Ger Dekkers (1929-2020) - Goals, Dronten





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Has over ten years of experience in art, specialising in post-war photography and contemporary art.
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Description from the seller
This is a series of photos of Gerrit Hendrik (Ger) Dekkers (Borne, August 21, 1929 – Zwolle, January 20, 2020), a Dutch photographer who lived and worked in Giethoorn.
Dimensions: 56 x 41 cm
Dimensions with frame: 54 x 39 cm
There is no glass in front.
Ger Dekkers studied from 1950 to 1954 at the AKI Kunstacademie in Enschede. He became especially known for his composite photographic sequences of the Dutch landscape. The camera was not just a recording tool for him but an essential instrument in the development of his autonomous artistry.
Dekkers' attention was drawn to alienating elements in the landscape: objects left behind or lost by people, such as pipes and tarpaulins. It was not about the 'beautiful picture,' as in his documentary photography, but about the act of looking itself — about the phenomenon of viewing. The conceptual art, which during that period reached Europe from the United States, found a fertile ground in Dekkers.
In later years, he focused on newly gained land, where human habitation is still absent, but where the human touch is clearly visible in the clean lines of dikes, canals, and subdivisions. This theme is convincingly expressed in this series.
Seller's Story
This is a series of photos of Gerrit Hendrik (Ger) Dekkers (Borne, August 21, 1929 – Zwolle, January 20, 2020), a Dutch photographer who lived and worked in Giethoorn.
Dimensions: 56 x 41 cm
Dimensions with frame: 54 x 39 cm
There is no glass in front.
Ger Dekkers studied from 1950 to 1954 at the AKI Kunstacademie in Enschede. He became especially known for his composite photographic sequences of the Dutch landscape. The camera was not just a recording tool for him but an essential instrument in the development of his autonomous artistry.
Dekkers' attention was drawn to alienating elements in the landscape: objects left behind or lost by people, such as pipes and tarpaulins. It was not about the 'beautiful picture,' as in his documentary photography, but about the act of looking itself — about the phenomenon of viewing. The conceptual art, which during that period reached Europe from the United States, found a fertile ground in Dekkers.
In later years, he focused on newly gained land, where human habitation is still absent, but where the human touch is clearly visible in the clean lines of dikes, canals, and subdivisions. This theme is convincingly expressed in this series.
