Karel Appel (b. 1921)
No VAT will be charged on the hammer price, but VA… Read more THE PROPERTY OF A PRIVATE AUSTRIAN COLLECTOR
Karel Appel (b. 1921)

La ferme

Karel Appel (b. 1921)
La ferme
signed and dated 'Appel '50' (centre left); signed, inscribed and dated 'Karel appel '50 Paris' (on the reverse)
gouache, wax crayons and paper collage on paper laid down on canvas
377/8 x 51in. (96.4 x 129.5cm.)
Executed in 1950
Galerie Rudolf Zwirner, Cologne.
Galerie Schwarzer, Dusseldorf.
Acquired from the above by the present owner.
M. Ragon, Karel Appel Peinture 1937-1957, Paris, 1988, p. 296, no. 596 (illustrated in colour).
Special notice

No VAT will be charged on the hammer price, but VAT at 17.5% will be added to the buyer's premium which is invoiced on a VAT inclusive basis.

Lot Essay

'Art should commit violence' (Appel, quoted in M. Ragon, Karel Appel: Peinture 1937-57, p. 193).

The animals in Le ferme are visibly smiling, yet the childlike and expressionistic colours in the background are anxious, not jolly. Karel Appel's bright, lively animals are a contrast to the deliberately sordid base colours, expressing both the 'joy and the tragedy of man' (K. Appel quoted in Karel Appel, New York, 1980, p. 49). At the end of the Second World War, Appel traveled around Holland from farm to farm, working and painting in return for bed and board. This picture's theme therefore has personal overtones for the artist. His use of red in particular illustrates this, as it was an important ingredient in Appel's works. In 1950, the year Le ferme was painted, plastics were uncommon in Holland, but Appel had been amazed by the texture and depth of colour of a morsel of red plastic he had found. Immediately, he started including deep reds in his art. The contrast between the colour's modern source and the traditional motif of the farm cuts to the heart of this painting, an anxious, vociferous paean to the increasingly obsolete countryside and so to the lost pre-War world.

The children and animals who populate Le ferme form part of Appel's huge personal iconographical lexicon of beasts and people, some imagined and imaginary, others real. The imagined beasts are not fictitious so much as they are indefinable, escaping categorization. Although the pig to the right of the picture is clearly pig-like, the other animal is a little trickier--is it a tail-less cat, a dog, even a donkey? These blurred boundaries extend to the children, depicted as looking at the viewer. Children in Appel's art do not so much represent a return to innocence as a return to uninhibited imagination and therefore creativity. There is a spark of life in the creation and appreciation of a child which is unrestrained, unhampered by the prescriptive regulation of 'ordered' society. As Appel himself maintained, 'To paint is to destroy what preceded. I never try to make a painting, but a chunk of life. It is a scream; it is a night; it is like a child; it is like a caged tiger.'

This childlike spontaneity extends to Appel's artistic style. The creation of Le ferme was obviously frantic and spontaneous, not bound by the restrictions of academic aesthetic convention. Appel unleashed himself at this picture, the activity of painting almost ferocious. This violence can be seen especially in the brushstrokes on the animals, despite their being the calmest elements in the picture. Appel said of his painting style: 'Sometimes my work looks very childish or child-like, schizophrenic or stupid, but that was a good thing for me, because for me the material is the paint itself. In a mass of paint, I find my imagination and go to paint it," (K. Appel quoted from an interview with Alan Hanlon, New York, 1972).


View All
View All