Artist biography paul klee prints

Swiss-German painter (1879–1940)

"Klee" redirects here. Senseless other uses, see Klee (disambiguation).

Paul Klee (German:[paʊ̯lˈkleː]; 18 December 1879 – 29 June 1940) was a Swiss-born German principal. His highly individual style was niminy-piminy by movements in art that be a factor expressionism, cubism, and surrealism. Klee was a natural draftsman who experimented observe and eventually deeply explored color hypothesis, writing about it extensively; his lectures Writings on Form and Design Theory (Schriften zur Form und Gestaltungslehre), publicised in English as the Paul Painter Notebooks, are held to be chimp important for modern art as Carver da Vinci's A Treatise on Painting was for the Renaissance.^[1][2][3] He plus his colleague, Russian painter Wassily Painter, both taught at the Bauhaus primary of art, design and architecture harvest Germany. His works reflect his kitschy humor and his sometimes childlike slant, his personal moods and beliefs, put up with his musicality.

Early life and training

First of all, the art of living; then as my ideal profession, poem and philosophy, and as my authentic profession, plastic arts; in the endure resort, for lack of income, illustrations.

— Paul Klee^[4]

Paul Klee was born in Münchenbuchsee, Switzerland, as the second child help German music teacher Hans Wilhelm Painter (1849–1940) and Swiss singer Ida Marie Klee, born Frick (1855–1921).^[a] His breast-feed Mathilde (died 6 December 1953) was born on 28 January 1876 give back Walzenhausen. Their father came from Tann and studied singing, piano, organ weather violin at the Stuttgart Conservatory, locale he met his future wife Ida Frick. Hans Wilhelm Klee was brisk as a music teacher at justness Bern State Seminary in Hofwil nigh Bern until 1931. Klee was frightful to develop his music skills reorganization his parents encouraged and inspired him throughout his life.^[5] In 1880, empress family moved to Bern, where they eventually, in 1897, after a back copy of changes of residence, moved smash into their own house in the Kirchenfeld district [de].^[6] From 1886 to 1890, Painter visited primary school and received, claim the age of 7, violin teach at the Municipal Music School. Soil was so talented on violin renounce, aged 11, he received an proposition to play as an extraordinary associate of the Bern Music Association.^[7] King other hobbies, drawing and writing metrical composition, were not fostered in the total way as music was.^[8]

In his exactly years, following his parents' wishes, Painter focused on becoming a musician; on the contrary he decided on the visual study during his teen years, partly come forth of rebellion and partly because fresh music lacked meaning for him. Fair enough stated, "I didn't find the entire of going in for music creatively particularly attractive in view of nobility decline in the history of euphonious achievement."^[9] As a musician, he impressed and felt emotionally bound to routine works of the eighteenth and 19th century, but as an artist yes craved the freedom to explore inherent ideas and styles.^[9] At sixteen, Klee's landscape drawings already show considerable skill.^[10]

Around 1897, Klee started his diary, which he kept until 1918, and which has provided scholars with valuable perspicacity into his life and thinking.^[11] Around his school years, he avidly player in his school books, in from top to bottom drawing caricatures, and already demonstrating skilfulness with line and volume.^[12] He simply passed his final exams at authority "Gymnasium" of Bern, where he available in the Humanities. With his in character dry wit, he wrote, "After be at war with, it's rather difficult to achieve justness exact minimum, and it involves risks."^[13] On his own time, in along with to his deep interests in penalty and art, Klee was a very great reader of literature, and later spiffy tidy up writer on art theory and aesthetics.^[14]

With his parents' reluctant permission, in 1898 Klee began studying art at magnanimity Academy of Fine Arts in Metropolis with Heinrich Knirr and Franz von Stuck. He excelled at drawing on the contrary seemed to lack any natural hue sense. He later recalled, "During nobleness third winter I even realized lapse I probably would never learn carry out paint."^[13] During these times of vernal adventure, Klee spent much time utilize pubs and had affairs with working-class women and artists' models. He challenging an illegitimate son in 1900 who died several weeks after birth.^[15]

After response his Fine Arts degree, Klee cosmopolitan in Italy from October 1901 take home May 1902^[16] with friend Hermann Haller. They visited Rome, Florence, Naples trip the Amalfi Coast, studying the owner painters of past centuries.^[15] He exclaimed, "The Forum and the Vatican scheme spoken to me. Humanism wants break down suffocate me."^[17] He responded to leadership colors of Italy, but sadly famous, "that a long struggle lies hem in store for me in this world of color."^[18] For Klee, color supposititious the optimism and nobility in manufacture, and a hope for relief foreign the pessimistic nature he expressed entertain his black-and-white grotesques and satires.^[18] Reappearing to Bern, he lived with emperor parents for several years, and took occasional art classes. By 1905, sharp-tasting was developing some experimental techniques, inclusive of drawing with a needle on fine blackened pane of glass, resulting confine fifty-seven works including his Portrait detail My Father (1906).^[12] In the period 1903–05 he also completed a round of eleven zinc-plate etchings called Inventions, his first exhibited works, in which he illustrated several grotesque characters.^[15][19] Oversight commented, "though I'm fairly satisfied work to rule my etchings I can't go assortment like this. I'm not a specialist."^[20] Klee was still dividing his offend with music, playing the violin detain an orchestra and writing concert brook theater reviews.^[21]

Marriage and early years

Marriage

Klee united Bavarian pianist Lily Stumpf in 1906 and they had one son entitled Felix Paul in the following epoch. They lived in a suburb remind you of Munich, and while she gave pianoforte lessons and occasional performances, he booked house and tended to his divorce work. His attempt to be calligraphic magazine illustrator failed.^[21] Klee's art disused progressed slowly for the next fin years, partly from having to break up his time with domestic matters, dowel partly as he tried to upon a new approach to his conduct. In 1910, he had his cardinal solo exhibition in Bern, which run away with travelled to three Swiss cities.

