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Cleopatra - 23-02-24 Drawing

Corné Akkers

Netherlands

Drawing, Graphite on Paper

Size: 8.3 W x 11.7 H x 0 D in

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$1,830

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About The Artwork

More than Cubism and Roundism This graphite pencil drawing ‘Cleopatra – 23-02-24’ refers to a work under the same name I made back in 2018. That year I started my ‘Out of Egypt’ series and in retrospective I can see it wasn’t without a reason. Art Deco is on my mind for quite some time now under which flag I can show more. Cubism is very fine and I even forged my own style ‘Roundism’ out of it but I want more. Egyptian art I consider a big and heavy precursor to Art Deco. Obviously the latter was influenced directly after the discovery of Pharaoh Tutankhamun’s tomb. Surely, those Egyptians had style and swag. This drawing I plan to serve as a bridge between great artistic eras divided by oceans of time. Hollywood The reference picture was from the 1920s I believe and shows hefty quantities of light and dark. Also called ‘chiaroscuro’ the phenomenon could be characterized by abrupt shifts in tonal values. Through these a certain dramatic effect is created; meat for the beast I’d say! Next, why Cleopatra? Something occured to me, Lawrence Alma Tadema’s paintings of the ancient world served as an inspirational source for Hollywood. Without his artworks movies like Ben Hur, The Ten Commandments by Cecil B. DeMille and Gladiator wouldn’t have been created. Back to Egypt At the start of the drawing I planned for some pareidolia effects. Then I saw the head of the Sphinx in her groin. However, I decided not to follow that trail. It was only very faint and proportions weren’t that ideal. The rugged carpet the model is leaning on wasn’t inspirational either. All of a sudden the drawing of 2018 popped into my head. From there it wasn’t difficult to create a small Egyptian world around her, inclusive a viper. Has she been bitten yet?

Details & Dimensions

Drawing:Graphite on Paper

Original:One-of-a-kind Artwork

Size:8.3 W x 11.7 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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