)
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Adrian Pickett: 'Willie Nelson', 2006 Charcoal Drawing, Portrait. original portrait done in black and white charcoal on paper ...
Portrait - Drawing
20 x 24 inches (50.8 x 61.0 cm)
(Page 6 of 34) - MORE ARTWORKS
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  • Artists Describing Their Art:

    Niels Ellmoos - Artist Statement I work in most two dimensional mediums (painting, drawing, computer art as well as three dimensional mediums (including video installation, and sculptural ceramics). In the two dimensional works I consider the work to be'spiritual' in nature as often the images manifest through a combination of meditation and sub-conscious energy. Often I begin the process of creativity not knowing what the image is going to end up looking like. The first lines and marks can resemble a child's drawing, generally loose in structure. As the work progresses and the energy builds in a stream of consciousness - an image which is recognisable emerges. To date , landscape and variations of landscapes are the resultant images although spiritual figures have appeared during the process. ...

    Dario Raffaele Orioli - A painting, statue or other work of art speaks best for itself, without superfluous words, but to say a few words about my opinion about art. Art allows us to live, differently at different periods stages of life. Different already in character, temperament of each individual. Through art I seek man Of course, many painters run away from looking for a man because it is a painstaking job, so it is easier for them to end up in abstractions, concepts, etc. under the pretext that it is modern. Abstraction is a trip to the unknown, but after many years of such a trip to the unknown, one gets tired and realizes that he needs the peace and stability he can find in the knowledge of the world around him, which is right outside of him and if he knows how to look, he can think through it enjoy it here and now There is a saying that every living being is a snapshot of nature towards man, this can be applied to art ....Any abstraction is an artists shot at figuration.... Of course it can be the other way around, but what a world this would be if it were ...

    Dana Zivanovits - Dana Zivanovits was born in 1958 in Columbus, Ohio and received his art training from the Columbus College of Art and Design (1978 to 1982). After art school, he went abroad for a year and studied the art of the old masters in London, Paris, Madrid, Rome and Venice. Returning to his studio in Columbus to develop these influences into a new body of work, he then traveled to Mexico and studied the sculpture and painting of that country for an extended period. The unique and vivid colors of Palenque and Vera Cruz intensified his palette. After a period in Ohio, he then moved to Venice Beach, California where the brilliant light of the region reinforced his desire to capture effects of sunlight and atmosphere. Returning to Ohio in 1995, he has continued to paint themes deriving inspiration form sources such as world mythology, classic and B-grade cinema, literature and dreams. However his primary inspiration is direct observation from nature, versus an approach based in art theories or cultural critique. Dana has been widely represented by galleries and exhibition projects including Julie Rico and Mega Boom in Los Angeles, the Venice Art Detour, Around the Coyote Festival in Chicago ...

    Dana Zivanovits - Lynette Vought - I heard a writer say once that how we experience life is an illusion and that the purpose of art is to uncover reality. Indeed, reality seems quite like a set of unturned cards, and I'm not sure we can define it until after our hand has been played. The best solution I have found is to fray the edges of the illusion a bit by bending the laws that everyone knows. In my work people can fly, plants and people merge, women wear snorkels while making love. For me, these images hint at reality, opening a back door to the underlying truth of what I see and experience. By rendering things in a magical light, the illusion starts to give way to the real in the same way that madness sometimes serves to define sanity. Formally, my work is much more practical. I make paintings, drawings and intaglio prints based on my drawings. The prints are a mixture of old and new processes; instead of etching the plates in acid, my prints are made with photosensitive plates. I enjoy the control this process gives me over the final image. Thank you for visiting my site! --Lynette Vought ...

    Timothy King - ARTIST STATEMENT and BIOGRAPHY STATEMENT I find painting goes beyond the notion that painted reality is "nothing but " a precursor to a photographic realism. Painting is a phenomenological experiment. There is a synthesis between the visual and the kinesthetic that forms a powerful third range of human perception. Human space and form are not purely optical manifestations. The painting of mass and line can provoke a muscle sense, a physical ness between viewer and the painted relationships. Hans Hoffman called this "Push-Pull". Matisse referred to this as the convexity of pictorial space. In this "meta-vision" or "minds-eye" the painter is not freed from the experience of perspective and local color and the naturalistic geometry of the objects and scenes. Rather, the painter can be liberated by the experience and knowledge of the defining aspects of human reality. Vision encompasses the obvious factors of sight along with other less obvious paths to sensing reality. Human vision is based on a plasticity of structures that tell us more than what a photograph can convey. The visual system, governed by layers of logical relationships, goes much further than a photo interpretation of reality. Painters like Courbet and Cezanne understood ...