2015: Screams in Art


Edvard Munch, The Scream, 1893 National Gallery Norway.


Amsterdam has, since a couple of days an other ‘blockbuster exhibition’.

With much fanfare and a lot of money from the Blockbuster fund (yes, it really exists), the Turing Foundation, Van Ende Foundation, the Ministry and many others, we are spoiled for the third time this year  with an ‘experience of a lifetime’.

The other ones were Late Rembrandt in the Rijksmuseum and The Oasis of Matisse in the Stedelijk Museum.

About the word Blockbuster: Brittanica:  Blockbuster, a highly explosive word not usually associated with art, has now entered the lexicon as a term applied to art exhibitions. By 1996 so-called blockbuster exhibitions–big, popular, moneymaking showcases that delivered a powerful impact–had become important sources of direct and indirect revenue, visibility, and prestige for museums worldwide.

As of September 27, 2015, we can, in Amsterdam, compare Edvard Munch and Vincent van Gogh. They  never met in real life.

The exhibition has one of  the wordfamous versions of The scream by Munch on show.


Perhaps this is a good moment to put  attention on a few not world famous but powerfull other ‘screams’ in art in Amsterdam.

Just for a fresh feeling and to broaden our interior image library.

Wolvecamp schreeuw

Untitled, Theo Wolvecamp   14 x 16 cm private collection.

About the artist:: Theo Wolvecamp 1925-1992

Writer, designer and poet Jan Elburg, who belonged, with Wolvecamp, to the Experimental Group and Cobra (see elswhere on this website about Cobra), looked back on Wolvecamp as follows:

‘The most impressive contribution to the meetings, however, was actually the silence emanating from the ever-present Theo Wolvecamp, the youngest among us. I called him Theophile the Mule in my head, because his reticence came across as rather mulish. Mind you, it wasn’t anything to do with a lack of experimental nature – the advanced work of the youthful Wolvecamp was a boost to his club mates from the start – but he just didn’t seem to get much out of the discussion. After moving from the east of the country he shared a studio with Karel Appel and came along with him, probably because it was more fun keeping silent among friends than on his own at the easel. ’

Karel Appel and Wolvecamp

Karel Appel and Wolvecamp were close friends right up to the end. Appel visited Wolvecamp when he was in the Netherlands and he read a poem at Wolvecamp’s funeral. Appel admired Wolvecamp and painted his portrait.

Karel Appel Portrait of Theo Wolvecamp, 1957 gouache 49.5 x 65 cm Ambassade Hotel Collection, Amsterdam
Karel Appel Portrait of Theo Wolvecamp, 1957 gouache 49.5 x 65 cm Ambassade Hotel Collection, Amsterdam

Oddly enough, Wolvecamp is readily recognizable in this portrait, which you cannot say of most of Appel’s other portraits.

A few years later, 1n 1961,Appel painted another portrait.  In this one you can see another scream.


Karel Appel, Door een DAAD aan het daglicht getreden om zijn schoonheid te tonen. 2 x 2 meter, Private collection.

Another Scream can be seen on the Tribal Art Fair from October 29 till November 1 2015.


This statue from West Nepal (Humla district) will be presented at the TAF by Karavanserai, Maastricht. http://tribalartfair.nl/


Wolvecamp/Appel text from the book : Cobra on the canal (2013) about the Cobra collection in the Ambassade Hotel in Amsterdam.  copyrights are paid by the publisher Samsara. Translation (Theo Wolvecamp / Appel) : Vivien Cook

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