Swiss-German painter (–)
"Klee" redirects here. For other uses, see Painter (disambiguation).
Paul Klee | |
|---|---|
Klee in | |
| Born | ()December 18, Münchenbuchsee, Bern, Switzerland |
| Died | 29 June () (aged&#;60) Muralto, Ticino, Switzerland |
| Nationality | German |
| Education | Academy of Fine Arts, Munich |
| Known&#;for | Painting, outline, watercolor, printmaking |
| Notable work | More than 10, paintings, drawings, and etchings, including Angelus Novus (), Senecio and Twittering Machine (), Fish Magic (), Viaducts Break Ranks (). |
| Movement | Expressionism, Bauhaus, Surrealism |
Paul Klee (German:[paʊ̯lˈkleː]; 18 December – 29 June ) was a Swiss-born Germanic artist. His highly individual style was influenced by movements reconcile art that included expressionism, cubism, and surrealism. Klee was a natural draftsman who experimented with and eventually deeply explored timbre theory, writing about it extensively; his lectures Writings on Modification and Design Theory (Schriften zur Form und Gestaltungslehre), published confine English as the Paul Klee Notebooks, are held to write down as important for modern art as Leonardo da Vinci's A Treatise on Painting was for the Renaissance.[1][2][3] He and his colleague, Russian painter Wassily Kandinsky, both taught at the Bauhaus school of art, design and architecture in Germany. His deeds reflect his dry humor and his sometimes childlike perspective, his personal moods and beliefs, and his musicality.
First of all, the art of living; then as inaccurate ideal profession, poetry and philosophy, and as my real vocation, plastic arts; in the last resort, for lack of resources, illustrations.
—&#;Paul Klee[4]
Paul Klee was born in Münchenbuchsee, Switzerland, as say publicly second child of German music teacher Hans Wilhelm Klee (–) and Swiss singer Ida Marie Klee, born Frick (–).[a] His sister Mathilde (died 6 December ) was born on 28 January in Walzenhausen. Their father came from Tann and intentional singing, piano, organ and violin at the Stuttgart Conservatory, where he met his future wife Ida Frick. Hans Wilhelm Painter was active as a music teacher at the Bern Submit Seminary in Hofwil near Bern until Klee was able emphasize develop his music skills as his parents encouraged and dazzling him throughout his life.[5] In , his family moved hide Bern, where they eventually, in , after a number in shape changes of residence, moved into their own house in depiction Kirchenfeld district&#;[de].[6] From to , Klee visited primary school impressive received, at the age of 7, violin classes at interpretation Municipal Music School. He was so talented on violin dump, aged 11, he received an invitation to play as sketch extraordinary member of the Bern Music Association.[7] His other hobbies, drawing and writing poems, were not fostered in the exact same way as music was.[8]
In his early years, following his parents' wishes, Klee focused on becoming a musician; but he certain on the visual arts during his teen years, partly dominance of rebellion and partly because modern music lacked meaning care him. He stated, "I didn't find the idea of disturb in for music creatively particularly attractive in view of depiction decline in the history of musical achievement."[9] As a composer, he played and felt emotionally bound to traditional works reduce speed the eighteenth and nineteenth century, but as an artist let go craved the freedom to explore radical ideas and styles.[9] Mad sixteen, Klee's landscape drawings already show considerable skill.[10]
Around , Painter started his diary, which he kept until , and which has provided scholars with valuable insight into his life endure thinking.[11] During his school years, he avidly drew in his school books, in particular drawing caricatures, and already demonstrating aptitude with line and volume.[12] He barely passed his final exams at the "Gymnasium" of Bern, where he qualified in say publicly Humanities. With his characteristic dry wit, he wrote, "After each and every, it's rather difficult to achieve the exact minimum, and wait up involves risks."[13] On his own time, in addition to his deep interests in music and art, Klee was a downright reader of literature, and later a writer on art conjecture and aesthetics.[14]
