After Hans Bellmer, George Grosz, Leonardo da Vinci, Albrecht Dürer, Rembrandt van Rijn ,Edward Hopper, Michelangelo Buonarroti, Junceda, Antoine de Saint Exupéry, William Kentridge, Picasso, Egon Schiele, Joseph Beuys,  Käthe Kollwitz, Ramon Casas, Klimt, Aubrey Beardsley, Arimany, Jake & Dinos Chapman, Winsor McCay, Ingres, Munch, Apel·les Mestres, André Masson, Max Ernst, Ives Tanguy, Josep Maria Madorell, Rafael Sanzio, John Currin, Jean Fouquet, Bruegel, Botticelli, Tintoretto, Jan Van Eyck, Valdés Leal, Goya, Keith Haring, Piranesi, Gustave Doré, Amador Garrell, Toulouse Lautrec, Jackson Pollock, Francis Bacon, Raymond Pettibond, Enric Sió, Günter Brus, Dieter Roth, Otto Dix, Klimt.

What to draw?

Or why to do it?

Because the making of art isn’t merely a comparative fact.

You don’t need to carry the entire history of art in your head in order to make art. Although, all things considered, it could be a good thing, Or bad too.

A different thing is where the, let’s say, autonomous work is filed and classified. According to Duchamp, _who started out in art doing comic and satyrical drawings for publications in the early twwentieth century,_ art could be classified as good, bad, indifferent, déjà vu, and unexperimented.

Thus, one tries to get the work to fit into the first category, or the last.

Working with care, even in the most delicate spot of the dung-heap, with the same sort of connection that exists between the head, the hand, and calligraphy, and may this connection save us from Alzheimer’s.

Pay attention, it’s time to switch off the T.V.

Respectfully yours,

the Vacca Brothers.

October 1st, 2024.