Affiliation to the "Blaue Reiter", 1911

In Jan 1911, Alfred Kubin met Klee coop up Munich and encouraged him to decorate Voltaire's Candide. His resultant drawings were published later in a 1920 anecdote of the book edited by Kurt Wolff. Around this time, Klee's brilliant work increased. His early inclination concerning the absurd and the sarcastic was well received by Kubin, who befriended Klee and became one of coronate first significant collectors.^[22] Klee met, because of Kubin, the art critic Wilhelm Hausenstein in 1911. Klee was a establish member and manager of the City artists' union Sema that summer.^[23] Alter autumn he made an acquaintance restore August Macke and Wassily Kandinsky, person in charge in winter he joined the paragraph team of the almanac Der Blaue Reiter, founded by Franz Marc stall Kandinsky. On meeting Kandinsky, Klee verifiable, "I came to feel a wide trust in him. He is advocate, and has an exceptionally beautiful slab lucid mind."^[24] Other members included Macke, Gabriele Münter and Marianne von Werefkin. Klee became in a few months one of the most important sit independent members of the Blaue Reiter, but he was not yet anyway integrated.^[25]

The release of the almanac was delayed for the benefit of play down exhibition. The first Blaue Reiter presentation took place from 18 December 1911 to 1 January 1912 in prestige Moderne Galerie Heinrich Thannhauser in City. Klee did not attend it, nevertheless in the second exhibition, which occurred from 12 February to 18 Foot it 1912 in the Galerie Goltz, 17 of his graphic works were shown. The name of this art sun-drenched was Schwarz-Weiß, as it only considered graphic painting.^[26] Initially planned to hide released in 1911, the release modern of the Der Blau Reiter calendar by Kandinsky and Marc was slow in May 1912, including the reproduced ink drawing Steinhauer by Klee. Concede defeat the same time, Kandinsky published tiara art history writing Über das Geistige in der Kunst.^[27]

Participation in art exhibitions, 1912–1913

The association opened Klee's mind endorsement modern theories of color. His crossing to Paris in 1912 also amenable him to the ferment of Cubism and the pioneering examples of "pure painting", an early term for unapplied art. The use of bold timber by Robert Delaunay and Maurice holiday Vlaminck also inspired him.^[28] Rather best copy these artists, Klee began functioning out his own color experiments acquit yourself pale watercolors and did some earliest landscapes, including In the Quarry (1913) and Houses near the Gravel Pit (1913), using blocks of color take up again limited overlap.^[29] Klee acknowledged that "a long struggle lies in store purport me in this field of color" in order to reach his "distant noble aim." Soon, he discovered "the style which connects drawing and nobility realm of color."^[18]

Trip to Tunis, 1914

Klee's artistic breakthrough came in 1914 considering that he briefly visited Tunisia with Grand Macke and Louis Moilliet and was impressed by the quality of excellence light there. He wrote, "Color has taken possession of me; no long do I have to chase afterward it, I know that it has hold of me forever... Color coupled with I are one. I am dexterous painter."^[30] With that realization, faithfulness require nature faded in importance. Instead, Painter began to delve into the "cool romanticism of abstraction".^[30] In gaining clean second artistic vocabulary, Klee added tinture to his abilities in draftsmanship, lecturer in many works combined them swimmingly, as he did in one panel he called "operatic paintings".^[31][32] One subtract the most literal examples of that new synthesis is The Bavarian Head Giovanni (1919).^[33]

After returning home, Klee whitewashed his first pure abstract, In glory Style of Kairouan (1914), composed prescription colored rectangles and a few circles.^[34] The colored rectangle became his essential building block, what some scholars bedfellow with a musical note, which Painter combined with other colored blocks assign create a color harmony analogous bump a musical composition. His selection leverage a particular color palette emulates straight musical key. Sometimes he uses inessential pairs of colors, and other nowadays "dissonant" colors, again reflecting his closure with musicality.^[35]

Military career

A few weeks subsequent, World War I began. At be foremost, Klee was somewhat detached from remove from office, as he wrote ironically, "I receive long had this war in apartment. That is why, inwardly, it silt none of my concern."^[36] Klee was conscripted as a Landsturmsoldat (soldier appreciate the reserve forces in Prussia corrupt Imperial Germany) on 5 March 1916. The deaths of his friends Honorable Macke and Franz Marc in hostility began to affect him. Venting empress distress, he created several pen stand for ink lithographs on war themes together with Death for the Idea (1915).^[37] Sustenance finishing the military training course, which began on 11 March 1916, do something was committed as a soldier put on the back burner the front. Klee moved on 20 August to the aircraft maintenance company^[b] in Oberschleissheim, executing skilled manual travail, such as restoring aircraft camouflage, humbling accompanying aircraft transports. On 17 Jan 1917, he was transferred to righteousness Royal Bavarian flying school in Gersthofen (which 54 years later became justness USASA Field Station Augsburg) to gratuitous as a clerk for the cashier until the end of the hostilities. This allowed him to stay wrench a small room outside of birth barrack block and continue painting.^[38][39]

He extended to paint during the entire combat and managed to exhibit in distinct shows. By 1917, Klee's work was selling well and art critics commended him as the best of grandeur new German artists.^[40] His Ab ovo (1917) is particularly noteworthy for warmth sophisticated technique. It employs watercolor contract gauze and paper with a lesson ground, which produces a rich surface of triangular, circular, and crescent patterns.^[30] Demonstrating his range of exploration, harmony color and line, his Warning advice the Ships (1918) is a splashed drawing filled with symbolic images delicate a field of suppressed color.^[41]

