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Woman in a Red Kimono – 10-11-22 Drawing

Corné Akkers

Netherlands

Drawing, Pencil on Paper

Size: 11.1 W x 8.3 H x 0 D in

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About The Artwork

Prankster This colored pencil drawing ‘Woman in a Red Kimono – 10-11-22’ answers the most frequently asked question of late. I thought this prank of the red kimono title given to monochrome drawings would be appreciated. However, there were many that took the bait and mailed me with regard to the total absence of red. To satisfy their whim down I finally made this drawing. Hmm, of course satisfying my own inner urge to return to colored pencils may be the cause as well. I always wanted to make something similar to a previous drawing, called ‘Julia – 11-09-18’. That one exceeded my expectations and the divisionalist result I found very exciting. In this one I skipped the cubist styling though. Hatching up As you can see the drawing was done in hatched strokes,deviating from the execution of the Louise Brooks drawing. Before 2015 I exclusively worked with hatching until I discovered Bristol paper allowing me to study smooth gradients. There was this one thing on my wish list though. That was hatching on Ingres paper and I didn’t do that yet. It gave me the most wonderful broken linear structures with the white of the paper shimmering through. Because of that the depiction almost becomes impressionistic by nature. Added broken contour delineations this was the appearance I was looking for at this moment. Colored pencil (Faber-Castell, Caran d’Ache, Prismacolor) drawing on Fabriano Ingres paper (28.2 x 21 x 0.1 cm) Artist: Corné Akkers

Details & Dimensions

Drawing:Pencil on Paper

Original:One-of-a-kind Artwork

Size:11.1 W x 8.3 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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