Georges Seurat Charcoal and Conte Drawings

The apparent simplicity of many of Seurat’s monochromatic drawings is intriguing. To begin, he would cover the paper in charcoal or conte crayon giving an atmospheric effect. Then continue by building repeated layers, modelling dense forms without line, usually with conte crayon, obtaining dramatic tonal nuances. I was to discover later in a tonal study  portrait in Part 5 and Assignment 5 how much I enjoy using this technique.

He had the ability to give drama to apparently simple views inhabited with relatively few shapes. What made them so impressive was the power injected by the way that he drew, rather than the views themselves, strengthening angles with contrasting light or dark passages - certainly a master of chiaroscuro.

Seurat's use of varied mark making is particularly noticeable in my favourite - Drawbridge. He has used delicate lively scribbly marks over comparatively light expanses, injecting an electrically charged energy. In contrast, by exerting heavy pressure to produce the dark somberness of the open drawbridge, causes it to appear almost sinister against the bright sky.

 Drawbridge, 1882-83, Conté crayon and white chalk

  I found a few figure drawings treated in a similar way, with varying degrees of dramatic effect. One those with the most drama was - Maurice Appert, in which there appears to be a boy kneeling on a stool sillhoetted against a surrounding light behind. Below this is a brighter light emanating from underneath a straight horizontal dark band which gradually merges into the more subtle light surrounding the figure. Maybe it's light shining from under a door.  The paper must be untouched here and possibly a slightly whiter paper was used.
link to image http://www.georgesseurat.org/Maurice-Appert.html