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Additional Artworks

From Van Every/Smith Galleries at Davidson College

  1. Grace Hokin by Andy Warhol, Image 1.

    Andy Warhol

    Grace Hokin, 1986

    Polaroid

    4.25 x 3.375 in (10.8 x 8.57 cm)

  2. Anne with Zipper by Anne Noggle, Image 1.

    Anne Noggle

    Anne with Zipper, c. 1980

    Silver gelatin print

    17 x 14 in (43.18 x 35.56 cm)

  3. Mountain Stream by Howard Bond, Image 1.

    Howard Bond

    Mountain Stream, c. 1980

    Gelatin silver print

  4. Tree by Frank Huntington Stack, Image 1.

    Frank Huntington Stack

    Tree, 1978

    Lithograph on paper

    14.875 x 11 in (37.78 x 27.94 cm)

  5. Czech Romance by Robert Freimark, Image 1.

    Robert Freimark

    Czech Romance, 1973

    Lithograph on paper

    29.625 x 20.625 in (75.25 x 52.39 cm)

  6. City - Sound by Barbara Morgan, Image 1.

    Barbara Morgan

    City - Sound, 1972

    Gelatin silver print

    20 x 15.875 in (50.8 x 40.32 cm)

  7. Chiapas, Mexico by Todd Webb, Image 1.

    Todd Webb

    Chiapas, Mexico, 1969

    Gelatin silver print

    10 x 8 in (25.4 x 20.32 cm)

  8. Study for Sculpture I by Seymour Lipton, Image 1.

    Seymour Lipton

    Study for Sculpture I, 1969

    Lithograph on paper

    26.375 x 19.75 in (66.99 x 50.17 cm)

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About the artist

Karel Appel

Dutch

1921-2006

Karel Appel was an influential Dutch painter whose figurative abstractions employed expressive colors and forms. Like Jean Dubuffet, Appel found inspiration in the artwork of children and the rejection of sophisticated aesthetic tastes. “Painting, like passion, is an emotion full of truth and rings a living sound, like the roar coming from the lion's breast,” he reflected. “To paint is to destroy what preceded. I never try to make a painting, but a chunk of life.” A member of the international avant-garde group CoBrA, founded in Paris in 1948, Karel Appel is broadly known for the whimsical style of his expressionist paintings. Considered the European counterparts of the American Abstract Expressionists, Appel and other members of CoBrA privileged spontaneity in an intuitive, almost child-like approach to painting.