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Art Deco Nude - 05-09-22 (sold) Print

Corné Akkers

Netherlands

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ABOUT THE ARTWORK

Back to Cubism This graphite pencil drawing ‘Art Deco Nude – 05-09-22’ follows up ‘The fabulous burki lippe and wassenaar trio - 02-09-22’. That drawing I made to express my appreciation for my friend’s musical skills. Also a great way to escape the routine of drawing and painting female forms. I am a sound advocate of changing style and subject regulartly for that matter. A little out-of-the-box thinking so to speak. That keeps me on my toes and edgy. It also gave me the opportunity to draw musical instruments and studio lights. Now I remember I made only one similar drawing, called ‘The Shins Live @ Paradiso – 20-04-17’. Anyway, back to this drawing. Last one, called ‘Clingendael – 31-08-22’ was impressionistic and so the other before. Somehow I felt I had to return to cubism again. Émil Otto Hoppé This time I was inspired by another photographer, called Émil Otto Hoppé. He took a picture of a Scottish woman in 1926. Even though he is not remembered often today in life he was well known internationally. A fine opportunity to give him back some credit for his lovely photograph. It inspired me to turn it into my kind of cubism. Too late to ask him whether he likes it or not. He was born almost a century before me, I believe. The lighting was smashing. I guess it’s not strictly art deco-stylish but I don’t mind calling it. Heavily chiaroscuro dosed gives me that deco feel. Perhaps I have to rename this series to ‘chiaroscuro cubism’ or ‘cubist tonalism’. I don’t know. What do you think? Pitt Graphite Matt pencil (Faber-Castell) drawing on Hahnenmühle paper (24 x 31 x 0.1 cm) Artist: Corné Akkers

DETAILS AND DIMENSIONS
Print:

Giclee on Canvas

Size:

12 W x 16 H x 1.25 D in

Size with Frame:

13.75 W x 17.75 H x 1.25 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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