New Materials This Art Deco Nude as theme is not something new, the materials are. The last decade I have been using mostly Bristol paper for my graphite pencil drawings. It has a high resolution and enables me to throw in lots of details, although not always needed. My highly abstracted cubist nudes are put on it because it allows you to create soft tonal gradients. Combined with my mechanical pen this paper is the carrier of an incredible output of hundreds of drawings. Therefor does it carry the body of my Roundism inventions. Faber-Castell By sheer chance I happened to stumble upon these new graphite pencils, recently offered by Faber-Castell. Pitt Graphite Matt pencils they are called and my colleague Humphrey Brugman gave me some test samples. See what I could do with them. In the beginning I thought them to be funny. They act a bit sticky on Bristol paper I was used to, almost the feel of colored pencils. They didn’t offer me the scratchy feel of regular graphite leads. For some time I left them be and continued to draw the old way. There is only one thing that bothered me though. Bristol and my 0.5 mm pen are a happy marriage but they act like a slow, lethargic yet loving couple. Lots of creative opportunities but the build-up is quite a job. Not that I dislike that. I like a good-ol’ planning and don’t want to rush things. Enter Ingres Sometimes I dream of other drawings though. During life sessions I am in need of different materials such as charcoal or pastel (Conté or others). Fine enough but charcoal is quite stainy and pastel I already did for decades now. That is when I came across Ingres’ paper by Hahnemühle at Goedman, The Hague. That took me back to the early 90s when I did some self portraits with it. I quite liked the grainy structure. 1 + 1 makes 2 and so I combined these Graphite Matt pencils with Ingres. They were a perfect match. Finally I could make the best out of this new product and surprisingly fast I finished a first nude within an hour. Ingres likes to eat up those pencil quickly though, I noticed. Deco After my graphite pencil drawing ‘Study after Eugène Durieu’s Seated Female Nude – 20-08-21’ I didn’t do much straightly lined cubist styling. Since I turned that one into oil I take a new interest in making straight forms again. So I delved into my stash of reference photos from my favorite era. Naturally that would be art deco of the 1920s and 1930s. I was amazed by the result, as said under an hour. Since I am able to fill up the tooth of the Ingres paper that quickly, I will expect to make more soon. Perhaps as in-between snacks for bigger oils I set out to do now. Pitt Graphite Matt pencil (Faber-Castell) drawing on Hahnenmühle paper (24 x 31 x 0.1 cm) Artist: Corné Akkers
Art Deco Nude – 05-08-22 was created by artist Corne Akkers in 2022. This art piece , which is part of the Drawings - Corne Akkers portfolio, is a Drawings / Sketch artwork. The style of this artwork is best described as Cubism, Fine Art. The genre portrayed in this piece of art is Anatomy, Composition, Figurative, Inspirational, Nudes, People. The artwork was created in Pencil. The size of the original art is 24 (cms) H x 31 (cms) W.
Words which artist Corne Akkers feels best describe this work of art are: arte, art, arta, artista, artiste, artist, artdeco, deco cubism, cubisme, seni, sanat, kunst, فن, 艺术, कला, corne, akkers, corneakkers, clairobscur, creative, inspiration, dutch, finearts, graphite, iloveart, kunst, drawing, pencildrawing, pencil, potlood, bleistift, crayon, realism, cubiste, искусство, cubismo, cubistic, アート, الرسم, кубизм, Κυβισμός, kubismi, lập thể, 입체파, ਘਣਵਾਦ, مذهب, קוביזם, 立體主義, キュビズム, արվեստ, művészet, nude, nu, nackt, naakt, desnudo.
My work can be seen in many countries all over the world. I employ 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. My favorites in doing so are oil paint, dry pastel and graphite pencil. It is 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 is the tonal quality that is ever present in my work, creating the illusion of depth and mass on a flat 2d-plane. I combine 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.
I teach art (drawing / painting) at Voorburg, Netherlands where I have my second studio next to my first at The Hague, Netherlands, where I live.