Karel Appel (1921-2006) - Purple owl (from Bedized Pudding)





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Description from the seller
Technique: Carborundum
Support: Arches Paper
Numérotation: 95/130
Signature: Hand-signed
Dimensions: 89.2 x 65.4 cm
Condition: Very good condition
Authentification: Sold with gallery certificate of authenticity.
- UPS shipping
The title is deliberately absurd. “Bedized” is a rare English archaism meaning “ornate, bedecked with embellishments” — and “pudding” refers to childish drawing, to the soft, formless thing. Together, it is a deliberately nonsensical title, in the Dada vein, that says something essential about Appel’s approach at this period: he rejects explanatory titles, commentary, declared intention. The work is there, violent and joyful, and it has no need to justify itself.
These heads come from everywhere and nowhere: from the art of children that Appel always claimed, from African and Oceanic masks, from the frescoes he painted in the CoBrA era, from his own gestural accumulation over thirty years. They are not portraits. They are archetypes — primitive, funny, menacing, tender. “I paint like a barbarian in a barbarian century,” he used to say. Bedized Pudding is one of the most accomplished demonstrations of what that sentence concretely means: an energy that does not need explanation, a color that strikes before it allows itself to be looked at.
Seller's Story
Technique: Carborundum
Support: Arches Paper
Numérotation: 95/130
Signature: Hand-signed
Dimensions: 89.2 x 65.4 cm
Condition: Very good condition
Authentification: Sold with gallery certificate of authenticity.
- UPS shipping
The title is deliberately absurd. “Bedized” is a rare English archaism meaning “ornate, bedecked with embellishments” — and “pudding” refers to childish drawing, to the soft, formless thing. Together, it is a deliberately nonsensical title, in the Dada vein, that says something essential about Appel’s approach at this period: he rejects explanatory titles, commentary, declared intention. The work is there, violent and joyful, and it has no need to justify itself.
These heads come from everywhere and nowhere: from the art of children that Appel always claimed, from African and Oceanic masks, from the frescoes he painted in the CoBrA era, from his own gestural accumulation over thirty years. They are not portraits. They are archetypes — primitive, funny, menacing, tender. “I paint like a barbarian in a barbarian century,” he used to say. Bedized Pudding is one of the most accomplished demonstrations of what that sentence concretely means: an energy that does not need explanation, a color that strikes before it allows itself to be looked at.

