Karel Appel: Paint

“There exists an insanity that touches on a higher level, by knowledge or instinct. That insanity of life I try to put in my painting. It has nothing to do with any morals or laws. It is there and it is insane.”

Karel Appel

in 'The eye of the beholder', Carlo McCormick
Karel Appel – the complete sculptures,' (1990) not-paged

Life , Law , Knowledge , Painting

“The Cobra group started new, and first of all we threw away all these things we had known and started afresh, like a child — fresh and new. Sometimes my works look very childish, or childlike, schizophrenic or stupid, you know. But that was the good thing for me. Because, for me, the material is the paint itself. The paint expresses itself. In the mass of paint, I find my imagination and go on to paint it.”

Karel Appel

Quoted in: 'Karel Appel, Dutch Expressionist Painter, Dies at 85', by Margalit Fox, in 'Art & Design', New York Times May 9, 2006
Quote of an oral history in 'Contemporary Artists' - Karel Appel describes the wild artistic urgency that gave rise to the Cobra artist-group

Stupidity , Imagination , Painting

“.. people always talk about painting, because basically painting does not talk.”

Karel Appel

Karel Appel defines his painting', interview 1968

People , Painting

“That is what he used to do, what he is doing now for the last hears. He is the only painter who paints like that.... like the wind, like the ocean, like the light, like the sunlight, like the moonlight, far away from everything, without any image..”

Karel Appel

quotes from Appel's poem '..and now I want to talk about Willem de Kooning, February 1990 http://beeldgedicht.info/Reprocitaat/appel-kooning.htm

Light , Painting

“Of course, I painted before Cobra, as afterwards. Each one of us [CoBrA-artists] had his own personality. Cobra is only a very short period of my life. It was like a crossroads. We crossed paths and each continued on his way.... We [artists] are not born to form groups. A group that lasted for too long would destroy the creative activity of its members.”

Karel Appel

Quote of Appel in an interview with fr:Michel Ragon, 1963; as quoted in; Karel Appel, a gesture of colour, Jean-François Lyotard, (original French text of 1992 based upon intensive correspondence with Karel Appel), Christine Buci-Glucksmann, Herman Parret; University Press, Leuven, Belgium, 2009, p. 105
fr:Michel Ragon asked Appel: 'Without Cobra, would you have been what you are today?'

Life , Way , Painting , Personality

“.. at least fifty [gouaches painted in complete dark], one after another. Then I made a light, a candle, and I picked them up and turned them around, as I couldn't see a top or a bottom. I finished them off as I felt fit, a bit more white or a red spot [in his studio in Amsterdam, in 1947”

Karel Appel

Quote from a talk in 1990 with Rudi Fuchs; in 'Appel, about growing older'; as quoted by Frank van der Ploeg, in 'The Low Countries'. Jaargang 12(2004) http://www.dbnl.org/tekst/_low001200401_01/_low001200401_01_0027.php

Light , Painting

“The wastelands belong to my youth [c. 1930's]. When I was young I played in the outskirts of the city - watching the cranes at the harbour. There was no law but garbage, grass and wildflowers like boys and girls, rough, hot and sexual and full of hidden pleasures. Life and death are overlapping in the wastelands like in my paintings.”

Karel Appel

Appel's quote is referring to his youth in Amsterdam, in the outskirts and the ports of the Dutch city
Source: Karel Appel – the complete sculptures,' (1990), pp. 75-77 'Quotes', K. Appel (1989)

Life , Death , Pleasure , Youth

“My work is in a complete transformation. Lately, in my studio in Amsterdam, 'beings' re-emerge more and more, but I have repainted all the canvases that I have brought with me [from Amsterdam to Paris]. It is matter itself. On the canvas, no discovery, no personal drama, no submission to a rhythm.... freed from 'Victory Boogiewoogie' [title of the last work of Piet Mondrian, 1944], bepop, bepop, we free ourselves from rhythm, we are not there yet, but it is coming... Now I paint stains, bigger stains, colours endlessly reapplied one upon the other, I scrape and I put down new stains of colour unto nothing remains but one great plane, concentrated and linked at the same time, suddenly a vivid red or yellow and the canvas and being merge.”

