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Darja Collin - 27-09-22 Drawing

Corné Akkers

Netherlands

Drawing, Pencil on Paper

Size: 9.4 W x 12.2 H x 0 D in

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About The Artwork

Dancing This graphite pencil drawing ‘Darja Collin – 27-09-22’ is a natural follow-up of her portrait a week ago. For those who not know her already, click the link and read her story. It’s been a while since I did one in my roundism style, being ‘Roundism – 17-08-22’. I thought it would be more than just to vary and skip the straight linear styling for a change. There was another good reason though. I had a great pose of her I still wanted to use. Certainl I don’t know whether she struck and hold it for the photographer. Perhaps she was only moving freely and he managed to take this lucky shot. The pose made a big impression on me. Now was the time to do something with it and use my circular moves to mimick her dancing mood. Incredibly Slender and Agile I am not sure who took this photo and therefor unfortunately cannot give anybody credit. Were it not for the photo, all credits go to Darja naturally. She must have been on her peak, physically and artistically. Her body seems so incredibly slender and agile. Surely the picture must have been from the same session as the one I used for Roundism – 10-09-14. Extremely rare since I never saw that photo again on the internet. Maybe it’s a vintage picture that disappeared straight into a collector’s map after auction. Now I come to think it, her dancing in the nude must have been quite extravagant for that time. Of course, grace to her natural beauty and well-trained body she can strut her stuff. However, she must have been also a free spirit and no prude at all. Pitt Graphite Matt pencil (Faber-Castell) drawing on Hahnenmühle paper (24 x 31 x 0.1 cm) Artist: Corné Akkers

Details & Dimensions

Drawing:Pencil on Paper

Original:One-of-a-kind Artwork

Size:9.4 W x 12.2 H x 0 D in

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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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