KAREL APPEL: THE CLASSIC THEMES
Galerie Max Hetzler is pleased to present The Classic Themes, an exhibition of paintings and works on paper by Karel Appel at Bleibtreustraße 45 in Berlin.
March 1 – April 12, 2025
‘The major Karel Appel retrospective at the Gemeentemuseum Den Haag in 2016 – ten years following the artist’s death – was set to radically renew the traditional view of Appel’s extensive oeuvre. Within its thematic structure, only one of the six large halls was dedicated to the CoBrA movement, while three of the others focused on very classical themes – nude, landscape or portrait. The prominence given to these classical themes flagrantly contradicted CoBrA’s primitivism. In addition, it was shown for the first time that Appel did not always paint ‘spontaneously’, but very often started from drawings, selected from the graphic diversity of his constantly active, visual thought process. This, too, shed a new light on Appel's traditional image, which is usually associated with the intuitive improvisation that set the tone for the avant-gardes of the fifties and sixties: the CoBrA Group, the Nouvelle École de Paris and Abstract Expressionism.
The exhibition at Galerie Max Hetzler concentrates on these three classic themes and, where preliminary drawings can be linked to the paintings on display, they are presented alongside them. The Classic Themes thus offers new insights into Karel Appel’s working method, inviting a reassessment of established stereotypes. Due to the show’s thematic and therefore non-chronological structure, works from different stylistic phases are exhibited side by side.
The exhibition begins with a very early ‘portrait’ from 1946. Its style appears related to what the French critic Michel Ragon would later call ‘post-cubism’. Appel and his friend Corneille had come across a publication that had appeared for an exhibition at the Galerie de France featuring five ‘post-cubist’ painters. The plan to visit one of them – namely Édouard Pignon, a close friend of Picasso – triggered the two young artists’ first trip to Paris in 1947.
The third room combines nudes from three different phases of his work: the beginning of the sixties, the mid-nineties, and the year 2000. The last room presents landscapes, again from different phases: a relief whose style is reminiscent of Pop Art; a four-and-a-half-metre-wide triptych from the eighties, when Appel took up the landscape theme quite decidedly as a panorama; and two pictures from the late nineties, one of which seems to have been painted spontaneously, while the preliminary drawing for the other gives insight into Appel’s process of developing templates for monumental paintings from found pictures.’