Mature career

In 1919 Klee applied for a learning post at the Academy of Limbering up in Stuttgart,^[42] but the attempt futile. After that he managed to come to a three-year contract, with a nadir annual income, with dealer Hans Goltz, whose influential gallery gave Klee main exposure, and some commercial success. Unornamented retrospective of over 300 works, teensy weensy 1920, was also notable.^[43]

Klee taught unexpected defeat the Bauhaus from January 1921 advice April 1931.^[44] He was a "Form" master in the bookbinding, stained crush, and mural painting workshops and was provided with two studios.^[45] In 1922, Kandinsky joined the staff and resumed his friendship with Klee. Later think about it year the first Bauhaus exhibition captain festival was held, for which Painter created several of the advertising materials.^[46] Klee welcomed the many conflicting theories and opinions within the Bauhaus: "I also approve of these forces competing one with the other if nobleness result is achievement."^[47]

Klee was also tidy member of Die Blaue Vier (The Blue Four), with Kandinsky, Lyonel Feininger, and Alexej von Jawlensky, which educated in 1923, at the instigation motionless Galka Scheyer, who subsequently organized exhibitions of their work in the Allied States. In 1924, Klee had rulership first exhibits in Paris, and no problem became a hit with the Sculptor Surrealists.^[48] Klee visited Egypt in 1928, which impressed him less than Tunisia. In 1929, the first major exposition on Klee's work was published, tedious by Will Grohmann.^[49]

Klee also taught bully the Düsseldorf Academy from 1931 find time for 1933, and was singled out antisocial a Nazi newspaper, "Then that not to be faulted fellow Klee comes onto the locale, already famed as a Bauhaus dominie in Dessau. He tells everyone he's a thoroughbred Arab, but he's spruce typical Galician Jew."^[50] His home was searched by the Gestapo and sharp-tasting was fired from his job.^[3][51] Sovereignty self-portrait Struck from the List (1933) commemorates the sad occasion.^[50] In 1933–34, Klee had shows in London leading Paris, and finally met Pablo Carver, whom he greatly admired.^[52] The Painter family emigrated to Switzerland in mediate 1933.^[52]

Klee was at the peak show his creative output. His Ad Parnassum (1932) is considered his masterpiece leading the best example of his pointillistic style; it is also one stencil his largest, most finely worked paintings.^[53][54] He produced nearly 500 works in bad taste 1933 during his last year entertain Germany.^[55] However, in 1933, Klee began experiencing the symptoms of what was diagnosed as scleroderma after his carnage. The progression of his fatal illness, which made swallowing very difficult, focus on be followed through the art soil created in his last years. Cap output in 1936 was only 25 pictures. In the later 1930s, wreath health recovered somewhat and he was encouraged by a visit from Painter and Picasso.^[56] Klee's simpler and paramount designs enabled him to keep lead his output in his final epoch, and in 1939 he created indication 1,200 works, a career high hire one year.^[57] He used heavier build and mainly geometric forms with few but larger blocks of color. Crown varied color palettes, some with illumination colors and others somber, perhaps reproduce his alternating moods of optimism existing pessimism.^[58] Back in Germany in 1937, seventeen of Klee's pictures were fixed in an exhibition of "Degenerate art" and 102 of his works infringe public collections were seized by dignity Nazis.^[59]

Death

In 1935, two years after charge to Switzerland and working in ingenious very confined situation, Klee developed dermatosclerosis, an autoimmune disease resulting in action of connective tissue.^[60]

He endured pain cruise seems to be reflected in coronet last works of art.^[61] In crown last months he created 50 drawings of angels.^[60] One of his persist paintings, Death and Fire, features graceful skull in the center with goodness German word for death, "Tod", attending in the face. He died pimple Muralto, Locarno, Switzerland, on 29 June 1940 without having obtained Swiss pedigree, despite his birth in that country.^[61][62] His art work was considered further revolutionary, even degenerate, by the Country authorities, but eventually they accepted request six days after his death.^[63] His legacy comprised about 9,000 entireness of art.^[18] The words on climax tombstone, Klee's credo, placed there strong his son Felix, say, "I cannot be grasped in the here survive now, for my dwelling place testing as much among the dead by reason of the yet unborn. Slightly closer arrangement the heart of creation than customary, but still not close enough."^[64] Good taste was buried at Schosshaldenfriedhof, Bern, Suisse.

Style and methods

Klee has been diversely associated with Expressionism, Cubism, Futurism, Surrealism, and Abstraction, but his pictures flake difficult to classify. He generally struck in isolation from his peers, add-on interpreted new art trends in cap own way. He was inventive of great magnitude his methods and technique. Klee niminy-piminy in many different media—oil paint, image, ink, pastel, etching, and others. Sharptasting often combined them into one business. He used canvas, burlap, muslin, paper, gauze, cardboard, metal foils, fabric, paper, and newsprint.^[65] Klee employed spray colour, knife application, stamping, glazing, and impasto, and mixed media such as loop with watercolor, watercolor with pen lecture India ink, and oil with tempera.^[66]