With his parents' reluctant permission, in Klee began cram art at the Academy of Fine Arts in Munich partner Heinrich Knirr and Franz von Stuck. He excelled at outline but seemed to lack any natural color sense. He subsequent recalled, "During the third winter I even realized that I probably would never learn to paint."[13] During these times make public youthful adventure, Klee spent much time in pubs and esoteric affairs with lower-class women and artists' models. He had apartment house illegitimate son in who died several weeks after birth.[15]
After receiving his Fine Arts degree, Klee traveled in Italy from Oct to May [16] with friend Hermann Haller. They visited Leadership, Florence, Naples and the Amalfi Coast, studying the master painters of past centuries.[15] He exclaimed, "The Forum and the Residence have spoken to me. Humanism wants to suffocate me."[17] Unwind responded to the colors of Italy, but sadly noted, "that a long struggle lies in store for me in that field of color."[18] For Klee, color represented the optimism president nobility in art, and a hope for relief from description pessimistic nature he expressed in his black-and-white grotesques and satires.[18] Returning to Bern, he lived with his parents for a few years, and took occasional art classes. By , he was developing some experimental techniques, including drawing with a needle component a blackened pane of glass, resulting in fifty-seven works including his Portrait of My Father ().[12] In the years –05 he also completed a cycle of eleven zinc-plate etchings cryed Inventions, his first exhibited works, in which he illustrated very many grotesque characters.[15][19] He commented, "though I'm fairly satisfied with cutback etchings I can't go on like this. I'm not a specialist."[20] Klee was still dividing his time with music, activity the violin in an orchestra and writing concert and the stage reviews.[21]
Klee married Bavarian pianist Lily Stumpf central part and they had one son named Felix Paul in description following year. They lived in a suburb of Munich, beam while she gave piano lessons and occasional performances, he reserved house and tended to his art work. His attempt survey be a magazine illustrator failed.[21] Klee's art work progressed lag behind for the next five years, partly from having to examine his time with domestic matters, and partly as he welltried to find a new approach to his art. In , he had his first solo exhibition in Bern, which next travelled to three Swiss cities.
In January , Alfred Kubin met Klee in Munich challenging encouraged him to illustrate Voltaire's Candide. His resultant drawings were published later in a version of the book edited vulgar Kurt Wolff. Around this time, Klee's graphic work increased. His early inclination towards the absurd and the sarcastic was be successful received by Kubin, who befriended Klee and became one snatch his first significant collectors.[22] Klee met, through Kubin, the compensation critic Wilhelm Hausenstein in Klee was a foundation member ride manager of the Munich artists' union Sema that summer.[23] Gratify autumn he made an acquaintance with August Macke and Wassily Kandinsky, and in winter he joined the editorial team handle the almanac Der Blaue Reiter, founded by Franz Marc streak Kandinsky. On meeting Kandinsky, Klee recorded, "I came to command somebody to a deep trust in him. He is somebody, and has an exceptionally beautiful and lucid mind."[24] Other members included Macke, Gabriele Münter and Marianne von Werefkin. Klee became in a few months one of the most important and independent affiliates of the Blaue Reiter, but he was not yet on the sly integrated.[25]
The release of the almanac was delayed for the magic of an exhibition. The first Blaue Reiter exhibition took wedge from 18 December to 1 January in the Moderne Galerie Heinrich Thannhauser in Munich. Klee did not attend it, but in the second exhibition, which occurred from 12 February coalesce 18 March in the Galerie Goltz, 17 of his expression works were shown. The name of this art exhibition was Schwarz-Weiß, as it only regarded graphic painting.[26] Initially planned follow a line of investigation be released in , the release date of the Der Blau Reiter almanac by Kandinsky and Marc was delayed temporary secretary May , including the reproduced ink drawing Steinhauer by Painter. At the same time, Kandinsky published his art history verbal skill Über das Geistige in der Kunst.[27]
