VIEW IN MY ROOM
Suze Robertson This graphite pencil drawing ‘Roundism – 28-10-22’ follows my cubist interpretation of Louise Brooks’ facial features. The latter was done in colored pencil. However, I had a good reason to do this one in matt graphite only. Last Sunday I visited Paronama Mesdag in The Hague, Netherlands. There was this exhibition of Suze Robertson’s art works with which I was not yet very familiar. She was an innovator, being able to see cubist planes in figurations. As such she paved the way for people like Mondriaan. Surely there were many attractive paintings but I do admire her drawings the most. I must confess I don’t really like her approach in rendering aforemeant planes with thick black contour delineations. I recognize the possibilities of adding black and white ligaments in order to support planes of color though. Regarding many of her works I think the black simply was too dominant. Singularity Again Nevertheless I do admire her boldness, expressed in an era where hardly any woman could freely paint what she wanted. So a lesson learnt when it comes to daring attempts. Just like her I want to break up figurations into attractive planes. That makes me realize I have been standing on the shoulders of artists who did exactly that before me. This time I wanted to see how my theories on singularity would look on Ingres paper. Therefor I happened to have some old reference pictures of an old model shoot with Julia Gómez Avilés. One was particularly good for such a project. Pitt Graphite Matt pencil (Faber-Castell) drawing on Fabriano Ingres paper (21 x 28.2 x 0.1 cm) Artist: Corné Akkers
Drawing:Graphite on Paper
Size:11.1 W x 8.3 H x 0 D in
Ready to Hang:No
Packaging:Ships in a Box
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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