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Roundism – 22-09-20
View In My Room


Roundism – 22-09-20 Drawing

Corné Akkers


Drawing, Graphite on Paper

Size: 8.3 W x 11.7 H x 0 D in

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About The Artwork

Roundism – 22-09-20 Roundism Once More After an odd month doing other project it was time to do one in my roundism style again. Actually it was inevitable to do this piece in my style because of the round body shapes, especially the titled position of the hips. Maybe this drawing even resembles older work like my drawing Roundism – 30-12-16 (Tribute to Anita Ekberg). Strange how an artist can go back in a style, almost full circle. The development of a style is illusive and with my rational mind I can do only so much in directing it. I cannot complain though because I think the result is not too bad. Some Solarization In deviation of the reference photo I decided to employ a little bit of solarization, even when it does not show right away. That is how I inverted the dark side of her right hip and made the adjacent negative space darker. Something similar I did in the croth area. I kept the contour delineation of the body quite open so the positive form of the body could breathe into the negative space around her. The curves stemming from her elbow almost seem to emulate its movement towards grasping the other arm. Last but not least, I decided to have her clench her fist, making a powerful statement and underligning her strong and slender body. Graphite pencil drawing (Sakura 0.5 mm, Pentel 4B) on Winsor & Newton 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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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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