Karel Appel - framed lithograph: Oiseau Hurlant - 1977

Framed lithograph by Karel Appel. Year: 1977. Edition: 2/75. Title: Oiseau Hurlant. Dimensions incl. frame: H68 x w83cm. Dimensions: H37 x W55cm. The work is signed by the artist at the bottom right. The authenticity of the work offered is fully guaranteed. A certificate of authenticity is included (Kiewit Kunst).

Frames: Damage to frames is not described. If a work is framed behind glass and the glass is broken, this will be stated. Reflection may be visible in photos of framed works.

The work can also be picked up in 's-Gravenzande (near The Hague (Scheveningen), Rotterdam and Delft and 5 minutes from the beach). The collection period, if paid in advance, is very long. In other words, the buyer can pick up the work weeks or even months later and, if possible, combine it with a visit to one of the above-mentioned cities or the beach. The work can also be sent by small courier (Swift).

Karel Appel (Amsterdam, April 25, 1921 – Zurich, May 3, 2006) was a Dutch painter and sculptor in modern art from the second half of the twentieth century, who can be counted among the expressionists. He made his breakthrough with his membership of the Cobra group.
Appel was born in the Dapperstraat in Amsterdam, in a working-class neighborhood. As a child he was called 'Kik'. His father was the son of a milkman and had a barbershop, where people met.
1940–1945 World War II
From an early age, Appel knew that he wanted to be a painter, but his parents preferred to see him in the hairdressing salon. He had to work for his father for several years. In 1942 he went to study painting at the Rijksakademie in Amsterdam. Out of dissatisfaction with this career choice, his parents put him out on the street.
Appel followed this course until 1944. At the academy he learned about art history, about which he had received little at home. He became skilled in traditional drawing and painting. To make his studies possible, Appel received a grant from the Department of Public Information and the Arts (DPRK). To obtain this grant, according to Adriaan Venema, Appel had regular contact with the National Socialist Ed Gerdes, head of the Architecture, Visual Arts and Applied Arts department of the Department of Public Information and the Arts, from whom he often asked for extra support, which he did not always receive. got.
In retrospect, Appel was accused of going to study during the German occupation, while the Germans in their own country pursued a very repressive policy against the so-called Entartete Kunst and, in the Netherlands, especially against artists of Jewish origin. Appel himself stated that he had never cooperated with the Germans, would like a scholarship, but had only attended the academy to learn to paint well. Appel therefore did not feel connected to the Germans. Art was a matter of the heart and political preferences interested him little. Other artists were more principled during the war and, for example, refused to become members of the Kultuurkamer, which meant they were not allowed to work, sell and had to do without income.
During his time at the Rijksakademie, Appel met Corneille. A little later he met Constant. An intense friendship arose between them that would last for many years. After the war, Appel traveled to Liège and Paris with Constant. The two exhibited together.
At the beginning of the Hunger Winter, Appel fled his home - he no longer lived with his parents - for fear of being arrested by the German occupiers because of his refusal to work in Germany. During the winter he wandered through the Netherlands, in the direction of his brother who lived near Hengelo. He hardly succeeded in painting during that period, although he did draw some portraits of starving people.
After the war, Appel returned to Amsterdam weakened, where he had a brief relationship with Truusje, who soon died of tuberculosis. There were few at the time who saw anything in Appel. Exceptions were the art critic H. Klinkenberg, who wrote a positive article about Appel, and the wealthy Liège collector Ernest van Zuylen, who purchased art from Appel every year.