Details
Artist
Styles
Colour woodcut -Suite: Karel Appel Circus portfolio -Suite of Karel Appel Circus portfolio -Hand signed and numbered by Appel // Karel Appel’s Plus malin et plus débile que nous (1978) is a whimsical and vividly colored woodcut from his Circus portfolio. This limited edition print captures Appel’s playful and expressionistic style, featuring a joyful figure holding a flower atop a brightly adorned, surreal animal. The bold blues, reds, and yellows create a vibrant contrast, and the exaggerated facial features lend the characters a lively, almost mischievous personality. Appel’s use of simple, childlike shapes and intense colors reflects his interest in primal expression and a raw, uninhibited view of humanity. Hand-signed and numbered, this piece is a testament to Appel’s unique approach to art, blending humor and emotional intensity in a dynamic, folk-art-inspired composition.
Plus malin et plus debile que nous, 1978
form
Medium
Size
55.9 x 76.2 cm
- Inches
- Centimeters
Edition
Price
Details
Artist
Styles
Colour woodcut -Suite: Karel Appel Circus portfolio -Suite of Karel Appel Circus portfolio -Hand signed and numbered by Appel // Karel Appel’s Plus malin et plus débile que nous (1978) is a whimsical and vividly colored woodcut from his Circus portfolio. This limited edition print captures Appel’s playful and expressionistic style, featuring a joyful figure holding a flower atop a brightly adorned, surreal animal. The bold blues, reds, and yellows create a vibrant contrast, and the exaggerated facial features lend the characters a lively, almost mischievous personality. Appel’s use of simple, childlike shapes and intense colors reflects his interest in primal expression and a raw, uninhibited view of humanity. Hand-signed and numbered, this piece is a testament to Appel’s unique approach to art, blending humor and emotional intensity in a dynamic, folk-art-inspired composition.
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What is Art Brut?
Art Brut, a French term meaning Raw Art, was coined by Jean Dubuffet to describe art created outside the conventional fine arts tradition. Dubuffet used the term to refer to works made by self-taught artists, including the mentally ill, prisoners, and others on the margins of society. He also called it Outsider Art. This art is characterized by its raw, unrefined nature, often created without concern for traditional presentation or imitation.
