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Karel Appel, Flying hat meets sleeping dog (from Happy meeting), Print on Arches paper
Karel Appel, Flying hat meets sleeping dog (from Happy meeting), Print on Arches paper
Karel Appel, Flying hat meets sleeping dog (from Happy meeting), Print on Arches paper
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Karel Appel, Flying hat meets sleeping dog (from Happy meeting), Print on Arches paper
Karel Appel, Flying hat meets sleeping dog (from Happy meeting), Print on Arches paper
Karel Appel, Flying hat meets sleeping dog (from Happy meeting), Print on Arches paper
Karel Appel, Flying hat meets sleeping dog (from Happy meeting), Print on Arches paper
Karel Appel, Flying hat meets sleeping dog (from Happy meeting), Print on Arches paper
Karel Appel, Flying hat meets sleeping dog (from Happy meeting), Print on Arches paper

Flying hat meets sleeping dog (from Happy meeting), 1972
Karel Appel   Master Artists

Print : lithography · 66 x 84.6 cm 26 x 33.3 inch

€2,700 2 700 €
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Verified Reviews : 9.6/10
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About the artwork

Type

Print : numbered and limited to 120 copies

1 copy available

Condition

Artwork sold in perfect condition, not framed

Authenticity

Sold with certificate of Authenticity from the gallery

Invoice from the gallery

Signature

Hand-signed by artist

Technique & Support

lithography on Arches paper

Dimensions ( cm • inch )

66 x 84.6 cm 26 x 33.3 inch Height x Width x Depth

Sold by

Art gallery

Galerie Dobkine • France

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Vetted seller since 2022 • Top Seller

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This seller offers discount when you purchase multiple artworks.

Description
THE HAPPY MEETING
Karel Appel's art has always been dedicated to breaking down barriers.
A young artist fresh out of conservative academic training at the Royal Academy of Amsterdam, he became one of the founders of the Cobra movement, a group of Dutch, Belgian, and Danish artists who rebelled against the geometric tradition of pre-war modernism with a raw and violent primitivism, forming a counterpoint to the birth of Abstract Expressionism in the United States.
Inspired, like Dubuffet, by the art of so-called "primitive" peoples, children, and the "mad," Appel quickly rose to prominence among the most violent post-war expressionist painters, working in a spontaneous and automatist style made up of dense, vibrant pigments and swirling, elementary forms that sometimes evoke prehistoric creatures or mask-like faces. Appel’s impulsive energy also drove him to transcend the boundaries of the painted canvas, creating immense murals and monumental sculptures in wood and metal, splashed with vivid and dramatic colors.
Over the years, even as artistic revolution became an established tradition, Appel’s art softened and became more lyrical in spirit, without losing the vibrancy of its color or the dynamic intensity of its forms. The frontal assault gave way to a more expansive impulse aimed at building bridges between artistic mediums (for over a decade, he has been experimenting with mixed electronic music), and between national and cultural traditions (in recent years, Appel has traveled extensively in Nepal and other parts of Southeast Asia, absorbing subtle elements of their artistic traditions and their synthetic, unifying spirit).
It is therefore particularly fitting that the series of lithographs produced for Editions Press is titled The Happy Meeting. It is also characteristic that Appel created these six prints during a period of three days of intense and concentrated activity in the Editions Press workshop in San Francisco during the winter of 1973-1974 and that he did not, in doing so, simply continue the traditional lithographic techniques to which he had mainly limited himself during his previous forays into this medium.

Like many major artists who found in the Editions Press workshops a unique combination of highly skilled craftspeople and an informal atmosphere open to new ideas, Appel took advantage of these circumstances to experiment with ambitious new concepts or seize upon happy “accidents” to see where they might lead him.


The six lithographs in this portfolio thus represent Appel’s first use of gold and silver leaf backgrounds, onto which the lithographed images were meticulously “pasted”—cut out and then affixed to each individual print. This process lends a lush, sensual opulence to such bold and vibrant images as Woman with Golden Eye, Child Jumping on Blue Hat, and Flying Hat Meets Sleeping Dog. His work She is Back Again features two and even three “terraces” embossed into the surface of the print to create fluid forms and raised rhythms that sometimes echo, sometimes contrast with, the forms defined by line and color—another “first” for Appel. Waiting for the Second Kiss is, admittedly, a conventional and straightforward lithograph, but, like most of the other lithographs in this series, it contains almost a dozen different colors.


The prints reveal a similar diversity of styles and nuances of expression. Woman with Golden Eye demonstrates Appel's deeply personal way of letting a single line wander, stray, and intertwine with itself until it suggests an image that everyone can recognize—without it necessarily actually being a "woman with a golden eye"—because in Appel's work, as in children's art, one often suspects that the title comes after the fact, after the image itself, and that we are free to read into it whatever we wish.


In Come Back Pussy Cat—as in most of his other prints—a bold black line wanders through areas of vibrant color with jagged, free-flowing contours, which are, in a sense, also lines that have flattened into forms. All seem animated by a movement of their own, conveying a sense of immense energy and spontaneous generation; yet they ultimately coalesce—as much in the viewer's imagination as on the printed sheet—to form images as ambiguous and evocative as they are superficially bold and powerful.


“When I used red in my earlier paintings, it usually meant blood and violence,” Appel recently stated. “Now it is more likely to represent light or the sky.” This may be true, and certainly the first impression that strikes the viewer of these lithographs is one of their seemingly unrestrained fantasy and good humor. But on closer inspection, one wonders if everything is really so accidental in this world of childlike innocence and delight that Appel's work evokes. Why is that boy jumping on that hat? Why this insistence on “faces” and figures that seem somehow isolated from one another, both pictorially and psychologically? Why, in a portfolio titled The Happy Meeting, do we find so many themes related to separation—Come Back Pussy Cat, Waiting for the Second Kiss, She is Back Again—a fact all the more unsettling given that the small, huddled figure on the left appears decidedly unhappy? Beneath the gaiety and charm of these prints, it seems to me that Appel forcefully suggests the darker, more tragic currents that underlie innocence and encounters, and this is what gives his work its strange, unsettling, and disarming power.


— Thomas Albright, Art Critic, San Francisco Chronicle

Abstract

colorful

Beige

Sky blue
Karel Appel, Flying hat meets sleeping dog (from Happy meeting)
Karel Appel

Karel Appel

Netherlands  • 1921  - 2006
218 followers

Presentation

Karel Appel is a Dutch artist born in Amsterdam in 1921 (He died in 2006). From 1940 to 1943, he studied at the Beaux-Art academy in Amsterdam.

In 1948, with Corneille and Constant, Karel Appel creates the experimental group "Reflex", the Dutch division of the CoBra group, a movement gathering artists from Copenhagen, Brussels and Amsterdam and born in reaction to the fight between abstraction and figuration. The artists of this movement gather around their common interest in primitive, naive, and popular art, and the idea that everyone can practice art.

Influenced by the artwork of Pablo Picasso, Paul Klee and Henri Matisse, Karel Appel is notably known for his numerous wood panels in relief and his wall paintings about childhood. At the limit of abstraction, his artworks are characterized by the use of bright and pure colors in a naive and charged aesthetic.

In 2009, the Lelong Gallery holds an exhibition for him under the name "Peintures 2000-2001" and in 2012; his artworks are presented during the exhibition "Cobra- Sous le regard d'un passionné" at the LAAC in Dunkerque.

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