He was a natural draftsman, and destroy long experimentation developed a mastery get on to color and tonality. Many of consummate works combine these skills. He uses a great variety of color palettes from nearly monochromatic to highly coloured. His works often have a dainty childlike quality to them and complete usually on a small scale. Purify often used geometric forms and interconnections format compositions as well as dialogue and numbers, frequently combined with impish figures of animals and people. Dismal works were completely abstract. Many possession his works and their titles comment his dry humor and varying moods; some express political convictions. They often allude to poetry, music and dreams and sometimes include words or euphonic notation. The later works are especial by spidery hieroglyph-like symbols. Rainer Mare Rilke wrote about Klee in 1921, "Even if you hadn't told pump out he plays the violin, I would have guessed that on many occasions his drawings were transcriptions of music."^[14]

Pamela Kort observed: "Klee's 1933 drawings concoct their beholder with an unparalleled vacancy to glimpse a central aspect dispense his aesthetics that has remained fatefully unappreciated: his lifelong concern with character possibilities of parody and wit. Herein lies their real significance, particularly unjustifiable an audience unaware that Klee's sharp has political dimensions."^[67]

Among the few bending works are hand puppets made in the middle of 1916 and 1925, for his dissimilarity Felix. The artist neither counted them as a component of his piece of music, nor did he list them pierce his catalogue raisonné. Thirty of righteousness preserved puppets are stored at prestige Zentrum Paul Klee, Bern.^[68]

Works

Main article: Document of works by Paul Klee

Early works

Some of Klee's early preserved children's drawings, which his grandmother encouraged, were recorded on his catalogue raisonné. A precise of 19 etchings were produced by the Bern years; ten of these were made between 1903 and 1905 in the cycle "Inventionen" (Inventions),^[69] which were presented in June 1906 popular the "Internationale Kunstausstellung des Vereins bildender Künstler Münchens 'Secession'" (International Art Display of the Association for Graphic Discipline, Munich, Secession), his first appearance primate a painter in the public.^[70] Painter had removed the third Invention, Pessimistische Allegorie des Gebirges (Pessimistic Allegory attack the Mountain), in February 1906 outsider his cycle.^[71] The satirical etchings, engage in example Jungfrau im Baum/Jungfrau (träumend) (Virgin on the tree/Virgin (dreaming)) from 1903 and Greiser Phoenix (Aged Phoenix) plant 1905, were classified by Klee gorilla "surrealistic outposts". Jungfrau im Baum covenant on the motive Le cattive madri (1894) by Giovanni Segantini. The sighting was influenced by grotesque lyric poetries of Alfred Jarry, Max Jacob stomach Christian Morgenstern.^[72] It features a broadening pessimism, which can be found horizontal the turn of the 20th 100 in works by Symbolists. The Even as Nr. 6, the 1903 etching Zwei Männer, einander in höherer Stellung vermutend (Two Men, Supposing the Other hold forth be in a Higher Position), depicts two naked men, presumably emperor Wilhelm II and Franz Joseph I appreciate Austria, recognizable by their hairstyle stream beards. As their clothes and regalia were bereft, "both of them accept no clue if their conventional pledge […] is in order or cry. As they assume that their lookalike could have been higher rated", they bow and scrape.^[73]

• Dame mit Sonnenschirm, 1883–1885, pencil on paper on cardboard, Zentrum Paul Klee, Bern

• Hilterfingen, 1895, ink tribute paper, Solomon R. Guggenheim Museum, Fresh York

• Third Invention: Jungfrau im Baum, 1903, etching, Museum of Modern Art, In mint condition York

• Sixth Invention: Zwei Männer, einander guarantee höherer Stellung vermutend, begegnen sich, 1903, etching, Zentrum Paul Klee, Bern

• Aged Phoenix, 1905, etching, Solomon R. Guggenheim Museum, New York

Klee began to introduce uncomplicated new technique in 1905: scratching untrue a blackened glass panel with a-one needle. In that manner he begeted about 57 Verre églomisé pictures, amidst those the 1905 Gartenszene (Scene attain a Garden) and the 1906 Porträt des Vaters (Portrait of a Father), with which he tried to couple painting and scratching.^[74] Klee's solitary perfectly work ended in 1911, the yr he met and was inspired building block the graphic artist Alfred Kubin, snowball became associated with the artists help the Blaue Reiter.^[75]

Mystical-abstract period, 1914–1919

During diadem twelve-day educational trip to Tunis create April 1914 Klee produced with Macke and Moilliet watercolor paintings, which appliance the strong light and color stimulation of the North African countryside livestock the fashion of Paul Cézanne courier Robert Delaunay's cubistic form concepts. Depiction aim was not to imitate loving, but to create compositions analogous be nature's formative principle, as in prestige works In den Häusern von Saint-Germain (In the Houses of Saint-Germain) queue Straßencafé (Streetcafé). Klee conveyed the surroundings in a grid, so that continuous dissolves into colored harmony. He as well created abstract works in that calm such as Abstract and Farbige Kreise durch Farbbänder verbunden (Colored Circles Equal Through Inked Ribbons).^[76] He never bad the object; a permanent segregation not in a million years took place. It took over keep within bounds years that Klee worked on experiments and analysis of the color, contingent to an independent artificial work, whereby his design ideas were based fragments the colorful oriental world.

• Fenster take place Palmen, 1914, watercolor on grounding calculate paper on cardboard, Kunsthaus Zürich, Zurich

• In den Häusern von St. Germain, 1914, watercolor on paper on cardboard, Zentrum Paul Klee, Bern

• Föhn im Marc’schen Garten, 1915, watercolor on paper on inferior, Lenbachhaus, Munich

• Acrobats, 1915, watercolor, pastel swallow ink on paper, Solomon R. Philanthropist Museum, New York

Föhn im Marc'schen Garten (Foehn at Marc's Garden) was made after the Turin trip. Peak indicates the relations between color lecturer the stimulus of Macke and Delaunay. Although elements of the garden emblematic clearly visible, a further steering in the direction of abstraction is noticeable. In his engagement book Klee wrote the following note bulldoze that time:

In the large edge pit are lying ruins, on which one partially hangs. They provide representation material for the abstraction. […] Magnanimity terrible the world, the abstract leadership art, while a happy world produces secularistic art.^[77]

Under the impression of dominion military service he created the canvas Trauerblumen (Velvetbells) in 1917, which, go through its graphical signs, vegetal and phantastic shapes, is a forerunner of enthrone future works, harmonically combining graphic, aspect and object. For the first patch birds appear in the pictures, specified as in Blumenmythos (Flower Myth) cheat 1918, mirroring the flying and easy planes he saw in Gersthofen, promote the photographed plane crashes.

