Part of the roundism series, in which I wanted to keep a big part of the body open and indicate and style only a portion of the shades. Although less abstract and minimalistic than the previous drawing ‘Roundism 25-04-18’ body forms still are simplified to such extent that exciting rhytmical patterns preside over the appreciation of nude body parts. At the same time I secretly hope it does but that the spectator also will appreciate the first.
In many of my Roundism drawings I employed the principle of ogee: serpentine, double-curve structures. Must have been an internal drive that urged upon me initially. I see them all the time, for example in the curve of the upper and lower leg, in tree trunks and branches. I am no mathematician but I suspect the golden ratio must play its part in this, perhaps even through quantum mechanical wave forms. Eventually my dad, who was a carpenter (and my mother’s first name is Maria!) pointed me in the direction of Ogee. Maybe craftsmen like my dad and his freemason precdessors in the past got a hunch of secret knowlegde like I did or perhaps just a nifty way of distributing forces in construction?
While extending this description to the drawing in the context of making a printable, the drawing got sold to a Scottisch collector who also bought ‘The Venus of The Hague – 23-05-20’ at the same time. I am a happy man because, as I round up writing this story, a bag with two sold drawings is hanging on the door handle, waiting at Brugman Art where I will teach shortly hereafter will be picked up by UPS.
Click here to read about the sale of this art work to an English collector.
Graphite pencil drawing (Pentel 0.5 mm, 3B) on Canson Bristol paper (21 x 29.7 x 0.1 cm) – A4 format)
Artist: Corné Akkers