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Marlot – 27-04-23 Drawing

Corné Akkers

Netherlands

Drawing, Graphite on Paper

Size: 8.3 W x 5.8 H x 0 D in

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About The Artwork

Still Freezing Cold This graphite pencil drawing ‘Marlot – 27-04-23’ follows my previous drawing of Park Arentsburgh. This how it goes, walking to and fro. Going from one spot and back again. The amazing thing is it’s still freaking cold, even at King’s Day. It was freezing in some areas in The Netherlands last night. Consequently I still haven’t sketched outdoors yet this year. Amazing, isn’t it? In Spain temperatures hit a scorching 39 degrees Celsius this week. Here we still face a chilling northern wind. When I look at drawings from the past I see I sketched in nature as early as March. However, weather forecasts are in favor of those who want to dwell outside next coming weeks. Hopefully so! Along the Path This having said, still drawing from my stock of reference pictures. This time Marlot was on the menu once more. My last one depicted the old mansion over there. I remembered I had taken some pictures along the canal that ends in some kind of pond in front of it. This drawing is situated a couple of 100 meters to the left, towards The Hague. During corona times I often dwelled there. That was a welcome deviation from my daily drawing and painting activities, not being able to teach in groups. I was caught by the great lighting on a sunny day in May. The tree line in the back actually is the same as in an earlier drawing of 10 years ago. Graphite pencil drawing (Sakura 0.5 mm, 4B) on Winsor & Newton Bristol board paper (21 x 14.8 x 0.1 cm – A5 format) Artist: Corné Akkers

Details & Dimensions

Drawing:Graphite on Paper

Original:One-of-a-kind Artwork

Size:8.3 W x 5.8 H x 0 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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