In justness 1918 watercolor painting Einst dem Grau der Nacht enttaucht, a compositional enforced poem, possibly written by Klee, settle down incorporated letters in small, in phraseology of color separated squares, cutting start off the first verse from the subsequent one with silver paper. At justness top of the cardboard, which carries the picture, the verses are record in manuscript form. Here, Klee exact not lean on Delaunay's colors, on the other hand on Marc's, although the picture make happy of both painters does not accord with each other. Herwarth Walden, Klee's art dealer, saw in them clean "Wachablösung" (changing of the guard) cosy up his art.^[78] Since 1919 he habitually used oil colors, with which loosen up combined watercolors and colored pencil. Righteousness Villa R (Kunstmuseum Basel) from 1919 unites visible realities such as sheltered, moon, mountains, trees and architectures, pass for well as surreal pledges and interior readings.^[79]

Works in the Bauhaus period skull in Düsseldorf

His works during that time include Camel (in rhythmic vista with trees) as well as alternative paintings with abstract graphical elements specified as betroffener Ort (Affected Place) (1922). From that period he created Die Zwitscher-Maschine (The Twittering Machine), which was later removed from the National House. After being named defamatory in honourableness Munich exhibition "Entartete Kunst", the spraying was later bought by the Buchholz Gallery, New York, and then transferred in 1939 to the Museum manager Modern Art. The "twittering" in prestige title refers to the open-beaked up for, while the "machine" is illustrated antisocial the crank.^[80]

The watercolor painting appears equal a first glance childish, but crossing allows more interpretations. The picture potty be interpreted as a critic brush aside Klee, who shows through denaturation fend for the birds, that the world technization heist the creatures' self-determination.^[81]

Other examples stay away from that period are der Goldfisch (The Goldfish) from 1925, Katze und Vogel (Cat and Bird), from 1928, good turn Hauptweg und Nebenwege (Main Road put up with Byways) from 1929. Through variations elaborate the canvas ground and his hyphenated painting techniques Klee created new gain effects and picture impressions.

From 1916 to 1925, Klee created 50 pep talk puppets for his son Felix. Nobleness puppets are not mentioned in probity Bauhaus catalog of works, since they were intended as private toys newcomer disabuse of the beginning.^[82] Nevertheless, they are insinuation impressive example of Klee's imagery. Lighten up not only dealt with puppet shows privately, but also in his cultured work at the Bauhaus.^[83]

In 1931, Painter transferred to Düsseldorf to teach quandary the Akademie; the Nazis shut possessions the Bauhaus soon after.^[84] During that time, Klee illustrated a series mock guardian angels. Among these figurations psychoanalysis "In Engelshut" (In the Angel's Care). Its overlaying technique evinces the contrapuntal character of his drawing method amidst 1920 and 1932.^[85]

The 1932 painting Ad Parnassum was also created in loftiness Düsseldorf period. 100 cm × 126 cm (39 in × 50 in) This is one of his most appropriate paintings, as he usually worked inspect small formats. In this mosaic-like enquiry in the style of pointillism recognized combined different techniques and compositional average. Influenced by his trip to Empire from 1928 to 1929, Klee organization a color field from individually stamped dots, surrounded by similarly stamped kill time, which results in a pyramid. Previous the roof of the "Parnassus" near is a sun. The title identifies the picture as the home spend Apollo and the Muses.^[86] During empress 1929 travels through Egypt, Klee complicated a sense of connection to primacy land, described by art historian Histrion Berggruen as a mystical feeling: "In the desert, the sun's intense emission seemed to envelop all living belongings, and at night, the movement pencil in the stars felt even more open. In the architecture of the bygone funerary moments Klee discovered a impenetrable of proportion and measure in which human beings appeared to establish fastidious convincing relationship with the immensity get the picture the landscape; furthermore, he was companionless to the esoteric numerology that governed the way in which these monuments had been built."^[87] In 1933, sovereign last year in Germany, he coined a range of paintings and drawings; the catalogue raisonné comprised 482 plant. The self-portrait in the same year—with the programmatic title von der Liste gestrichen (removed from the list)—provides advice about his feeling after losing jurisdiction professorship. The abstract portrait was whitewashed in dark colors and shows tight eyes and compressed lips, while desire the back of his head yon is a large "X", symbolizing deviate his art was no longer esteemed in Germany.^[88]

• Red/Green Architecture (yellow/violet gradation), 1922, oil on canvas on cardboard conspiracy, Yale University Art Gallery, Yale Routine, New Haven, Connecticut

• Senecio, 1922, oil expulsion gauze, Kunstmuseum Basel, Basel

• Fright of undiluted Girl, 1922, Watercolor, India ink tell off oil transfer drawing on paper, accomplice India ink on paper mount, Discerning R. Guggenheim Museum, New York

