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Roundism – 13-08-22 Drawing

Corné Akkers

Netherlands

Drawing, Graphite on Paper

Size: 9.4 W x 12.2 H x 0 D in

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$1,785USD

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About The Artwork

Something Different And now for something completely different: Roundism again. After ‘Art Deco Nude – 11-08-22’ it was time to unleash my Faber-Castell Pitt Graphite Matt pencils on Roundism. I delved into my stash of art deco photographs and saw a suitable one, conducive to creating round shapes. Unfortunately I couldn’t retrieve the photographer’s name anymore but hail to him or her anway. In my art statement I also thank photographers from aforementioned era for their crafty and artistic approach. They keep on inspiring me to invent stuff based on their visual ideas, very much unlike contemporary model photography. Should I seek for a new word like ‘Neo Art Deco’? That sounds a bit presumptuous. What do you think? Tonal Extremities Perhaps it’s all-in the tonal values. I simply love tonal extremities, backlit forms, creating rhythym and diction. A perfect playfield for putting my theories on ‘variation in repetition and repetition in variation’ into practise. With these new pencils I can shift into a higher gear. Regular graphite pencil is not very dark but keeps a shiny silverish glow. I feel now that blackening planes is much easier now and gives me that extra bit of darkness. It feels as if I have to be careful not to overdo it. Regular graphite forced me to keep on hatching, almost risking damaging the paper. Luckily the grainy structure prevents me from hatching too frantically.

Details & Dimensions

Drawing:Graphite on Paper

Original:One-of-a-kind Artwork

Size:9.4 W x 12.2 H x 0 D in

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

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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