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Drawing, Graphite on Paper
Size: 8.3 W x 5.8 H x 0.1 D in
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Returning to Cubist Styling This graphite pencil drawing ‘Berg en Dal – 02-05-23’ is a welcome change from 9 consecutive impressionist landscapes I made. Somehow I felt attracted to do a cubist one, remembering some oldies from the past. Actually I always thought Filosofendal (Valley of the Philosophers) – 20-10-15 was a good one. However, I didn’t get much response to it at that time but I matched my ambitions back then. Naturally, I was in the midst of my cubist discoveries and a lot happened since then. My roundism revolution evolved throughout the years and I made a lot of surrealist art works. Anyway, you never know how the wind will blow. So I let myself carry away on whatever wind as whim may blow. Tomorrow winds can change. A Well-Known Place Strangely this drawing resembles my last one a bit with regard to the lighting. I was quite happy with the tonal rhythym in that one. Consequently I felt inclined to do another one but more styled. Being a bit bored of landscapes around me I dug into my pile of reference pictures and found this smashing one of Berg en Dal. It’s a place not far away from where I was born and raised. In fact I know it rather well, situated in the hills to the east of Nijmegen. Of couse I made a whole series in the past. Once in a while I return there to dwell in its forest and hills. Quite ridicilous for foreigners, I guess. Elevation differences are really not that extreme, a mere 120 meters but that’s a lot in The Netherlands. Graphite pencil drawing (Sakura 0.5 mm, 4B) on Winsor & Newton Bristol board paper (21 x 14.8 x 0.1 cm – A5 format) Artist: Corné Akkers
2023
Graphite on Paper
One-of-a-kind Artwork
8.3 W x 5.8 H x 0.1 D in
Not Framed
No
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1969, born in Nijmegen. My work can be seen in many countries all over the world. Corné employs a variety of styles that all have one thing in common: the ever search for the light on phenomena and all the shadows and light planes they block in. His favorites in doing so are oil paint, dry pastel and graphite pencil. He states that it’s not the form or the theme that counts but the way planes of certain tonal quality vary and block in the lights. Colours are relatively unimportant and can take on whatever scheme. It’s the tonal quality that is ever present in his work, creating the illusion of depth and mass on a flat 2d-plane. Corné combines figurative work with the search for abstraction because neither in extremo can provide the desired art statement the public expects from an artist. Besides all that, exaggeration and deviation is the standard and results in a typical use of a strong colour scheme and a hugh tonal bandwith, in order to create art that, when the canvas or paper would be torn into pieces, in essence still would be recognizable.
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