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Arendsdorp – 17-05-24 Print

Corné Akkers

Netherlands

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About The Artwork

A Challenge Really This graphite pencil drawing ‘Arendsdorp – 17-05-24’ an attempt to capture intertwining foliage. In my art statement to ‘Japanese Garden 1 (2014)’ I already mentioned Camille Pissarro. In my eyes he was one of the best in capturing these transitions. Not easy though. That’s why this sketch, however small it is, took me quite some time. Strange how this goes. A previous drawing ‘Mariahoeve – 03-05-24’ almost seem to draw itself but this one didn’t. Albeit it was a lot of fun searching for a good result. The trick is to capture a fairly bit part of all tonal nuances in the foliage. That is, without turning it into one big rubble pile. Abstraction & Art In abstraction lies art and this also counts for this one I guess. Working in monochrome there’s a lack in colour that would normally set off forms clearly. Yet another obstacle in avoiding aforementioned rubble pile. The solution was to exaggerate tonal differences a bit. Even though my hatched strokes style is perfect for depicting landscapes, a lack of tonality can kill it all. All in all a great experiment and challenge. Totally different from my last one, called ‘Beek – 09-05-24’. But that is how it goes. Often I vary and that’s much against better judgment of so-called art experts such as coaches and gallery owners. They want to to have only artists showing a distinct style. That makes it all the more fun because I don’t follow rules, even though I was a lawyer once.

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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