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Alma-Tadema and Victorian Painting
in the Pérez-Simón Collection

From 25 June to 12 October 2014 (extended closing date)



Autor:
Sir Lawrence Alma-Tadema
Título:
The Roses of Heliogabalus (detail)
Fecha:
1888
Técnica:
Oil on canvas
Medidas:
132.7 x 214.4 cm

Ubicacion:
Pérez-Simón Collection, Mexico

Carmen in Spanish collections

From 7 October until 9 November 2014

Special Collaborative Exhibition. Free entry



Autor:
Pablo Picasso
Título:
Illustrations for Le Carmen des Carmen by Prosper Mérimée and Louis Aragon>
Fecha:
1964
Ubicacion:
Bancaja Collection, Valencia
© Sucesión Pablo Picasso, VEGAP, Madrid, 2014

Thyssen-Bornemisza Collection

Autor:
Karel Appel
Título:
Wild Horses
Fecha:
1954
Técnica:
Oil on canvas
Medidas:
194.5 x 113 cm
Úbicacion:
Museo Thyssen-Bornemisza, Madrid
Numero de inventario
INV. Nr. 454 (1976.61)

More information about this work




During the years immediately after the Second World War, the Dutch painter Karel Appel, together with Constant, Corneille, Asger Jorn and Christian Dotremont, founded the movement known as CoBrA, an acronym of Copenhagen, Brussels and Amsterdam. With the aim of taking a stand against Surrealism, the members of this heterogeneous group advocated an impastoed style of painting that was free and spontaneous, childish even, characterised by its violent expressiveness and impetuous gesture stemming from their rejection of all earlier artistic norms.

Wild Horses, a large canvas dated 1954, evidences Appel’s sweeping, gestural style. His originality lies in his freedom of action, in the impulsive movement in which the thick brushstrokes are applied in garish colours, giving shape to an amorphous, clumsily modeled figure with a fanciful appearance, in which the artist seems to hint at a wicked smile and a large eye that becomes a tunnel leading to unknown depths. The violent brushstrokes with which the paint in primary colours is applied contribute to disfiguring the image in an irreversible metamorphosis and to creating an overall effect of confusing, indeterminate plasticity. The viewer is struck by the creative violence from which emerges this grotesque form and which may recall that of the German Expressionists of the start of the century, whose tragic sense of existence was shared by Appel.

Paloma Alarcó

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