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Roundism – 07-08-21
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Roundism – 07-08-21 Drawing

Corné Akkers

Netherlands

Drawing, Graphite on Paper

Size: 8.3 W x 11.7 H x 0 D in

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About The Artwork

Stylish Return Today I returned to roundism again. Did you ever have the feeling that you had to burn all bridges? Something you could spend the rest of your life doing felt familiar and safe but nevertheless… Last year I did my last roundism drawing. After the completion I instinctively thought that was one final mark and then stop. Well, now I am not so sure anymore. You could argue that as an artist one learns to never say never again. Who knows what the tide can bring. And it so happened I came to see a smashing vintage photo of probably the mid 1950s or even older. I wish I could give the photographer credit but it did not state his or her name though. Anyway, I guess back in the day people knew all about great composition and the use of a tonal bandwidth. Great Composition The picture shows the limbs of the model folded together as if boxed in. I think that also could be simply optical illusion caysed by the photographer’s point of view at some distance. I always like such nifty, unusual approaches. Nowadays I am able to come up with some original ones myself, using my regular model. This one was too good to dismiss, although I added a lot of extras by means of my personal cubist styling. I used a kind of Tamara de Lempicka approach with regard to the hand. I always liked her smooth conical renderings of limbs, hands and fingers. A clearner depiction of the hand also was necessesary from a resemblance point of view. I am afraid the spectator would not recognize the pose otherwise. Last but not least I added some golden ratio curves, putting the stress on the beauty of the human body. Graphite pencil drawing (Sakura 0.5 mm, Pentel 4B) on Talens Bristol paper (21 x 29.7 x 0.1 cm) - A4 format) Artist: Corné Akkers

Details & Dimensions

Drawing:Graphite on Paper

Original:One-of-a-kind Artwork

Size:8.3 W x 11.7 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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