The association opened Klee's mind to modern theories of color. His travels to Paris in also exposed him to the brew of Cubism and the pioneering examples of "pure painting", protract early term for abstract art. The use of bold plus by Robert Delaunay and Maurice de Vlaminck also inspired him.[28] Rather than copy these artists, Klee began working out his own color experiments in pale watercolors and did some aboriginal landscapes, including In the Quarry () and Houses near picture Gravel Pit (), using blocks of color with limited overlap.[29] Klee acknowledged that "a long struggle lies in store espousal me in this field of color" in order to arrive his "distant noble aim." Soon, he discovered "the style which connects drawing and the realm of color."[18]
Klee's artistic breakthrough came in when he briefly visited Tunisia crash August Macke and Louis Moilliet and was impressed by picture quality of the light there. He wrote, "Color has expressionless possession of me; no longer do I have to hunt after it, I know that it has hold of great forever Color and I are one. I am a painter."[30] With that realization, faithfulness to nature faded in importance. A substitute alternatively, Klee began to delve into the "cool romanticism of abstraction".[30] In gaining a second artistic vocabulary, Klee added color advance his abilities in draftsmanship, and in many works combined them successfully, as he did in one series he called "operatic paintings".[31][32] One of the most literal examples of this original synthesis is The Bavarian Don Giovanni ().[33]
After returning home, Painter painted his first pure abstract, In the Style of Kairouan (), composed of colored rectangles and a few circles.[34] Picture colored rectangle became his basic building block, what some scholars associate with a musical note, which Klee combined with assail colored blocks to create a color harmony analogous to a musical composition. His selection of a particular color palette emulates a musical key. Sometimes he uses complementary pairs of emblem, and other times "dissonant" colors, again reflecting his connection right musicality.[35]
A few weeks later, World War I began. Infuriated first, Klee was somewhat detached from it, as he wrote ironically, "I have long had this war in me. Desert is why, inwardly, it is none of my concern."[36] Painter was conscripted as a Landsturmsoldat (soldier of the reserve gather in Prussia or Imperial Germany) on 5 March The deaths of his friends August Macke and Franz Marc in combat began to affect him. Venting his distress, he created a few pen and ink lithographs on war themes including Death energy the Idea ().[37] After finishing the military training course, which began on 11 March , he was committed as a soldier behind the front. Klee moved on 20 August find time for the aircraft maintenance company[b] in Oberschleissheim, executing skilled manual drudgery, such as restoring aircraft camouflage, and accompanying aircraft transports. Running away 17 January , he was transferred to the Royal Province flying school in Gersthofen (which 54 years later became say publicly USASA Field Station Augsburg) to work as a clerk inform the treasurer until the end of the war. This allowed him to stay in a small room outside of description barrack block and continue painting.[38][39]
He continued to paint during interpretation entire war and managed to exhibit in several shows. Unresponsive to , Klee's work was selling well and art critics decipherable him as the best of the new German artists.[40] His Ab ovo () is particularly noteworthy for its sophisticated fashion. It employs watercolor on gauze and paper with a methedrine ground, which produces a rich texture of triangular, circular, stream crescent patterns.[30] Demonstrating his range of exploration, mixing color ray line, his Warning of the Ships () is a blotch drawing filled with symbolic images on a field of squelched color.[41]
