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Drawing, Graphite on Paper
Size: 9.4 W x 12.2 H x 0.1 D in
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Embracing Trees This graphite pencil drawing Park Hoog Oostduin – 14-09-22 follows directly after Het Sterrenbos – 12-09-22. Suddenly I found myself embracing the love for drawing trees again. Must be Autumn approacing. Throughout the years I see patterns in my sketching activities. Spring and Autumn by far are the most present in my art works. Some in Summer but the heat can be not pleasant to work in. I also get used to leaves on trees quite quickly. Only to forget how beautiful they are quite rapidly when November arrives. Then they start falling off trees and I often realize I did too few sketching outdoors. Repentance comes after the sin and 4 drooly months will follow until Spring arrives. Here it is, my yearly nature sketching routine. Better make the best of Autum then this year. Hidden Gem In the beginning of August I went for a visit to my friend’s house and I came across this park I didn’t knew so well yet. I looked it up and I thought it was called Park Hoog Oostduin. That also could only be the seniors flat adjacent to the park though. I don’t know. I also saw the name Arendsdorp Park. Anyway, the creek I drew was close to the aforementioned flat. Sometimes we come across some hidden gems whilst planning to do a totally different thing. I had all my cooking supplies with me (it was my turn). However, I managed to capture the lovely light shimmering through trees and hurry myself to my culinary destination. Normally I don’t do these drawings after a rushed photo. I really have to feel the atmosphere for some time, even if I don’t do a drawing at the spot. Pitt Graphite Matt pencil (Faber-Castell) drawing on Hahnenmühle paper (24 x 31 x 0.1 cm) Artist: Corné Akkers
2022
Graphite on Paper
One-of-a-kind Artwork
9.4 W x 12.2 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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