In this episode we’ll show you how to paint
like the artists of the Cobra movement.. by looking closely at the work of Karel Appel. Welcome to RijksCreative.. in this course we’ll take you on a
journey trough art history. We’ll show you the techniques of the old masters.. from the Renaissance up to modern time. Let’s check in with our expert, Ludo van Halem. Hello Ludo.
-Hello! Who was Karel Appel and why is his work so typical for his time? Well, Karel Appel was one of the most controversial young painters.. after the Second World War in the Netherlands. He painted with much vigor an bold brush strokes. Sometimes he even flung his paint directly from the tube on the canvas. He painted in bright, vibrant colors. From this orgy of paint, there emerged people and animals.. who looked at you with burning eyes.. begging, sometimes screaming for attention. He tried to paint as spontaneously as children do.. and by doing so, he tried to purify the
art from the blemishes of a past war. Okay, let’s get messy! This is a painting by Karel Appel, it’s called square man.. it’s made in 1951, so it’s from 68 years ago, a long time ago.. I’m even younger then that. Appel was a very trained painter, a classical trained painter. His inspiration were always the drawings of children. I start with azure blue. Were going to hit the canvas with a palette knife. It’s going too slow, so.. we’re going to put it directly on the canvas. It’s a square man. First layer. It’s a square man so we’re going to make a square.. more or less. We take darker blue. I use oil paint of course But you can also use acrylics or whatever you want. But I’m going to use oil paint. Because thats what i like more. Cerulean blue.. but with this kind of paintings you can.. choose your own colors, whatever you want. Lets see, square at the moment. We have to make his legs longer. This paint. So but now I want another color.. I like blue, but I like red also. So why not take, see permanent red.. A bit to emphasize here.. so.. Just want him to have legs. Never spill your paint. You see when you use the.. brush on the wet paint. It’s by stroking the texture changes When you use the brush, its going to be soft.. If you use the knife it’s going to be hard. I want to have his eyes, and the eyes
I’m going to make out of orange. But I know when I make orange in blue, it becomes brown. So first ill scrape it. So it’s really noticing what happens with the paint.. how does the paint look like, what kind of structure,
what kind of texture. Just go along with what you like. This is the window Like this. Look how nice. And because I’ve still some orange left, why not use it here. Same way, softly. Balls!
[Laughing] The nose, I want him to have a nose. But what colors shall I use for the nose? I want the nose to be in red. But also orange. And now just to try out things,
because I’m curious. How it looks when I mix it a bit. Look at this. That’s nice. Still got some paint left so I’m going to use this. Because here for the composition,
orange, orange, orange here. Just clean your brush and you get another structure. As a nose.
An eye. But how do I want the structure of that? Now I’m going to use my thumb. Here also. The nice thing about painting like this.. you can paint with everything. What I’m going to do now, and thats something.. Appel always did. When you it’s becoming a sort of figurative thing.. And I just want to just go on painting.. So I need to lose the whole figurative thing.. Because I want to concentrate on the composition. So I turn it around. The whole man thing isn’t bothering me anymore.. Now I’m going to look more at the composition. What I need for the composition.. You see this is on the half, this goes up there. So I need something to, go over there. But what kind of kind of color am I going to paint this? Lighter green. I want to have another structure. Something that looks nice. But also thats different from the structures I already have. Okay now I need, I need my man back. So I’m going to turn it around again. I want to have more details, I don’t like this. I’m going to make it more detailed.
So I’m going to be more precise.. Have a smaller brush. Cadmium yellow, cadmium yellow.. it’s a sort of Donald Duck yellow. The surface also has to look like
you really paid attention to it. Not everything is about just doing it quick. Always show in your painting.. that you’re doing it in a concentrated way. Concentrated. Square man. Grey, watch this. This is kind of strange. You let yourself inspired by things that happen on the canvas. I want to get in to the mouth. I want to have a sort of darker part.. not going to use black yet.
Oxid yellow. Yes, let’s give him some hands. Okay, now I’m going to clean up a bit. At first I’m going to clean it up with a green. You don’t want your colors to be a mess. Be careful if you do all things on top of each other.. it will be a mass, so you will have
to watch out with what you’re doing. Especially in this phase. There comes the dick. You need something in the middle which is strange. Which is different from the rest. You see, I’m stroking very softly. And it’s all about the texture. And what I need now.. I want something lighter in here but not white. King blue. A brush. And this brush.. I’m going.. Put white on top of it. And then I’m going to mix it. Now I’m going use my.. palette knife again. Let’s scrape it off. You see different structures. That’s almost like an eyebrow.. So lets make it an eyebrow. So now I made a combination of colors.. So that the background and the different structures in the paint. And now I have to bind it together.. By using black and make a drawing on top of it. So now you’re going to bind all the different layers together. I have to make certain parts.. more in one tone. It’s too busy,
It’s too loud. So what I’ve done now, I made it more quiet. Large parts with the pallet knife, to make it quiet. But also to make differences between the structure of the paint.. like here, like here, like here. So in a way, what I want and you see
that also in the painting of apple. It’s not only the differences in color.. but it’s also very much about the difference
in the structure of the paint. So for instance, here with the thumb.. here with the palette knife.. Here with the brush, straight out of the tube. So now I’m going to continue to finish the painting.. using the different techniques I have in my head. Well, That was fun. See you next time Ruud!
-See you next time!