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Roundism (Tribute to Anita Ekberg) – 22-06-23 Drawing

Corné Akkers


Drawing, Graphite on Paper

Size: 11.1 W x 8.3 H x 0 D in

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About The Artwork

A Second Tribute This graphite pencil drawing ‘Roundism (Tribute to Anita Ekberg) – 22-06-23’ is not my first homage to her. Some years ago I made a first one. People must have fallen in love with that one for I sold it quickly. Consequently I still sell prints of that drawing regularly. So I had this idea of turning it into an oil painting. But you know, it goes all the way with me all the time. So many ideas and so little time. Mostly I will be caught by a new idea I try to capture frantically in graphite. Once in a while I take one of the drawings from the stockpile and turn it into an oil. However, not this time … yet again! Slight Cubist Styling Solarisation didn’t work because of the quantity of dark tones. The scarce light tones would become too dark, giving the depiction an almost unrecognizable appearance. For days I pondered what to do. I tried making the picture considerably lighter and that did the trick. I saw some tonal nuances appearing I could style cubistically. In the beginning I had some straight lines in it but soon erase them. Instead I put the stress on the flow of her curves, even extrapolating them outside her body. Hence my addition to an already outstanding art work is not as much as you would expect from me. It’s enought though. Unfortunately, I don’t know the photographer’s name. Do you? Graphite pencil (Faber Castell Pitt Graphite Matt pencil 14B) drawing on Fabriano Ingres 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:11.1 W x 8.3 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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