Karel Appel, Wizzard, 1978
|Artist:||Karel Appel (1921 - 2006)|
|Medium:||Acrylic on Wood Relief|
|Image Size:||33 in x 34 in x 8 in (83.8 cm x 86.4 cm x 20.3 cm)|
|Edition:||From an edition of 8 published by the ABCD Gallery, Paris.|
|Signature:||This work is hand-signed 'Appel' by Karel Appel (Amsterdam, 1921 - Zürich, 2006 ) in red in the lower left.|
|Condition:||This work is in excellent condition offering bright vibrant colors.|
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Item # 4343
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Historical Description of this artwork
A solid but seemingly chaotic composition, here are the words of Appel himself to explain it: “To me, energy, form, communication are one thing, and the forms combined create a face. For instance, when I am looking at machinery, I see moving faces staring back at me.” (Frankenstein, 1980, pg. 81). A wizard is interpreted here in components of sorts. Painted with bright greens, blues, yellows, and reds a mish mosh of random limbs spread out from the center of the relief while a face with white hair and a red and orange hat stares out at us from the center. Providing us with a wonderful glimpse into his mind, Appels’s wizard appears very mechanical, but there is a beauty to be found in the color and chaos.
Dating from 1979, this acrylic on wood relief is hand-signed ‘Appel’ by Karel Appel (Amsterdam, 1921 – Zürich, 2006) in red in the lower left. From an edition of 8, this work was published by the ABCD Gallery, Paris.
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From Karel Appel's silk woven tapestries and color lithographs emerges a naïve world inspired by American Action painting and sensual Matisse drawings.
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Artistic Styles of Appel
COBRA Contemporary and 20th Century Modern Master
Karel Appel Complete Biography
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Karel Appel Biography
A Dutch painter, sculptor, and poet, born in Amsterdam, Karel Appel started painting at the age of fourteen and studied at the Rijksakademie in Amsterdam in the 1940s. He had his first show in Groningen in 1946 and his early work was influenced by Picasso, Matisse, and Dubuffet. In 1948, with longtime friends Corneille and Constant, he founded the experimental group and magazine Reflex, and soon thereafter helped found the CoBrA movement. Based on the unifying doctrine of complete freedom of color and form, the CoBrA movement had antipathy towards Surrealism as well as a common interest in Marxism and modernism.
In 1949, Appel participated with the other CoBrA artists at an exhibition in the Stedelijk Museum in Amsterdam which generated a huge scandal and many objections in the press and public. The new art of the CoBrA-group was not popular in the Netherlands and as a result, Appel moved to Paris in 1950 and truly developed his international reputation. His subject matter was both broad-ranging and powerful, with a wide appeal. Continually developing his skills, on a trip to the United States in 1957, he was introduced to Action Painting (where paint is spontaneously dribbled, splashed or smeared onto the canvas, rather than being carefully applied) and this freedom from standards ushered in a new period for Appel as his work became more dynamic. Apart from being a painter and lithographer, he also created polychrome sculptures, stained-glass windows, mural paintings, and poetry.