Roundistic Curvy Features

Making this new roundism drawing one I was attracted to the curvy features. They allowed me to search for roundness counterbalanced by straight thin linear structures. Furthermore my aim was to search for more open structures than in my last graphite pencil drawing ‘Roundism  – 17-03-18’. That showed razorlight creating a lot of mass beneath it. This one is different though.

Cézanne’s Inspirational Portrait

Lately I studied some of Cézanne’s works. Certainly I was struck by the open structures he manage to keep. Many of his works, like his portrait of Joachim Gasquet, seem unfinished and they drive me crazy ever since. They also give me joy, even though specifically in Joachim’s portrait the right eye is placed in the wrong axis. He makes up for that mishap enough by a wonderful color scheme. Last not least the preservation of an open structure is also what makes it a smashing piece. Otherwise in that portrait the dark suit would feel too clumpy.

The Imperfection of It All

All-in all does his work show that in imperfection lies perfection. Not to tell the whole story is telling a better story. Viewers will have to fill in the gaps with their own minds. Such makes a painting almost interactive. My own drawing therefore is vested on his broad shoulders, even though mine is fare more geometric and abstract.

The Perversion of the Phrase ‘Full Frontal Nudity’

The striking thing is the plentiness of so-called ‘full frontal nudity’. Someone has to explain to me one day whatever is wrong with that. Personally I find this designation as well as another popular phrase ‘no nipple policy’ dehuminizing. What about the love of weapons or violent movies then? However, I decided I did not to work this out too much and leave it very abstract. Consequently people still can relate to the nudity as well as artistic forms. After all that is what I like to think my art is all about: both!

Click here to read about the sale of a printable of this artwork to an Amerrican collector.

Graphite pencil drawing (Pentel 0.5 mm, 3B) on Strathmore Bristol paper (21 x 29.7 x 0.1 cm) – A4 format)

Artist: Corné Akkers