It should be noted that the charcoal is well fixed on the paper. Born in Brussels in 1909, Marcel Mélot then settled in Maubeuge in the north of France. He began his artistic exploration in childhood, notably through drawing classes and advice from older artists; however, he favored a solitary and introspective approach. Until the 1980s, his work oscillated between figuration and abstraction: sketches, pastels, and figurative paintings coexisted with a more abstract painting, influenced by figures such as Rouault, Nicolas de Staël, and Van Rogger. Mélot regularly exhibited in France (Maubeuge, Avignon), but also internationally — notably in Stockholm and Bologna in 1986 — and received several distinctions such as the Grand Prix of the city of Avignon. His work has been described as informal abstraction but with a strong grounding in sublimated figuration: his pieces explore the inner states of the self and the soul, with a marked use of black as a sign of reflection, punctuated by bright touches (yellow, ochre) evoking hope. Description of the work (charcoal on paper, circa 1980 — approximately 65×50 cm) Support & Dimensions: Charcoal on paper, approximate dimension 65 × 50 cm, signed at the bottom right — typical of Mélot's medium-format paper work in the 1980s. Composition & Colors: Dark background (dark brown black), typical of Mélot's introspective works, creating a meditative atmosphere. Dynamic gestural lines in white, gray, and possibly red or yellow, deploying a fluid writing, in spirals or arabesques. Colorful elements punctuate the dominant black, creating contrast and vibration. Style & Meaning: Formal pupils: movement, rhythmic tension without explicit figurative representation. The work evokes expressive informal abstraction, where the gesture is almost choreographic. The absence of recognizable forms favors an emotional reading — a quest for meaning, psychic depth, confrontation of darkness and light, a constant theme in Mélot's work. Signature & Period: The signature at the bottom right corresponds to his usual practices at the end of his life: sober, discreet, focused on gesture and material rather than on displaying identity. The 1980s period corresponds to his time of intense abstraction (“mops,” “grids,” broken heads…) described in his biography. Additional analysis: The work can be read as a visual metaphor for human interiority: the nested lines evoke an internal tension, a questioning, or an emotional flow. The constraint of the inner frame (structured edge) could suggest a desire to contain this flow of energy, characteristic of Mélot's approach. The charcoal, used without too much fixative, expresses a living fragility: each stroke appears uncertain, ready to vanish — an ephemeral dimension that aligns with the expression of a changing soul. Type: Charcoal Style: 1980 Genre: Abstract Characteristics: Signed Theme: Abstract