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Golden - 18-05-22 Print

Corné Akkers

Netherlands

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About The Artwork

Yellow Experience This painting in the Golden Series was designed to give the spectator a most intense ‘yellow’ experience. You see, my pastel painting ‘Golden – 28-01-21’ was next in line to be worked out in oil paint. That one was an elaboration of a previous graphite pencil drawing ‘Roundism – 31-03-20 (sold)’. So this motif after two years went full circle with the completion thereof in oil. Bling-Bling At the same time it seems also part of the Solarization series but the Golden Series was more appropiate. Sometimes I have these classificational problems. For that matter I also could have classified it in the Roundism series. I guess that is how things turn out for an artist. You fool around with the theme and the execution causes variation in time. In fact I like the final result of this search. This oil has certain elements of all series in it and I even like the color scheme. It’s like Roundism on acid: fully bling-bling and almost radiating. Not the radiation by Mondriaan through brush strokes directed outwards but almost intrinsically. Addition to the Mix The challenge I put myself was to add something to the mix compared to the pastel. The motif is not that hard to transfer onto linen. I get bored easily and I certainly don’t want to get away with sheer copying, even my own motif. Consequently I came up with the idea to use light lavender in the highlights so the painting didn’t feel monochrome. After all, one color is no color. However, I really wanted to have the yellow jump out this time. The only way to achieve that is by placing all things yellow to different colours. It’s all about contrast. One can only detect massive quantities of yellow set off against the places where it’s not, don’t you agree?

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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