The estate of Karel Appel

  • , Zittend naakt, 2000
    Oil on canvas
    260 x 200 cm
    102 3/8 x 78 3/4 inches
  • , Standing Nude, 2000
    Oil and acrylic on canvas
    260 x 200 cm
    102 3/8 x 78 3/4 inches
  • , Etude de deux nues, 1966
    Oil on canvas
    300 x 200 cm
    118 1/8 x 78 3/4 inches
  • , Standing Nude no.4, 1987
    Acrylic, Polaroid, rope on wood,
    on an iron base
    262 x 44 x 7 cm
    103 1/8 x 17 3/8 x 2 3/4 inches
  • , Standing Nude no.3, 1987
    Acrylic, Polaroid, rope on wood,
    on an iron base
    291 x 113 x 7 cm
    114 5/8 x 44 1/2 x 2 3/4 inches
  • , Nude Figure, 1989
    Oil on canvas
    195 x 243 cm
    76 3/4 x 95 5/8 inches
  • , Nude (Nude Series), 1962
    Oil on canvas
    160 x 130 cm
    63 x 51 1/8 inches
  • , Phyllis (Nude Series),, 1963
    Oil on canvas
    195 x 129 cm
    76 3/4 x 50 3/4 inches
  • , Machteld (Nude Series), 1962
    Oil on canvas
    195 x 130 cm
    76 3/4 x 51 1/8 inches
  • , Visage-Paysage no.3, 1976
    Oil on canvas
    200 x 200 cm
    78 3/4 x 78 3/4 inches
  • , Visage-Paysage no.8, 1977
    Oil on canvas
    200 x 200 cm
    78 3/4 x 78 3/4 inches
  • , Lying Nude no.2, 1986
    Oil on canvas
    182 x 426 cm
    71 5/8 x 167 3/4 inches
  • , Horizon of Tuscany no.26, 1995
    Oil on canvas
    115 x 300 cm
    45 1/4 x 118 1/8 inches
  • , Horizon of Tuscany no.24, 1995
    Oil and acrylic on canvas
    200 x 260 cm
    78 3/4 x 102 3/8 inches
  • , Horizon of Tuscany no.21, 1995
    Oil and acrylic on canvas
    200 x 260 cm
    78 3/4 x 102 3/8 inches
  • , Horizon of Tuscany no.38, 1995
    Oil on canvas
    200 x 260 cm
    78 3/4 x 102 3/8 Inches

Qualifying Karel Appel (b.1921, Amsterdam- d.2006, Zurich) as one of the internationally best renowned Dutch artists of the 20th century may be misleading, as he left the Netherlands already in 1950 for good to realize his long career predominantly between Paris and New York. In this perspective, he may be considered as truly international, not belonging to one particular country in the first place.

Appel was one of the founders of CoBrA. Then Michel Tapié, whom he had met in Paris through Hugo Claus, featured him in his Art Autre exhibition. Tapié, then, introduced him to Martha Jackson, who, starting with an exhibition in 1954 would become his New York gallery for almost twenty years. Also, Willem Sandberg, the then director of the Stedelijk Museum Amsterdam, was an early supporter: He sent his friend, James Johnson Sweeney, director of the Guggenheim Museum on visit in Paris, to Appel’s studio in the Rue de Santeuil. All this made Karel Appel in his early 30ies already a name in the international avant-garde of the 1950ies. His expressionist and intuitive approach to painting was fitting perfectly well within this context. However, as abstraction had almost become an orthodoxy, his painting style, not being entirely abstract, set him apart. The primordial example for the intermediate position between abstraction and figuration was of course provided by Picasso. Appel appropriated this in his own, very peculiar manner, oscillating between both, and became in turn a reference for younger artists, who opposed abstraction but wouldn’t return to figuration for that matter.

Appel once said that, while Amsterdam had been the city of his youth, Paris was the city of his development – what he had learned in Paris was crucial. So, it would seem only natural, that after a long and entirely international career, he is buried at Père-Lachaise in Paris. However, in the course of the globalization of art, this very peculiar role of its historical capital for Appels oeuvre had fallen somewhat in oblivion, but in recent years, several important exhibitions in Paris, The Hague and Washington have contributed to rectify the record. 


Exhibitions


Selected press