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Lulu - 11-10-22 Print

Corné Akkers

Netherlands

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About The Artwork

A Great Honor Enter my graphite pencil drawing ‘Louise Brooks – 11-10-22’. After an interlude of two drawings of my regular model and a nude it was time for something different. Some time ago a progressive rock band called Timelock reissued their 1992 album, named after her and using my oil. Together we were noticed by the Louise Brooks Society and featured in their blogspot. A great honor and a reminder of art works I made 8 years ago. Strangely and perhaps coincidentally Louise was the start of my Sans Titre series. After the conclusion of the Darja Collin series I thought it was fun to do another drawing of Louise. Why not? Iconic The internet is stacked with pictures of her, making her timelessly iconic. Throughout the decades she apparently doesn’t lose meaningfullness and her life story keeps on inspiring us. It’s the longing for freedom and the struggle to get it, I guess. Perhaps it’s about women entering modern times as we know them now. Equally endowed with the same rights as men, still remembering the struggle and occasionally hitting an invisible roof. Surely the struggle is not over yet, so Louise still remains important. She stands for true woke, not the phoney self-endulged navel-gazers who confuse the search for freedom with sheer egocentrism. Enough about the negative, now the positive. Because of her bob hair cut she looks a bit boyish, yet so female at the same time. Pitt Graphite Matt pencil (Faber-Castell) drawing on Fabriano Ingres paper (28.2 x 21 x 0.1 cm) Artist: Corné Akkers

Details & Dimensions

Print:Giclee on Fine Art Paper

Size:9 W x 12 H x 0.1 D in

Size with Frame:14.25 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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