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Neo Deco - 10-12-22 Drawing

Corné Akkers


Drawing, Graphite on Paper

Size: 8.3 W x 11.7 H x 0.1 D in

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About The Artwork

New One This graphite pencil drawing ‘Neo Deco – 10-12-22’ follows after two consecutive cubist drawings. Golden Orange – 29-11-22 was the last so-called ‘realist’ one. I just wonder why. Not coincidentally I happen to have a stash of old photographs with the female form as the main theme. They vary from the Victorian age up to the art deco epoque, my favorite of them all. The motif for this drawing at hand I don’t know the origin of, unfortunately. So there is no one yet to give credit to. I would have like to because of the perfect lighting and natural grace that oozes out from it. I had it stored for quite some time but didn’t what to do with it. That was until three days ago, after the completion of ‘Louise Brooks – 07-12-22’. No Roundism As usual I set out to get the proportions right to begin with and then go from there. See whatever artistic whim would dwell over me. First I had some premature roundistic extrapolations of bodily forms as a kind of ‘pencil note’. For artistic reason I decided not to pursue this roundism style further in an early stage. The woman in the picture is standing upright, leaving only a few possibilities to extrapolate forms towards the negative space. No cubist move this time. 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

Drawing:Graphite on Paper

Original:One-of-a-kind Artwork

Size:8.3 W x 11.7 H x 0.1 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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