In Klee applied for a teaching post at description Academy of Art in Stuttgart,[42] but the attempt failed. Name that he managed to secure a three-year contract, with a minimum annual income, with dealer Hans Goltz, whose influential drift gave Klee major exposure, and some commercial success. A backward of over works, in , was also notable.[43]
Klee taught irate the Bauhaus from January to April [44] He was a "Form" master in the bookbinding, stained glass, and mural image workshops and was provided with two studios.[45] In , Painter joined the staff and resumed his friendship with Klee. After that year the first Bauhaus exhibition and festival was held, for which Klee created several of the advertising materials.[46] Painter welcomed the many conflicting theories and opinions within the Bauhaus: "I also approve of these forces competing one with depiction other if the result is achievement."[47]
Klee was also a affiliate of Die Blaue Vier (The Blue Four), with Kandinsky, Lyonel Feininger, and Alexej von Jawlensky, which formed in , contempt the instigation of Galka Scheyer, who subsequently organized exhibitions entity their work in the United States. In , Klee esoteric his first exhibits in Paris, and he became a confrontation with the French Surrealists.[48] Klee visited Egypt in , which impressed him less than Tunisia. In , the first important monograph on Klee's work was published, written by Will Grohmann.[49]
Klee also taught at the Düsseldorf Academy from to , gift was singled out by a Nazi newspaper, "Then that really nice fellow Klee comes onto the scene, already famed as a Bauhaus teacher in Dessau. He tells everyone he's a beast Arab, but he's a typical Galician Jew."[50] His home was searched by the Gestapo and he was fired from his job.[3][51] His self-portrait Struck from the List () commemorates depiction sad occasion.[50] In –34, Klee had shows in London spell Paris, and finally met Pablo Picasso, whom he greatly admired.[52] The Klee family emigrated to Switzerland in late [52]
Klee was at the peak of his creative output. His Ad Parnassum () is considered his masterpiece and the best example most recent his pointillist style; it is also one of his biggest, most finely worked paintings.[53][54] He produced nearly works in amid his last year in Germany.[55] However, in , Klee began experiencing the symptoms of what was diagnosed as scleroderma funds his death. The progression of his fatal disease, which ended swallowing very difficult, can be followed through the art operate created in his last years. His output in was 25 pictures. In the later s, his health recovered quite and he was encouraged by a visit from Kandinsky talented Picasso.[56] Klee's simpler and larger designs enabled him to maintain up his output in his final years, and in fair enough created over 1, works, a career high for one year.[57] He used heavier lines and mainly geometric forms with less but larger blocks of color. His varied color palettes, insufferable with bright colors and others somber, perhaps reflected his cyclic moods of optimism and pessimism.[58] Back in Germany in , seventeen of Klee's pictures were included in an exhibition forfeiture "Degenerate art" and of his works in public collections were seized by the Nazis.[59]
In , two years after moving pause Switzerland and working in a very confined situation, Klee industrial scleroderma, an autoimmune disease resulting in hardening of connective tissue.[60]
He endured pain that seems to be reflected in his set on works of art.[61] In his last months he created 50 drawings of angels.[60] One of his last paintings, Death favour Fire, features a skull in the center with the Teutonic word for death, "Tod", appearing in the face. He monotonous in Muralto, Locarno, Switzerland, on 29 June without having obtained Swiss citizenship, despite his birth in that country.[61][62] His occupy work was considered too revolutionary, even degenerate, by the Country authorities, but eventually they accepted his request six days associate his death.[63] His legacy comprised about 9, works of art.[18] The words on his tombstone, Klee's credo, placed there shy his son Felix, say, "I cannot be grasped in rendering here and now, for my dwelling place is as practically among the dead as the yet unborn. Slightly closer taint the heart of creation than usual, but still not seat enough."[64] He was buried at Schosshaldenfriedhof, Bern, Switzerland.
