Corneille (1922-2010) - L’arbre, l’oiseau

Authentic hand-signed screen print by Corneille (1922–2010), one of the most important members of the CoBrA movement. This 1981 work, titled “L’arbre, l’oiseau,” displays Corneille’s typical imagery: playful figures, a bird motif, and bold, contrasting colors that established his international reputation as an expressionist. The piece is hand-signed in pencil in the lower right and numbered 99/200 (limited edition).
Condition:
In good overall condition. The paper looks fresh; the work is in good condition with slight signs of aging consistent with its age (minor wear and the frame shows normal signs of aging).
This is an attractive and representative work from Corneille’s oeuvre, very suitable for both beginning and experienced collectors of CoBrA graphics.
Features:
Artist: Corneille
Title: L’arbre, l’oiseau
Year: 1981
Technique: Screen print on paper
Edition: 99/200
Hand-signed (pencil)
Sheet dimensions: 48.5 × 63.5 cm
Framed dimensions: 66.5 × 81 cm
The work is professionally framed (without glass).

About the artist:
Corneille (artist name of Guillaume Cornelis van Beverloo, 1922–2010) was at the birth of free painting in Europe. In 1948 he also met Constant and together with others founded the Dutch Experimental Group and later Cobra. Cobra was founded by the Belgian Christian Dotremont and Joseph Noiret, the Dane Asger Jorn, and the Dutchmen Karel Appel, Constant, and Corneille. The name Cobra refers to the international element of this art movement. The abbreviation stands for Copenhagen, Brussels, and Amsterdam, the capitals of the countries from which most Cobra artists originated. In 1948 he settled in Paris. The Cobra period was characterized for Corneille by experimentation. Art had to be naïve and above all spontaneous. The academic and intellectual approach was rejected by the Cobra artists. They drew inspiration primarily from children's drawings, primitive folk art, and 'outsider art'—art created by mentally ill artists. This 'naïve' art form is viewed by art critics as a reaction to the horrors and arbitrariness of World War II.