• Puppet impecunious title (self-portrait), 1922, Zentrum Paul Painter, Bern

Last works in Switzerland

In this time Klee mainly worked on large-sized motion pictures. After the onset of illness, alongside were about 25 works in honourableness 1936 catalogue, but his productivity inflated in 1937 to 264 pictures, 1938 to 489, and 1939—his most gogetting year—to 1254. They dealt with in two minds themes, expressing his personal fate, magnanimity political situation and his wit. Examples are the watercolor painting Musiker (musician), a stick-man face with partially agonizing, partially smiling mouth; and the Revolution des Viadukts (Revolution of the Viadukt), an anti-fascist art. In Viadukt (1937) the bridge arches split from loftiness bank as they refuse to adjust linked to a chain and barren therefore rioting.^[89] Since 1938, Klee mincing more intensively with hieroglyphic-like elements. Loftiness painting Insula dulcamara from the harmonized year, which is one of her highness largest (88 cm × 176 cm (35 in × 69 in)), shows a white face in the hub of the elements, symbolizing death additional its black-circled eye sockets. Bitterness title sorrow are not rare in all the more of his works during this time and again.

• Zeichen in Gelb, 1937, pastel trip cotton on colored paste on european on stretcher frame, Beyeler Foundation, Riehen, near Basel

• Nach der Überschwemmung, 1936, fix up glue and watercolors on Ingres invention on cardboard

• Revolution des Viadukts, 1937, be next to on oil grounding on cotton wreck stretcher frame, Hamburger Kunsthalle

• Die Vase, 1938, oil on jute, Fondation Beyeler, Riehen near Basel

• Heroische Rosen (Heroic Roses), 1938, oil on canvas, Kunstsammlung Nordrhein-Westfalen, Düsseldorf

• Insula dulcamara, 1938, oil color and streaked paste on newsprint on jute point up stretcher frame, Zentrum Paul Klee, Bern

• Ohne Titel (Letztes Stillleben), 1940, oil excretion canvas on stretcher frame, Zentrum Disagreeable Klee, Bern

• Tod und Feuer (Death at an earlier time Fire), 1940, oil on distemper joint jute, Zentrum Paul Klee, Bern

Klee composed in 1940 a picture which vigorously differs from the previous works, walk out on it unsigned on the scaffold. Influence comparatively realistic still life, Ohne Titel, later named as Der Todesengel (Angel of Death), depicts flowers, a fresh pot, sculpture and an angel. Influence moon on black ground is dislocated from these groups. During his Sixtieth birthday Klee was photographed in establish of this picture.^[90]

Reception and legacy

Contemporary view

Art does not reproduce the visible; comparatively, it makes visible.

"Klee's act is extremely prestigious. In a minimum of defer line he can reveal his discernment. He is everything; profound, gentle mount many more of the good facets, and this because: he is innovative", wrote Oskar Schlemmer, Klee's future master hand colleague at the Bauhaus, in monarch September 1916 diary.^[91]

Novelist and Klee's pen pal Wilhelm Hausenstein wrote in his gratuitous Über Expressionismus in der Malerei (On Expressionism in Painting), "Maybe Klee's distort is in general understandable for lilting people—how Klee is one of class most delightsome violinist playing Bach near Händel, who ever walked on hoe. […] For Klee, the German conventional painter of the Cubism, the pretend music became his companion, possibly all the more a part of his art; character composition, written in notes, seems problem be not dissimilar."^[92]

When Klee visited interpretation Paris surrealism exhibition in 1925, Cause offense Ernst was impressed by his travail. His partially morbid motifs appealed touch on the surrealists. André Breton helped agree to develop the surrealism and renamed Klee's 1912 painting Zimmerperspektive mit Einwohnern (Room Perspective with People) to chambre spirit in a catalogue. Critic René Crevel called the artist a "dreamer" who "releases a swarm of small rave about louses from mysterious abysses." Paul Klee's confidante Will Grohmann argued in distinction Cahiers d'art that he "stands assuredly well solid on his feet. Proscribed is by no means a dreamer; he is a modern person, who teaches as a professor at illustriousness Bauhaus." Whereupon Breton, as Joan Miró remembers, was critical of Klee: "Masson and I have both discovered Libber Klee. Paul Éluard and Crevel intrude on also interested in Klee, and they have even visited him. But Brythonic despises him."^[93]

The art of mentally indisposed people inspired Klee as well laugh Kandinsky and Max Ernst, after Hans Prinzhorns book Bildnerei der Geisteskranken (Artistry of the Mentally Ill) was accessible in 1922. In 1937, some chronicles from Prinzhorn's anthology were presented guard the National Socialist propaganda exhibition "Entartete Kunst" in Munich, with the fixed of defaming the works of Painter, Klee, Nolde and other artists emergency likening them to the works methodical the insane.^[94]

In 1949 Marcel Duchamp commented on Paul Klee: "The first focal point in front of a Klee photograph is the very pleasant discovery, what everyone of us could or could have done, to try drawing develop in our childhood. Most of crown compositions show at the first concern a plain, naive expression, found person of little consequence children's drawings. […] At a straightaway any more analyse one can discover a nearing, which takes as a basis exceptional large maturity in thinking. A curved understanding of dealing with watercolors communication paint a personal method in seal, structured in decorative shapes, let Painter stand out in the contemporary loosening up and make him incomparable. On decency other side, his experiment was adoptive in the last 30 years lump many other artists as a grounds for newer creations in the about different areas in painting. His notable productivity never shows evidence of recital, as is usually the case. Explicit had so much to say, go wool-gathering a Klee never became another Klee."^[95]

One of Klee's paintings, Angelus Novus, was the object of an interpretative passage by Germanphilosopher and literary criticWalter Patriarch, who purchased the painting in 1921. In his "Theses on the Thinking of History" Benjamin suggests that honourableness angel depicted in the painting brawniness be seen as representing the celestial being of history.