Klee has been variously associated with Expressionism, Cubism, Futurism, Surrealism, and Abstraction, but his pictures are difficult to classify. Earth generally worked in isolation from his peers, and interpreted creative art trends in his own way. He was inventive quandary his methods and technique. Klee worked in many different media—oil paint, watercolor, ink, pastel, etching, and others. He often sorbed them into one work. He used canvas, burlap, muslin, paper, gauze, cardboard, metal foils, fabric, wallpaper, and newsprint.[65] Klee busy spray paint, knife application, stamping, glazing, and impasto, and interbred media such as oil with watercolor, watercolor with pen near India ink, and oil with tempera.[66]
He was a natural artist, and through long experimentation developed a mastery of color obtain tonality. Many of his works combine these skills. He uses a great variety of color palettes from nearly monochromatic perfect highly polychromatic. His works often have a fragile childlike unequaled to them and are usually on a small scale. Sharptasting often used geometric forms and grid format compositions as convulsion as letters and numbers, frequently combined with playful figures clutch animals and people. Some works were completely abstract. Many follow his works and their titles reflect his dry humor slab varying moods; some express political convictions. They frequently allude assign poetry, music and dreams and sometimes include words or lyrical notation. The later works are distinguished by spidery hieroglyph-like symbols. Rainer Maria Rilke wrote about Klee in , "Even venture you hadn't told me he plays the violin, I would have guessed that on many occasions his drawings were transcriptions of music."[14]
Pamela Kort observed: "Klee's drawings present their beholder coworker an unparalleled opportunity to glimpse a central aspect of his aesthetics that has remained largely unappreciated: his lifelong concern fulfil the possibilities of parody and wit. Herein lies their reach significance, particularly for an audience unaware that Klee's art has political dimensions."[67]
Among the few plastic works are hand puppets imposture between and , for his son Felix. The artist neither counted them as a component of his oeuvre, nor plainspoken he list them in his catalogue raisonné. Thirty of say publicly preserved puppets are stored at the Zentrum Paul Klee, Bern.[68]
Main article: List of works by Paul Klee
Some of Klee's early preserved children's drawings, which his grandmother encouraged, were scheduled on his catalogue raisonné. A total of 19 etchings were produced during the Bern years; ten of these were plain between and in the cycle "Inventionen" (Inventions),[69] which were nip in June at the "Internationale Kunstausstellung des Vereins bildender Künstler Münchens 'Secession'" (International Art Exhibition of the Association for Implication Arts, Munich, Secession), his first appearance as a painter teensy weensy the public.[70] Klee had removed the third Invention, Pessimistische Allegorie des Gebirges (Pessimistic Allegory of the Mountain), in February chomp through his cycle.[71] The satirical etchings, for example Jungfrau im Baum/Jungfrau (träumend) (Virgin on the tree/Virgin (dreaming)) from and Greiser Phoenix (Aged Phoenix) from , were classified by Klee as "surrealistic outposts". Jungfrau im Baum ties on the motive Le cattive madri () by Giovanni Segantini. The picture was influenced make wet grotesque lyric poetries of Alfred Jarry, Max Jacob and Religionist Morgenstern.[72] It features a cultural pessimism, which can be harsh at the turn of the 20th century in works moisten Symbolists. The Invention Nr. 6, the etching Zwei Männer, einander in höherer Stellung vermutend (Two Men, Supposing the Other make longer be in a Higher Position), depicts two naked men, doubtlessly emperor Wilhelm II and Franz Joseph I of Austria, wellknown by their hairstyle and beards. As their clothes and insignia were bereft, "both of them have no clue if their conventional salute […] is in order or not. As they assume that their counterpart could have been higher rated", they bow and scrape.[73]
Dame mit Sonnenschirm, –, pencil on paper fraudster cardboard, Zentrum Paul Klee, Bern
Hilterfingen, , ink on paper, King R. Guggenheim Museum, New York
Third Invention: Jungfrau im Baum, , etching, Museum of Modern Art, New York
Sixth Invention: Zwei Männer, einander in höherer Stellung vermutend, begegnen sich, , etching, Zentrum Paul Klee, Bern
Aged Phoenix, , etching, Solomon R. Guggenheim Museum, New York
Klee began to introduce a new technique in scratch on a blackened glass panel with a needle. In ensure manner he created about 57 Verre églomisé pictures, among those the Gartenszene (Scene on a Garden) and the Porträt stilbesterol Vaters (Portrait of a Father), with which he tried embark on combine painting and scratching.[74] Klee's solitary early work ended slot in , the year he met and was inspired by picture graphic artist Alfred Kubin, and became associated with the artists of the Blaue Reiter.[75]
During his twelve-day educational chat to Tunis in April Klee produced with Macke and Moilliet watercolor paintings, which implement the strong light and color stimulation of the North African countryside in the fashion of Libber Cézanne and Robert Delaunay's cubistic form concepts. The aim was not to imitate nature, but to create compositions analogous nominate nature's formative principle, as in the works In den Häusern von Saint-Germain (In the Houses of Saint-Germain) and Straßencafé (Streetcafé). Klee conveyed the scenery in a grid, so that arrangement dissolves into colored harmony. He also created abstract works behave that period such as Abstract and Farbige Kreise durch Farbbänder verbunden (Colored Circles Tied Through Inked Ribbons).[76] He never forsaken the object; a permanent segregation never took place. It took over ten years that Klee worked on experiments and study of the color, resulting to an independent artificial work, whereby his design ideas were based on the colorful oriental imitation.
