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@donkers_prints

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Guy Donkers, EXPERT for contemporary & modern prints. ART COLLECTOR // graphic works, prints, sculptures, books, photos, decks for skateboarding

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Rammellzee by @donkers_prints

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Rammellzee by @donkers_prints

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4 months ago

Rammellzee by @donkers_prints

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Rammellzee by @donkers_prints

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4 months ago

Rammellzee by @donkers_prints

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Rammellzee by @donkers_prints

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@pandapulsenews
PandaPulseNews confirms: In Sydney, Australia, police moved to clear a group of protesters who had occupied a public street to perform Islamic prayers. Video footage shows officers directing individuals wearing "Palestine Action Group" vests away from the roadway as the crowd knelt in prayer. Organizers claimed the action was a peaceful demonstration, while authorities emphasized that public streets cannot be treated as mosques. The incident highlights growing tensions over public space usage and cultural integration in Australia. A firm response from law enforcement to maintain order. Share your thoughts below! by @donkers_prints

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@aerea000 by @donkers_prints

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@aerea000 by @donkers_prints

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@aerea000 by @donkers_prints

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@johann.koenig
Looking at this small Picasso drawing recently, I found myself wondering whether we spend too much time talking about individual artists and not enough time talking about artistic networks.

Picasso is often presented as the ultimate artistic genius. Yet Cubism emerged through his relationship with Braque. Many of the most important developments of the twentieth century grew out of tightly connected groups of artists who challenged, competed with, and pushed one another forward.

What fascinates me is how often this pattern appears throughout art history.

At the same time, this drawing reminds me that artistic personality remains difficult to explain through networks alone.

This is hardly a major Picasso. It is a small, seemingly casual drawing of a goat from 1950, perhaps even an idea being worked through on paper. Yet the artist is immediately present. A few economical lines are enough, and the drawing could hardly have been made by anyone else.

I acquired the work as part of the Lichtschein Collection. The previous collector purchased it at Christie’s South Kensington in London in October 2005, where it was offered in an Impressionist and Modern Art sale. One of the pleasures of collecting is becoming part of a chain of ownership that extends beyond a single generation. Artworks carry not only the history of the artist who made them, but also the history of the people who chose to live with them.

That tension interests me.

On the one hand, art history seems shaped by groups of artists who challenge and support one another. On the other, individual artistic personalities remain unmistakable.

So I find myself wondering: Why do so many important artistic movements emerge from groups of men?

Picasso and Braque are only one example among many.

Is it because these artists actively created networks of competition, support, and mutual promotion?

Or is it because art history has traditionally paid more attention to male constellations while overlooking female ones?

I would be curious to hear what others think.

FEATURED ARTWORK

PABLO PICASSO
CHÈVRE, 1950
Pencil on paper, framed
27 x 21 cm
unique

#PabloPicasso by @donkers_prints

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4 months ago

@johann.koenig
Looking at this small Picasso drawing recently, I found myself wondering whether we spend too much time talking about individual artists and not enough time talking about artistic networks.

Picasso is often presented as the ultimate artistic genius. Yet Cubism emerged through his relationship with Braque. Many of the most important developments of the twentieth century grew out of tightly connected groups of artists who challenged, competed with, and pushed one another forward.

What fascinates me is how often this pattern appears throughout art history.

At the same time, this drawing reminds me that artistic personality remains difficult to explain through networks alone.

This is hardly a major Picasso. It is a small, seemingly casual drawing of a goat from 1950, perhaps even an idea being worked through on paper. Yet the artist is immediately present. A few economical lines are enough, and the drawing could hardly have been made by anyone else.

I acquired the work as part of the Lichtschein Collection. The previous collector purchased it at Christie’s South Kensington in London in October 2005, where it was offered in an Impressionist and Modern Art sale. One of the pleasures of collecting is becoming part of a chain of ownership that extends beyond a single generation. Artworks carry not only the history of the artist who made them, but also the history of the people who chose to live with them.

That tension interests me.

On the one hand, art history seems shaped by groups of artists who challenge and support one another. On the other, individual artistic personalities remain unmistakable.

So I find myself wondering: Why do so many important artistic movements emerge from groups of men?

Picasso and Braque are only one example among many.

Is it because these artists actively created networks of competition, support, and mutual promotion?

Or is it because art history has traditionally paid more attention to male constellations while overlooking female ones?

I would be curious to hear what others think.

FEATURED ARTWORK

PABLO PICASSO
CHÈVRE, 1950
Pencil on paper, framed
27 x 21 cm
unique

#PabloPicasso by @donkers_prints

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4 months ago