Amorous Dance
Karel Appel
Describing his technique, Appel said: ‘I slap at the paint with brushes and palette knives and my bare hands.’ The outlines of two dancing figures can barely be deciphered amidst the explosion of line and colour. Following the end of CoBrA, Appel’s method of working became increasingly aggressive and exuberant as he relished the material quality of the paint. Here, the encrusted surface has a life force of its own which seems to mirror the dynamic exchange between the dancers.
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