Fenster und Palmen, , watercolor on grounding on paper hobby cardboard, Kunsthaus Zürich, Zurich
In den Häusern von St. Germain, , watercolor on paper on cardboard, Zentrum Paul Klee, Bern
Föhn essay Marc’schen Garten, , watercolor on paper on cardboard, Lenbachhaus, Munich
Acrobats, , watercolor, pastel and ink on paper, Solomon R. Altruist Museum, New York
Föhn im Marc'schen Garten (Foehn at Marc's Garden) was made after the Turin trip. It indicates say publicly relations between color and the stimulus of Macke and Delaunay. Although elements of the garden are clearly visible, a spanking steering towards abstraction is noticeable. In his diary Klee wrote the following note at that time:
In the large edge pit are lying ruins, on which one partially hangs. They provide the material for the abstraction. […] The terrible interpretation world, the abstract the art, while a happy world produces secularistic art.[77]
Under the impression of his military service he begeted the painting Trauerblumen (Velvetbells) in , which, with its illustration signs, vegetal and phantastic shapes, is a forerunner of his future works, harmonically combining graphic, color and object. For representation first time birds appear in the pictures, such as dainty Blumenmythos (Flower Myth) from , mirroring the flying and descending planes he saw in Gersthofen, and the photographed plane crashes.
In the watercolor painting Einst dem Grau der Nacht enttaucht, a compositional implemented poem, possibly written by Klee, he believe letters in small, in terms of color separated squares, chill off the first verse from the second one with cutlery paper. At the top of the cardboard, which carries say publicly picture, the verses are inscribed in manuscript form. Here, Painter did not lean on Delaunay's colors, but on Marc's, tho' the picture content of both painters does not correspond conform to each other. Herwarth Walden, Klee's art dealer, saw in them a "Wachablösung" (changing of the guard) of his art.[78] Since he often used oil colors, with which he combined watercolors and colored pencil. The Villa R (Kunstmuseum Basel) from unites visible realities such as sun, moon, mountains, trees and architectures, as well as surreal pledges and sentiment readings.[79]
His works during this heart include Camel (in rhythmic landscape with trees) as well rightfully other paintings with abstract graphical elements such as betroffener Ort (Affected Place) (). From that period he created Die Zwitscher-Maschine (The Twittering Machine), which was later removed from the Stable Gallery. After being named defamatory in the Munich exhibition "Entartete Kunst", the painting was later bought by the Buchholz Heading, New York, and then transferred in to the Museum hold Modern Art. The "twittering" in the title refers to description open-beaked birds, while the "machine" is illustrated by the crank.[80]
The watercolor painting appears at a first glance childish, but aid allows more interpretations. The picture can be interpreted as a critic by Klee, who shows through denaturation of the liable, that the world technization heist the creatures' self-determination.[81]
Other examples stay away from that period are der Goldfisch (The Goldfish) from , Katze und Vogel (Cat and Bird), from , and Hauptweg plug away Nebenwege (Main Road and Byways) from Through variations of depiction canvas ground and his combined painting techniques Klee created original color effects and picture impressions.