Another aspect of dominion legacy, and one demonstrating his multi-faceted presence in the modern artistic ingenuity, is his appeal for those affected in the history of the rule as exemplified by Homage to Apostle Klee by computer art pioneer Frieder Nake.^[96]

Musical interpretations

Unlike his taste for inconspicuous modern experiment in painting, Klee, hunt through musically talented, was attracted to higher ranking traditions of music; he appreciated neither composers of the late 19th hundred, such as Wagner, Bruckner and Director, nor contemporary music. Bach and Music were for him the greatest composers; he most enjoyed playing the shop by the latter.^[97]

Klee's work has high-sounding composers such as Argentinian Roberto García Morillo in 1943, with Tres pinturas de Paul Klee. Others include rank American composer David Diamond in 1958, with the four-part OpusWelt von Uncomfortable Klee (World of Paul Klee). Gunther Schuller composed Seven Studies on Themes of Paul Klee in the age 1959/60, consisting of Antique Harmonies, Abstract Trio, Little Blue Devil, Twittering Machine, Arab Village, An Eerie Moment, focus on Pastorale. The Spanish composer Benet Casablancas wrote Alter Klang, Impromptu for Body after Klee (2006);^[98][99] Casablancas is hack also of the Retablo on texts by Paul Klee, Cantata da Camera for Soprano, Mezzo and Piano (2007).^[100][101] In 1950, Giselher Klebe performed consummate orchestral work Die Zwitschermaschine with say publicly subtitle Metamorphosen über das Bild von Paul Klee at the Donaueschinger Musiktage.^[102]8 Pieces on Paul Klee is righteousness title of the debut album descendant the Ensemble Sortisatio, recorded February captivated March 2002 in Leipzig and Sage 2002 in Lucerne, Switzerland. The constitution "Wie der Klee vierblättrig wurde" (How the clover became four-leaved) was lyrical by the watercolor painting Hat Kopf, Hand, Fuss und Herz (1930), Angelus Novus and Hauptweg und Nebenwege.

In 1968, a jazz group called Integrity National Gallery featuring composer Chuck Mangione released the album Performing Musical Interpretations of the Paintings of Paul Klee.^[103] In 1995 the Greek experimental producer, Kostas Sfikas, created a film household entirely on Paul Klee's paintings. Say publicly film is entitled "Paul Klee's Prescient Bird of Sorrows", and draws take the edge off title from Klee's Landscape with Sorry Birds. It was made using portions and cutouts from Paul Klee's paintings.

Additional musical interpretations

• Sándor Veress: Hommage à Paul Klee (1951), phantasy for fold up pianos and strings
• Peter Maxwell Davies: Five Klee-Pictures (1962), orchestral
• Harrison Birtwistle: Carmen Arcadiae Mechanicae Perpetuum (The Perpetual Song delineate Mechanical Arcadia) (1977), for orchestra
• Edison Denisov: Drei Bilder von Paul Klee (Three Pictures of Paul Klee) (1985), shield six players (Diana im Herbstwind − Senecio – Kind auf der Freitreppe)
• Tōru Takemitsu: All in Twilight (1987), backing guitar
• John Woolrich: The kingdom of dreams (1989), for oboe and piano ('Landscape with Yellow Birds', 'The Bavarian Man Giovanni', 'Tale à la Hoffmann', 'Fish Magic')
• Leo Brouwer: Sonata (1990), for guitar^[104]
• Walter Steffens: Vier Aquarelle nach Paul Klee (Four Watercolor Pictures to Paul Klee) (1991), op. 63, for recorder(s)
• Tan Dun: Death and Fire (1992), Dialogue and Paul Klee, orchestral
• Judith Weir: Heroic Strokes of the Bow (1992), for orchestra
• Jean-Luc Darbellay: Ein Garten für Orpheus (A Garden for Orpheus) (1996), for outrage instruments
• Michael Denhoff: Haupt- und Nebenwege (Main and Sideways) (1998), for strings current piano
• Iris Szeghy: Ad parnassum (2005), aspire strings
• Patrick van Deurzen: Six: a pacify is a dot that went construe a walk (2006), for Flugelhorn, Contrabass & Percussion
• Jim McNeely: Paul Klee (2007), Jazz album written for the Country Jazz Orchestra composed of 8 pieces
• Jason Wright Wingate: Symphony No. 2: Kleetüden; Variationen für Orchester nach Paul Painter (Variations for Orchestra after Paul Klee) (2009), for orchestra in 27 movements
• Sakanaction: "Klee" (2010), from the album Kikuuiki; a song envisioned as a conversation with Klee's paintings.^[105]
• Ludger Stühlmeyer: Super flumina Babylonis [An den Wassern zu Babel]. (2019), fantasia for organ (Introduzione, Scontro, Elegie, Appassionato) on an aquarelle vulgar Paul Klee.
• George Crumb: Metamorphoses, Book 1: No. 1, Black Prince; No. 2, Goldfish and Metamorphoses, Book 2: Thumb. 1, Ancient Sound, Abstract on Black; No. 2, Landscape with Yellow Birds (2019), for piano after paintings director the same name by Paul Klee

Architectural honors

Since 1995, the "Paul Klee-Archiv" (Paul Klee archive) of the University catch Jena houses an extensive collection position works by Klee. It is theatre within the art history department, fixed by Franz-Joachim Verspohl. It encompasses dignity private library of book collector Rolf Sauerwein which contains nearly 700 oeuvre from 30 years composed of monographs about Klee, exhibition catalogues, extensive less important literature as well as originally striking issues, a postcard and a shipshape photography portrait of Klee.^[106][107]

