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Additional Artworks

From Van Every/Smith Galleries at Davidson College

  1. Untitled by A.R. Ammons, Image 1.

    A.R. Ammons

    Untitled, 1980

    Watercolor and ink on Arches paper

    24 x 18 in (60.96 x 45.72 cm)

  2. Target by Adrian Van Suchtelen, Image 1.

    Adrian Van Suchtelen

    Target, 1978

    Etching on paper

    14.5 x 16.875 in (36.83 x 42.86 cm)

  3. Six Holy Days by Fritz Eichenberg, Image 1.

    Fritz Eichenberg

    Six Holy Days, 1976

    Wood engraving on paper

    9.4375 x 8 in (23.97 x 20.32 cm)

  4. Proscenium III by Richard Smith, Image 1.

    Richard Smith

    Proscenium III, 1971

    Etching on paper

    31 x 23 in (78.74 x 58.42 cm)

  5. Leaves & Light by Joel Goldblatt, Image 1.

    Joel Goldblatt

    Leaves & Light, 1960

    Lithograph on paper

    13.125 x 10 in (33.34 x 25.4 cm)

  6. Weeds, Detroit, 1941 by Harry Callahan, Image 1.

    Harry Callahan

    Weeds, Detroit, 1941, 1941

    Gelatin silver print

    3.625 x 4.625 in (9.21 x 11.75 cm)

  7. St. James's Street by James McNeill Whistler, Image 1.

    James McNeill Whistler

    St. James's Street, 1878

    Etching and drypoint on paper

    17.8125 x 5.875 in (45.24 x 14.92 cm)

  8. Tenesee Earney Ford, 2002 by Gene Merritt, Image 1.

    Gene Merritt

    Tenesee Earney Ford, 2002

    Ink on paper

    11 x 8.5 in (27.94 x 21.59 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.