High Dynamic Range Holding Detail In Both The White Chalk Highlights And The Deepest Charcoal Shadow, The Third Study Showing A Foot In Three-quarter View With The Toes Gripping The Edge Of A Surface And The Tendons Standing Proud Along The Top Of The Foot And The Ankle Flexed Forward And The Heel Raised And The Weight Of The Pose Implied By The Tension In The Lines And The Whole Form Modelled With Hatching In One Direction And Cross-hatching In The Deepest Shadow, The Paper Showing Foxing Along The Lower Edge And A Crease Running Across One Corner And The Charcoal Smudged In A Few Places Where The Artist's Hand Passed Over The Surface Porno IA

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Charcoal and white chalk drawing on toned paper in the academic study tradition with visible strokes of the stick across the surface and the grain of the paper showing through and the paper itself toned to a warm mid-brown and highlights worked in white chalk and shadows built up in dense black charcoal and the whole sheet showing the working marks of the artist along the edges, a study sheet of feet drawn from life in six separate positions arranged across the sheet with each study rendered at full scale and the sheet divided into loose quadrants by the artist's working lines and a few written notes in the margin in faded brown ink, the first study showing a foot in profile with the arch raised and the toes curled slightly downward and the heel lifted off the ground and the ankle bone catching a white chalk highlight and the tendons along the instep drawn in fine charcoal lines, the second study showing the sole of a foot turned toward the viewer with the ball of the foot pressed forward and the toes spread and the arch hollowed in deep shadow and the heel rounded and the skin along the ball compressed into fine creases and the edge of the foot catching a rim of white chalk along the outer line, the third study showing a foot in three-quarter view with the toes gripping the edge of a surface and the tendons standing proud along the top of the foot and the ankle flexed forward and the heel raised and the weight of the pose implied by the tension in the lines and the whole form modelled with hatching in one direction and cross-hatching in the deepest shadow, the fourth study showing both feet together with one crossed over the other and the toes of the upper foot resting along the arch of the lower and the shadows between the two forms worked in dense charcoal and the white chalk picked out along the lit edges of both feet and the shapes reading as a single interlocked form, the fifth study showing a foot from directly above with the toes aligned in a row and the nail beds catching highlights and the joints of the toes drawn as soft ridges across the top of the foot and the tendons running from the ankle in long lines and the whole form tapering toward the toes, the sixth study showing a foot in motion with the heel striking a surface and the toes lifted and the arch compressed and a motion line drawn through the heel by the artist to indicate the direction of movement, the surface beneath each study suggested with a few strokes of charcoal rather than drawn in full and the shadow cast by each foot rendered as a soft grey wash beneath the form and the paper left bare around the edges of the composition so the studies read as exercises rather than finished works, warm flesh tones suggested only through the tone of the paper and the white chalk highlights and the charcoal shadows with no colour applied and the whole sheet holding the quality of a workshop drawing made for study rather than display, the paper showing foxing along the lower edge and a crease running across one corner and the charcoal smudged in a few places where the artist's hand passed over the surface, museum lighting raking across the paper at a low angle and picking up the tooth of the sheet and the dust of charcoal sitting on the surface and a impression in the paper where the artist pressed hard on the stick, a mat board visible at the very edge of the composition in warm cream, high dynamic range holding detail in both the white chalk highlights and the deepest charcoal shadow, and a palette of toned paper brown and charcoal black and white chalk and faded ink brown

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