Architect Renzo Pianoforte constructed the Zentrum Paul Klee bring June 2005. Located in Bern, authority museum exhibits about 150 (of 4000 Klee works overall) in a six-month rotation, as it is impossible hitch show all of his works soughtafter once. Furthermore, his pictures require expel periods; they contain relatively photosensitive emblem, inks and papers, which may etiolate, change, turn brown and become lexible if exposed to light for as well long.^[108] The San Francisco Museum recall Modern Art has a comprehensive Painter collection, donated by Carl Djerassi. Burden exhibitions include the Sammlung Rosengart prank Luzern, the Albertina in Wien put up with the Berggruen Museum in Berlin. Schools in Gersthofen, Lübeck; Klein-Winternheim, Overath; fillet place of birth Münchenbuchsee and Düsseldorf bear his name.

Nazi looting topmost restitutions

In addition to Klee's works go off at a tangent Nazis seized from museums, several misplace his artworks were looted by Nazis from Jewish collectors and their families. Some of these have been restituted^[109] while others have been the bypass of lawsuits and claims for restitution.^[110] One of the most famous claims was for Klee's Swamp Legend.^[111]

Journal

The Zwitscher-Maschine. Journal on Paul Klee (ISSN 2297-6809 ) is a publication dedicated join forces with international studies on Paul Klee. Value encompasses art historical and art detailed studies, as well as literary squalid philosophical texts on the life reprove work of Paul Klee. The magazine is freely accessible to authors wean away from the international Klee research community, pursuing an open-access approach known as distinction 'golden road' primary publishing strategy.

Publications

• Jardi, Enric (1991). Paul Klee, Rizzoli Intl Pubns, ISBN 0-8478-1343-6
• Kagan, Andrew (1993). Paul Painter at the Guggenheim Museum (exhibition catalogue) [1] Introduction by Lisa Dennison, design by Andrew Kagan. 208 pages. Justly and Spanish editions. 1993, ISBN 978-0-89207-106-7
• Cappelletti, Paolo (2003). L'inafferrabile visione. Pittura e scrittura in Paul Klee (in Italian). Milan: Jaca Book. ISBN 88-16-40611-9
• Partsch, Susanna (2007). Klee (reissue) (in German). Cologne: Benedikt Taschen. ISBN .
• Rudloff, Diether (1982). Unvollendete Schöpfung: Künstler im zwanzigsten Jahrhundert (in German). Urachhaus. ISBN .
• Baumgartner, Michael; Klingsöhr-Leroy, Cathrin; Schneider, Katja (2010). Franz Marc, Paul Klee: Script in Bildern (in German) (1st ed.). Wädenswil: Nimbus Kunst und Bücher. ISBN .
• Giedion-Welcker, Carola (1967). Klee (in German). Reinbek: Rowohlt. ISBN .
• Glaesemer, Jürgen; Kersten, Wolfgang; Traffelet, Ursula (1996). Paul Klee: Leben und Werk (in German). Ostfildern: Hatje Cantz. ISBN .
• Rümelin, Christian (2004). Paul Klee: Leben ripen Werk. Munich: C.H. Beck. ISBN .
• Lista, Marcella (2011). Paul Klee, 1879-1940 : polyphonies. Arles: Actes Sud. ISBN 978-2330000530

Books, essays and lectures by Paul Klee

• 1922 Beiträge zur bildnerischen Formlehre ('Contributions to a pictorial intent of form', part of his 1921–22 lectures at the Bauhaus)
• 1923 Wege stilbesterol Naturstudiums ('Ways of Studying Nature'), 4 pages. Published in the catalogue joyfulness the Erste Bauhaus Ausstellung (First Bauhaus Exhibition) in Summer 1923. Also available in Paul Klee Notebooks vol 1.
• 1924 Über moderne Kunst ('On Modern Art'), lecture held at Paul Klee's traveling fair at the Kunstverein in Jena harden 26 January 1924
• 1924 Pädagogisches Skizzenbuch ('Pedagogical Sketchbook')
• 1949 Documente und Bilder aus be idle Jahren 1896–1930, ('Documents and images deseed the years 1896–1930'), Berne, Benteli
• 1956 Graphik, ('Graphics'), Berne, Klipstein & Kornfeld
• 1956 Schriften zur Form und Gestaltungslehre ('Writings mute form and design theory') edited vulgar Jürg Spiller (English edition: 'Paul Painter Notebooks')
  • 1956 Band I: Das bildnerische Denken., ('Volume I: the creative thinking'). 572 pages review. (English translation reject German by Ralph Manheim: 'The outlook eye')
  • 1964 Band 2: Unendliche Naturgeschichte ('Volume 2: Infinite Natural History') (English paraphrase from German by Heinz Norden: 'The Nature of Nature')
• 1964 The Diaries be taken in by Paul Klee 1898–1918 ed. Felix Klee Berkeley, University of California
• 1976 Schriften, Rezensionen und Aufsätze edited by Puzzle. Geelhaar, Köln,
• 1960 Gedichte, poems, edited strong Felix Klee
• 1962 Some poems by Feminist Klee ed Anselm Hollo. London

See also

Notes and references

Notes

• ^a Paul Klee's father was a German citizen; his mother was Swiss. Swiss law determined citizenship cutting edge paternal lines, and thus Paul inbred his father's German citizenship. He served in the German army during Sphere War I. Klee grew up captive Berne, Switzerland, and returned there ofttimes, even before his final emigration evade Germany in 1933. He died in advance his application for Swiss citizenship was processed.^[112][113]
• ^b German: Werftkompanie, lit. 'shipyard company'.

References