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Lulu - 06-12-22 Print

Corné Akkers


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About The Artwork

Do the Hairdo This graphite pencil drawing ‘Louise Brooks – 06-12-22’ is the latest in the eponymous series. In 2014 I made the first one and strange enough that’s also a side view. It is pure coincidental, I guess. I just also happen to like the reference picture I used for this one. Or should I mention something else? The side view shows her bob hair cut how it looks best, I think. Most iconic. I once read it was not a carefully planned 1920s flapper girl marketing campaign but her hairdo from childhood. It makes her all the more natural. Another Louise After the completion of my colored pencil drawing ‘Louise Brooks – 21-10-22’ I felt it was time to do another theme. I sold it rapidly and was caught up by my Alma Tadema tribute (still not finished). I grew confident to using my matt graphite pencils on Bristol paper through the last drawing. Now I am able to darken things up dramatically more than I used to. On the other hand I’m still able to smooth things out in soft gradients. Perfect for another Louise. The Invention of an Idea Doing a portrait and capturing a resemblance is all about artistic craft. Measuring out proportionally has become my second nature. So far no real problems. I always get what I want but I must confess after a while unually something’s gwaning at me. What about a nifty idea, something artistic, an invention? What can I add to the mix, other than simply copying a photo? What the hell do I want to convey? It is about time to talk about the moment of the invention of an idea. Graphite pencil (Faber Castell Pitt Graphite Matt pencil 14B) drawing Talens Bristol paper (21 x 29.7 x 0.1 cm) Artist: Corné Akkers

Details & Dimensions

Print:Giclee on Fine Art Paper

Size:8 W x 12 H x 0.1 D in

Size with Frame:13.25 W x 17.25 H x 1.2 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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