Karel Appel

Quote in a letter of Karel Appel from Paris to Aldo van Eyck, October 1950; as quoted in (MR1-85); Karel Appel, a gesture of colour, Jean-François Lyotard, (original French text of 1992 based upon intensive correspondence with Karel Appel), Christine Buci-Glucksmann, Herman Parret; University Press, Leuven, Belgium, 2009, p. 99

Time , Victory , Painting , Personality

“I'm able to paint so nice and thick with those big splodges that stay upright because I mix my own paint. I use the formula that the seventeenth-century painters used and I've added one or two things myself. A very important element is stand oil. I once got hold of a whole barrel full and I'm still using it. There are pots of it in all my studios, in New York, in Connecticut, in Monaco, and in Tuscany. [the oil had been found when an old paint shop closed down, in a] stock that had been there since the seventeenth century... I mix my oil paint with it, and I throw in a lot of eggs and some concentrated turpentine. It's as thick as homemade mayonnaise. When it dries it is as tough and hard as rubber.”

Karel Appel

Quote from an interview in 'Elsevier', 22 December, 1990; translated and quoted by Frank van der Ploeg, in 'The Low Countries'. Jaargang 12 (2004) http://www.dbnl.org/tekst/_low001200401_01/_low001200401_01_0027.php

Painting

“To keep it short and simple.... you take the subject, that is for example the wood, and the colour, the paint. You compose the subject, the realistic subject, you make a fantastic shape. For example, here, this is some wood, this is a table with a top and wooden flowers, you know, therefore I paint a [flowery] table, for example..”

Karel Appel

explaining his way of imagination
Karel Appel defines his painting', interview 1968

Flowers , Painting

“.. And his painting is like the wind, like a breeze blowing the paint across the canvas, so unreal, so loose and far away from the worldly life.”

Karel Appel

Life , Painting

“I paint like a barbarian in this barbarous time.”

Karel Appel

Time , Painting

“The only control that I excercize [in painting] is to not throw too much paint next to the canvas.”

Karel Appel

MR1, 177; p. 215
Karel Appel, a gesture of colour' (1992/2009)

Painting

“I have painted like an ape. The ape phase is in all my work. My first lick of paint is the ape phase, from that I grow towards a more intellectual phase, involving the lines, the rhythm. From that phase I grow towards mankind, for that is where the power of my imagination lies. It no longer has anything to do with reality, even though the world is present in it - for we recognize people, animals, plants, you name it.”

Karel Appel

quote of Karel Appel: from the conversation with Rudy Fuchs in 1990; as quoted in 'The Low Countries', Jaargang 12(2004) on DBNL (Dutch Librairy online) http://www.dbnl.org/tekst/_low001200401_01/_low001200401_01_0027.php

People , World , Imagination , Reality

“My paint is like a rocket, which describes its own space. I try to make the impossible possible. What is happening I cannot foresee, it is a surprise. Painting, like passion, is an emotion full of truth and rings a living sound, like the roar coming from the lion's breast.”

Karel Appel

Karel Appel's excerpt', c. 1953

Truth , Passion , Painting

“One of my first sculptures was made of bicycle parts. I was living at that time in a attic in the red light section of Amsterdam. I started to work without any specific materials. I was looking in the street like when I was a young boy, in the garbage cans, for ropes, wires, and paint. I left my parents in 1940. Years later I saw an exhibition of Kurt Schwitters at the Stedelijk Museum in Amsterdam curated by Willem Sandberg and there I saw the real 'objet trouvé'; until then I had never heard about it. Schwitters was a shattering experience.”

Karel Appel

Source: Karel Appel – the complete sculptures,' (1990), p. 79 'Quotes', K. Appel (1989)

Boy , Parent , Light , Time

“As I said, in the Fifties I had the 'angst' (= Dutch for 'fear') to survive materialistically. In the city Paris it was a battle. I painted with a knife and called the results 'human landscapes', abstract landscapes with human faces here and there. Today I can do without fight or struggle; every brushstroke now is ready, goes by itself: la peinture depouillé you could say. I discovered that in Picasso's late paintings. You look very closely but there is nothing anymore. He painted here and there a little bit; it is not finished, but once you step back you see a fantastic image, life by itself. I'm not fighting anymore; I'm floating, surfing on the wind.”

Karel Appel

Source: Karel Appel – the complete sculptures,' (1990), p. 95 'Quotes', K. Appel (1989)