From to , Klee composed 50 hand puppets for his son Felix. The puppets conniving not mentioned in the Bauhaus catalog of works, since they were intended as private toys from the beginning.[82] Nevertheless, they are an impressive example of Klee's imagery. He not exclusive dealt with puppet shows privately, but also in his exquisite work at the Bauhaus.[83]
In , Klee transferred to Düsseldorf cork teach at the Akademie; the Nazis shut down the Bauhaus soon after.[84] During this time, Klee illustrated a series stand for guardian angels. Among these figurations is "In Engelshut" (In say publicly Angel's Care). Its overlaying technique evinces the polyphonic character decelerate his drawing method between and [85]
The painting Ad Parnassum was also created in the Düsseldorf period. &#;cm ×&#;&#;cm (39&#;in ×&#;50&#;in) This is one of his largest paintings, as he mostly worked with small formats. In this mosaic-like work in depiction style of pointillism he combined different techniques and compositional principles. Influenced by his trip to Egypt from to , Painter built a color field from individually stamped dots, surrounded make wet similarly stamped lines, which results in a pyramid. Above rendering roof of the "Parnassus" there is a sun. The inscription identifies the picture as the home of Apollo and interpretation Muses.[86] During his travels through Egypt, Klee developed a mind of connection to the land, described by art historian Actor Berggruen as a mystical feeling: "In the desert, the sun's intense rays seemed to envelop all living things, and disrespect night, the movement of the stars felt even more tangible. In the architecture of the ancient funerary moments Klee disclosed a sense of proportion and measure in which human beings appeared to establish a convincing relationship with the immensity second the landscape; furthermore, he was drawn to the esoteric numerology that governed the way in which these monuments had back number built."[87] In , his last year in Germany, he actualized a range of paintings and drawings; the catalogue raisonné comprised works. The self-portrait in the same year—with the programmatic caption von der Liste gestrichen (removed from the list)—provides information contemplate his feeling after losing his professorship. The abstract portrait was painted in dark colors and shows closed eyes and tight lips, while on the back of his head there legal action a large "X", symbolizing that his art was no somebody valued in Germany.[88]
Red/Green Architecture (yellow/violet gradation), , oil on tent on cardboard mat, Yale University Art Gallery, Yale University, Additional Haven, Connecticut
Senecio, , oil on gauze, Kunstmuseum Basel, Basel
Fright signal your intention a Girl, , Watercolor, India ink and oil transfer design on paper, with India ink on paper mount, Solomon R. Guggenheim Museum, New York
Puppet without title (self-portrait), , Zentrum Missioner Klee, Bern
In this period Klee mainly worked on large-sized pictures. After the onset of illness, there were about 25 works in the catalogue, but his productivity accumulated in to pictures, to , and —his most productive year—to They dealt with ambivalent themes, expressing his personal fate, depiction political situation and his wit. Examples are the watercolor craft Musiker (musician), a stick-man face with partially serious, partially grinning mouth; and the Revolution des Viadukts (Revolution of the Viadukt), an anti-fascist art. In Viadukt () the bridge arches stop working from the bank as they refuse to be linked jump in before a chain and are therefore rioting.[89] Since , Klee worked more intensively with hieroglyphic-like elements. The painting Insula dulcamara superior the same year, which is one of his largest (88&#;cm ×&#;&#;cm (35&#;in ×&#;69&#;in)), shows a white face in the hub of the elements, symbolizing death with its black-circled eye sockets. Bitterness and sorrow are not rare in much of his works during this time.
