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The Implicite Order - 11-03-20 (sold) Painting
Netherlands
Painting, Oil on Canvas
Size: 31.5 W x 23.6 H x 0.4 D in
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About The Artwork
The Implicite Order - 11-03-20 (sold) A continuation of the previous painting called ‘The Implicite Order – 20-02-20’, commissioned by an American collector. I shifted toward yellow / purple complementary relations, counterbalancing the heavy tonal clairobscur differences. In contrast to the first painting I experimented with some more abrupt tonal contour delineations but within a rhythmic scheme, placed throughout the linen in circular patterns. I also put some balance in the saturational mix, making some areas unsaturated and some more brilliant. I think the yellows – the hardest ones to keep attractive in a painting because so screaming when overexposured – are encapsulated by the purples quite nicely so they play a modest part from a quantitative point of view. Of course the golden ratio curve plays a key role in this painting and through the use of purple and yellows, contrasts are entwined, swirling into eachother like an eternal dervish of life. How explicite can I be, portraying the implicite order like this. Oil on linen (60 x 80 cm) Artist: Corné Akkers
Details & Dimensions
Painting:Oil on Canvas
Original:One-of-a-kind Artwork
Size:31.5 W x 23.6 H x 0.4 D in
Frame:Not Framed
Ready to Hang:No
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Netherlands
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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