The reality of the painter Karel Appel is an overcrowded, possessed and frantic world, a barbaric age in which he can only paint as a barbarian - as he says in this film. His paintings are gaudy, his colors vivid, and he slaps them on the canvas as if in a duel, using his brushes, paints, putty-knife and his hands as weapons.
For more information see section 32
Biographical Details The Dutch painter and sculptor Karel Appel first came to prominence in the 1940s when associated with the CoBrA group of artists, whose name derived from the cities in which they were most active: Copenhagen, Brussels and Amsterdam. Like the work of several CoBrA artists, Appel's paintings are redolent of the world of trolls, Norse signs and Nordic myth. Appel settled in Paris, where other artists such as Dubuffet shared his interest in the creations of children, the insane and the socially marginalized, and his preoccupation with raw matter in painting. He quickly became aware, too, of affinities between his own activities and those of American Abstract Expressionists like Pollock and De Kooning.
Golden Bear, Berlin Gran Premio, Bergamo Silver Medal, Barcelona Silver Medal, La Felguera