Crépuscule III, 2019
Marie-Louise van den Akker  

Painting : oil · 30 x 30 x 3.5 cm 11.8 x 11.8 x 1.4 inch

£349 349 £GB
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Shipped from: France

Delivery to: United Kingdom , £ 45

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Verified Reviews : 9.6/10
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About the artwork

Type

Painting : Unique artwork

Condition

Artwork sold in perfect condition, not framed

Authenticity

Sold with certificate of Authenticity from the artist

Invoice from the artist

Signature

Hand-signed by artist

Technique & Support

Dimensions ( cm • inch )

30 x 30 x 3.5 cm 11.8 x 11.8 x 1.4 inch Height x Width x Depth

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Credentials

Vetted seller since 2026

Description
The top of the panel opens onto a pale, almost ethereal sky. Below, shades of violet and purple suggest a calm sea under twilight light.
The technique relies on the use of rigid wooden panels. Oil paint is applied in thin layers. The artist scrapes and pushes the material to create plays of transparency. This process reveals subtle nuances and a singular visual depth.
This landscape does not seek a faithful reproduction of nature. It is an abstract dialogue with the elements. The graphic lines intertwine with soft tones. The whole exudes a serene and contemplative harmony.
The small square paintings 30x30 are well suited to be hung in a series.

Landscape

Seascape

Horizon

Sea

Semi-abstract

Grey

Sky blue

Marie-Louise van den Akker, Crépuscule III
France  • 1971

Presentation

Originally from the Netherlands, I completed my studies at the Breda Academy of Fine Arts in 1993. In 2001, I settled in France, in the Creuse region. I combine my life as an artist with that of an art therapist. I exhibit regularly in France and the Netherlands (Concept Store Gallery, La Baule – Salon d'Art Contemporain d'Auvergne, Clermont-Ferrand – Galerie Peter Bax, Sneek, The Netherlands) and I participate in land art or environmental art festivals (Vign'art, Epernay – Festival de l'Estran, Côte de Granit Rose).

My small paintings are the simplest; they contain only color, sky, and sea. The larger paintings can be more complex, a graphic design blending with the transparent colors of the sea, seeking a harmony of several different elements. I don't reproduce nature, but I need this interaction with nature, this "dialogue," to nourish my work.

As a support for my paintings, I often use wooden panels. The wood is rigid, which allows me to scrape and push the paint away. I apply oil paint in thin layers that are then moved or pushed away. This way of working allows me to play with transparencies and layering, to find colors with a certain depth and surprising nuances.

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