VIEW IN MY ROOM
Back to Sketching This graphite pencil drawing ‘Solarized Roundism – 01-07-22’ is a welcome change from oil painting. After the completion of ‘Geesje Kwak and the Secret of the Universe – 28-06-22’ it was time to return to sketching. I already begun this one a week ago but did only short sessions per day. I worked at it just waiting for my students at Brugman Art. This morning I made a kick start and completed more than half still to be done in one go. Great Tonal Rhythym The drawing was not a real challenge, just interpreting the tones the right way. I skipped most of the cubist styling that usually consumes a lot of time. In fact in just a couple of spots I applied a roundistic styling a bit. The rhythym of the tones caused by the satin cloth already was great enough to capture. As is the case with satin sharp contour delineations alternate with smooth transitions. Such gave great contrasts in bodily features and fabrics. Solarisation thereof gives it a double whammy. I kept the background such as the cushions and bookshelf rather sketchy in order to let it contrast with the hefty tonal play in the front. Solarisation Again Of late I really am into solarisation again. Last drawing Solarised Roundism – 16-06-22 showed a complete nude. This time I used fabrics again, being the same kind of cloth as in ‘Satin - 31-03-14 (Prestudy)’ only in blue. I think I might do this one in oil or pastel one time soon. The model is my regular Indian model by the way. Personally I think her skin hues are a great match to the deep sapphire blue. Even more reason to put this one in color! Graphite pencil drawing (Sakura 0.5 mm, Pentel 4B) on Talens paper (21 x 29.7 x 0.1 cm) - A4 format) Artist: Corné Akkers
Drawing:Graphite on Paper
Size:11.7 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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