Beyond Traditional - Salvatore Arena

For Italian artist Salvatore Arena, classical drawing is more than a tradition — it is a language through which he observes and interprets the world around him. Grounded in the study of proportion, anatomy, light and value, his work combines the discipline of classical representation with a distinctly personal approach to contemporary image-making.

In The Penitent Daniel, Arena uses Nitram Charcoal to explore subtle transitions of light and shadow, creating a remarkable sense of volume and presence. We spoke with Salvatore about his artistic practice, his approach to charcoal, and how Nitram has become an integral part of his drawing process.

"The Penitent Daniel" by Salvatore Area, Nitram Charcoals on Fabriano Roma paper. 100 x 70cm

Watch the drawing come to life HERE.

Nitram Charcoal (NC): Can you tell us a little about your background and the path that led you to become an artist?

Salvatore Arena (SA): I was born in Monza, Italy, in 1992 and grew up in a family of craftsmen specialising in traditional parquet flooring, where manual work, attention to detail and respect for materials were part of everyday life. My passion for painting was also influenced by my paternal grandfather, a painter whose work was rooted in the Neapolitan artistic tradition of the early twentieth century.

In 2014, I began my artistic training at the Nanni Valentini Art School in the Royal Villa of Monza, studying drawing, painting and classical representation. I later continued at the Brera Academy of Fine Arts in Milan, earning a degree in Painting with highest honours.

My studies were complemented by intensive atelier training at the Milan Academy of Art with Simone Nania and Daniele Pillittu, which deepened my understanding of classical drawing, form, proportion, light and value. I later returned to Brera to study Artistic Anatomy with Professor Maria Cristina Galli, focusing on the structure of the human figure. I also gained experience with historical materials, natural pigments and traditional techniques through my work with Brera's School of Conservation.

NC: Tell us about your artistic practice and approach to drawing.

SA: My artistic practice is rooted in the conviction that a deep understanding of classical representation can provide the technical foundation for a personal and contemporary visual language. Drawing is not simply a preparatory discipline for me, but the primary means through which I have learned to observe, analyse and interpret reality.

The study of proportion, anatomy, light, value and form has become a way of understanding what I see rather than simply reproducing it. Even within the apparent simplicity of graphite or charcoal, subtle tonal transitions can create an extraordinary sense of volume, light and presence. For me, technique is not an end in itself, but a language: the greater the command of its vocabulary, the greater the freedom to express something beyond the visible surface.

My approach is grounded in the classical tradition, from nineteenth-century academic drawing and the methods of Charles Bargue and Jean-Léon Gérôme to Italian Romanticism and the Macchiaioli. At the same time, I am interested in applying this disciplined approach to contemporary subjects, personal memories and ordinary objects and experiences.

My aim is not to reproduce reality as literally as possible, but to use traditional techniques to construct an image that becomes more than a record of what is seen.

NC: Please share your insights on Nitram Charcoal. What do you value most about working with it?

SA: In my work, the materials I use are closely connected to the way I approach drawing, and Nitram's graded charcoal has become an important part of this process. I first encountered Nitram through my classical training, where it was encouraged as a means of developing the depth of shadows and establishing a clear and precise hierarchy of values. Working within the traditional three-tone approach to chiaroscuro, I learned to appreciate the remarkable control offered by the different grades.

Over time, I began using Nitram beyond the conventions of the atelier. I became particularly interested in the subtle qualities of the H, HB and B grades and the way they behave when worked into the paper. This allows me to explore subtle variations within the tonal structure while maintaining the principles of classical drawing: chiaroscuro, value, proportion and precision of mark.

For me, this is what makes Nitram particularly valuable. It can serve the rigorous demands of classical study while offering possibilities that extend beyond its conventional use. The material becomes not merely a means of reproducing form, but an active part of the visual language through which I construct the drawing.

For more on Salvatore Arena, please follow him on Instagram @Salvazcomedbz.