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Wag the Dog - 24-04-22 Painting

Corné Akkers


Painting, Oil on Canvas

Size: 27.6 W x 39.4 H x 0.4 D in

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About The Artwork

Waiting on the Shelf My graphite pencil drawing Wag the Dog - 26-09-21 was waiting on the shelf to be put into oil. After my last oil Slava Ukraini - 18-04-22 I thought I’d use another surrealist theme and why not? Since I started to do mostly oils two months ago I made mainly cubist paintings. Of course there are many roundistic drawings I have to transfer into oil. The ones with surrealist themes I consider to be another important aspect of my work. Therefor I surely don’t want to neglect them too much and see what might come on linen. Looking back at these drawings I see there’s always something to dust off or to alter, even to add. Luministic Color Palette Before the beginning it was clear to me I had to use a luministic color palette. The depiction simply was so chiaroscuro I soon realized, using color this time, happiness lies in purple and yellow. Maybe I also was triggered by a work of Herman Gouwe, called: ‘The Sower ‘. I saw it last week at Singer, Laren. I consider him some kind of best kept secret, maybe not fully recognized. The purple-pink-yellow color scheme simply is dashingly vibrant and made a hugh impression on me. It was the second painting of him I saw after ‘The Mower‘. Surely a master of light. A third reason was that in 2013 I made a pastel with the same color scheme. In the back of my mind I remembered the intention of using these exact colors in an oil painting one day. This was that day.

Details & Dimensions

Painting:Oil on Canvas

Original:One-of-a-kind Artwork

Size:27.6 W x 39.4 H x 0.4 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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