Corne Akkers

Buitengoed Leeuwenbergh – 25-03-21, Drawing, Pencil/Colored Pencil on Paper

2021

Once Again Once in a while I get that itchy feeling again that makes me want to turn to roundism. The last one by that title I made half a year ago. In between lie an odd couple...

Different Styles Another variation in the Risque Series. After my last graphite pencil drawing ‘Risque – 22-01-22’ I was searching for something new. I just don’t like to ...

Impressionist Approach This graphite pencil drawing ‘Sienna - 25-08-22’ follows up my previous one ‘Model Study, after Laure Albin Guillot - 25-08-22’. In my last art stat...

A Welcome Change Today, the last day of August, I went to Clingendael with my dear friend Michelle. It’s a welcome change from drawing art deco models, such as the last one. We ...

The Proud Brothers - 04-01-21 The Bigger the Lie How can The Blues Brothers turn into The Proud Brothers? That is simple enough. Take a big country and turn it into a madhouse. D...

De Smorenhoek - 17-12-20 A Beautiful Meadow Some time ago I visited De Smorenhoek, a small but long meadow surrounded by wood embarkements. From Beek-Ubbergen it runs upwards to ...

C. Late 19th Century / Early 20th Century - Etching depicting a Horse & Carriage by Edgar Chahine ( Pencil Signed )

Realism Portrait Drawing

Robert Morris Investigations (with Guggenheim Museum Labels), 1990 Graphite drawing on Mylar. Framed with the original Guggenheim Museum label (lent by Sonnabend), & Castelli Gallery...

Marc Chagall 1887-1985 Russian Les fleurs des amoureux sur fond multicolore (Lovers’ flowers on a multicolored background) Stamped with signature “Marc Chagall" (lower left) Gouac...

Edward Hopper 1882-1967 American Group of Houses Signed “Edward Hopper” (lower right) Watercolor and pencil on paper Edward Hopper is unparalleled in his depiction of the America...

Joseph Stella was a visionary artist who painted what he saw, an idiosyncratic and individual experience of his time and place. Stella arrived in New York in 1896, part of a wave of Italian immigrants from poverty-stricken Southern Italy. But Stella was not a child of poverty. His father was a notary and respected citizen in Muro Locano, a small town in the southern Appenines. The five Stella brothers were all properly educated in Naples. Stella’s older brother, Antonio, was the first of the family to come to America. Antonio Stella trained as a physician in Italy, and was a successful and respected doctor in the Italian community centered in Greenwich Village. He sponsored and supported his younger brother, Joseph, first sending him to medical school in New York, then to study pharmacology, and then sustaining him through the early days of his artistic career. Antonio Stella specialized in the treatment of tuberculosis and was active in social reform circles. His connections were instrumental in Joseph Stella’s early commissions for illustrations in reform journals. Joseph Stella, from the beginning, was an outsider. He was of the Italian-American community, but did not share its overwhelming poverty and general lack of education. He went back to Italy on several occasions, but was no longer an Italian. His art incorporated many influences. At various times his work echoed the concerns and techniques of the so-called Ashcan School, of New York Dada, of Futurism and, of Cubism, among others. These are all legitimate influences, but Stella never totally committed himself to any group. He was a convivial, but ultimately solitary figure, with a lifelong mistrust of any authority external to his own personal mandate. He was in Europe during the time that Alfred Stieglitz established his 291 Gallery. When Stella returned he joined the international coterie of artists who gathered at the West Side apartment of the art patron Conrad Arensberg. It was here that Stella became close friends with Marcel Duchamp. Stella was nineteen when he arrived in America and studied in the early years of the century at the Art Students League, and with William Merritt Chase, under whose tutelage he received rigorous training as a draftsman. His love of line, and his mastery of its techniques, is apparent early in his career in the illustrations he made for various social reform journals. Stella, whose later work as a colorist is breathtakingly lush, never felt obliged to choose between line and color. He drew throughout his career, and unlike other modernists, whose work evolved inexorably to more and more abstract form, Stella freely reverted to earlier realist modes of representation whenever it suited him. This was because, in fact, his “realist” work was not “true to nature,” but true to Stella’s own unique interpretation. Stella began to draw flowers, vegetables, butterflies, and birds in 1919, after he had finished the Brooklyn Bridge series of paintings, which are probably his best-known works. These drawings of flora and fauna were initially coincidental with his fantastical, nostalgic and spiritual vision of his native Italy which he called Tree of My Life (Mr. and Mrs. Barney A. Ebsworth Foundation and Windsor, Inc., St. Louis, illus. in Barbara Haskell, Joseph Stella, exh. cat. [New York: Whitney Museum of American Art, 1994], p. 111 no. 133). Two Wood Ducks...