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Netherlands
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12 x 16 in ($95)
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Golden Lilac - 07-02-21 Scaling up This pastel drawing Golden Lilac – 07-02-21 is based on a previous graphite pencil drawing ‘Nude – 13-01-16’. Once in a while I realize I draw in graphite more often than in pastel or oil. Obviously the first has become my weapon of choice and I always have a work in progress on paper. However, lately I felt the need to develop my skills in pastel and oil. Besides that, I also am curious to see what challenges I may face once a A4-size drawing is transfered to a bigger scale. As explained in the statement of my oil painting ‘The Restoration of Bettie Page – 01-04-20’ scaling up creates trouble. You can read about it when you click the link. Color Challenge Inasmuch the scaling problem did not cause the necessity to show more forms, it certainly created a color challenge. I had it in me to do a series in which gold and all varieties thereof play the leading role. Yellow as a dominant color I did not use very often in my works. Therefor it was time to dive into the realms of this dire color. I already explained my regular model of Indian descendance show this range of yellow golden hues, so why not? Scaling up forms was easy-peasy because I already invented the forms. Time for the continuation of a study of color relations. Smincke Gold After setting out the predefined forms I started to lay some patches of my Schmincke gold pastels. They looked great on the grey Pastelmat sheet but I felt I had to show more. In my pastel ‘Golden – 01-02-21’ I rubbed my fingertips sour until my thumbprint could not be recognized by my iPhone. This was not the only reason to skip the rubbin out for a while. I also wanted to show something different. Balancing out These patches I wanted to replace by hatched strokes maticulously grouped together so they match tonally and show soft gradients. And so this pastel became a piece wherein all colors (pinks, yellows, blues, greens and purples) are all balanced out. The yellow plains complement the purple ones. On a more subtle level the hatched green strokes are entwined with the red ones. This way they cancel their color saturation at a distance but tickle your eyes up close. It is a combinations of different techniques I employed in the past really. Pointillistic divisionism meets cubist styling. Pastel drawing on Clairfontaine Pastel Mat paper (69.4 x 49.8 x 0.1 cm) Artist: Corné Akkers
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
Frame:White
Canvas Wrap:Black Canvas
Ready to Hang:Yes
Packaging:Ships in a Box
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a box. Art prints are packaged and shipped by our printing partner.
Ships From:Printing facility in California.
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Netherlands
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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