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Marlot - 11-04-20 Drawing

Corné Akkers


Drawing, Graphite on Paper

Size: 5.8 W x 4.1 H x 0 D in

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About The Artwork

Marlot - 11-04-20 Last year this time around Spring I started a series of small graphite pencil landscapes, one per day. I finished my last Bettie Page painting some time ago, started a new project ( Frida Kahlo), the Corona crises came apparent and my art teachings came to a sudden end. Crash-bang-wallop! Tine for a break because hitherto every day seems like the other. Now I feel what the retired must feel like. To give me an excuse to break out of my apartment (we are in an intelligent lock-down situation in The Netherlands), I set off on a daily bicycle tour to various parks and sceneries here in The Hague. One of them is an intimate little park called ‘Marlot’ where I drew a couple of years back. There are lots of rhododendrons lingering about, just as the brooks do throughout the whole park. The recipe for a successful drawing was eminent: trees unfolding their leafs, water reflections and what have you not. Tomorrow I will return to two urgent matters: my quarterly VAT return (bleh!) and return to Frida again because she is looking blike eaten with an ugly stick. Better improve her ressemblance. Graphite pencil drawing (Pentel 0.5 mm, 3B) on Winsor & Newton paper (14.8 x 10.5 x 0.1 cm – A6 format) Artist: Corné Akkers

Details & Dimensions

Drawing:Graphite on Paper

Original:One-of-a-kind Artwork

Size:5.8 W x 4.1 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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