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Golden Shine - 21-11-22 Drawing

Corné Akkers


Drawing, Colored Pencil on Paper

Size: 8.3 W x 11.1 H x 0 D in

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About The Artwork

Frustration This colored pencil drawing ‘Golden Shine – 21-11-22’ was drawn on a whim or was it? Today I got up with some mixed emotions. Yesterday I toiled all day long in colored pencil in order to get a facial resemblance of Melina. That’s the project I started last week in preparation for a bigger oil. Since it’s drawn on A4 and the body in full-length the space reserved for the portrait was very small. I will spare you the details but I ended up drawing with embroidery glasses on. Still didn’t get the exact resemblance right. Anyway, I went back to teaching this morning and with a student I was discussing pastel techniques. I pointed her to Toulouse Lautrec’s pastel drawings as an example of a so-called ‘loose’ style. Underhandedly I felt though, having been such a detailled nit-picker myself the other day. Toulouse-Lautrec But that’s how it goes. Sometimes your studens are your teachers and today I felt this urge to make up some lost time. Back in the saddle again and revive the love for quick sketching and inventing stuff. Actually I had this particular drawing of Henri in mind, called ‘Femme Qui Tire Son Bas’. That a drawing I always admired because of its seemingly incompleteness. Just like Rembrandt’s ‘Sleeping Young Woman’ no line is superfluous nor can it be omitted. Two art works to drive one mad with jealousy. Colored pencil (Faber-Castell, Caran d’Ache, Prismacolor) drawing on Talens Toned paper (28.2 x 21 x 0.1 cm) Artist: Corné Akkers

Details & Dimensions

Drawing:Colored Pencil on Paper

Original:One-of-a-kind Artwork

Size:8.3 W x 11.1 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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