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Roundism - 22-12-22 Drawing

Corné Akkers

Netherlands

Drawing, Graphite on Paper

Size: 8.3 W x 11.7 H x 0 D in

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131 Views
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About The Artwork

Artistic Uncertainies Lately I notice the trend my drawings tends to become more realistic again. Since the development of my roundism style I came to a stand still more or less. How could I abstract bodily forms even more was the question I put myself regularly. Of course, true art is all about intention and to unreveal what is hidden from art viewers. Here is a big challenge for the artist. I remember a quote of Lucian Freud. He said that being an artist is the most difficult profession in the world. Most of the time he remains uncertain whether his art will make a difference or not. Could my roundism style evolve futher out of this uncertainty? What do I have to offer the public in this style not yet undisclosed? Round and Straight Contrasts I happened to have a great picture by a photographer under the mysterious name ‘CapitalistTools’, dwelling on Deviantart. I don’t know if he took it or if it’s just a repost. However, I was attracted by the beautiful distribution of light and darkness of the female form. Her curves contrasted the stool she is sitting on quite beautifully. So I started sketching with no particular plan, mimicing the realist style of the last drawing. It was after some time I decided to contrast the straightness of the stool with aforementioned curves even more. So I extrapolated them into the negative space, tying them to plinths and the wood floor. Hence it has become roundistic but realistic at the same time. It matches my aim of creating a depiction that is more abstract than it actually lets on. Pitt Graphite Matt pencil (Faber-Castell) drawing on Talens Bristol paper (21 x 29.7 x 0.1 cm) 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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