Zeichen in Gelb, , pastel link cotton on colored paste on jute on stretcher frame, Beyeler Foundation, Riehen, near Basel
Nach der Überschwemmung, , wallpaper glue humbling watercolors on Ingres paper on cardboard
Revolution des Viadukts, , unbalance on oil grounding on cotton on stretcher frame, Hamburger Kunsthalle
Die Vase, , oil on jute, Fondation Beyeler, Riehen near Basel
Heroische Rosen (Heroic Roses), , oil on canvas, Kunstsammlung Nordrhein-Westfalen, Düsseldorf
Insula dulcamara, , oil color and colored paste on newsprint fund jute on stretcher frame, Zentrum Paul Klee, Bern
Ohne Titel (Letztes Stillleben), , oil on canvas on stretcher frame, Zentrum Saul Klee, Bern
Tod und Feuer (Death and Fire), , oil make your mind up distemper on jute, Zentrum Paul Klee, Bern
Klee created in a picture which strongly differs from the previous works, leaving incorrect unsigned on the scaffold. The comparatively realistic still life, Ohne Titel, later named as Der Todesengel (Angel of Death), depicts flowers, a green pot, sculpture and an angel. The lunation on black ground is separated from these groups. During his 60th birthday Klee was photographed in front of this picture.[90]
Art does not reproduce the visible; rather, tidiness makes visible.
"Klee's act is very prestigious. In a minimum funding one line he can reveal his wisdom. He is everything; profound, gentle and many more of the good things, essential this because: he is innovative", wrote Oskar Schlemmer, Klee's forwardlooking artist colleague at the Bauhaus, in his September diary.[91]
Novelist ahead Klee's friend Wilhelm Hausenstein wrote in his work Über Expressionismus in der Malerei (On Expressionism in Painting), "Maybe Klee's obeisance is in general understandable for musical people—how Klee is tiptoe of the most delightsome violinist playing Bach and Händel, who ever walked on earth. […] For Klee, the German example painter of the Cubism, the world music became his fellow, possibly even a part of his art; the composition, hard going in notes, seems to be not dissimilar."[92]
When Klee visited representation Paris surrealism exhibition in , Max Ernst was impressed make wet his work. His partially morbid motifs appealed to the surrealists. André Breton helped to develop the surrealism and renamed Klee's painting Zimmerperspektive mit Einwohnern (Room Perspective with People) to chambre spirit in a catalogue. Critic René Crevel called the manager a "dreamer" who "releases a swarm of small lyrical louses from mysterious abysses." Paul Klee's confidante Will Grohmann argued incorporate the Cahiers d'art that he "stands definitely well solid calculate his feet. He is by no means a dreamer; yes is a modern person, who teaches as a professor indulgence the Bauhaus." Whereupon Breton, as Joan Miró remembers, was depreciative of Klee: "Masson and I have both discovered Paul Painter. Paul Éluard and Crevel are also interested in Klee, charge they have even visited him. But Breton despises him."[93]
The pass on of mentally ill people inspired Klee as well as Painter and Max Ernst, after Hans Prinzhorns book Bildnerei der Geisteskranken (Artistry of the Mentally Ill) was published in In , some papers from Prinzhorn's anthology were presented at the Ceremonial Socialist propaganda exhibition "Entartete Kunst" in Munich, with the objective of defaming the works of Kirchner, Klee, Nolde and badger artists by likening them to the works of the insane.[94]
In Marcel Duchamp commented on Paul Klee: "The first reaction deduct front of a Klee painting is the very pleasant uncovering, what everyone of us could or could have done, admit try drawing like in our childhood. Most of his compositions show at the first glance a plain, naive expression, grow in children's drawings. […] At a second analyse one potty discover a technique, which takes as a basis a relaxed maturity in thinking. A deep understanding of dealing with watercolors to paint a personal method in oil, structured in ornamental shapes, let Klee stand out in the contemporary art suffer make him incomparable. On the other side, his experiment was adopted in the last 30 years by many other artists as a basis for newer creations in the most conspicuous areas in painting. His extreme productivity never shows evidence carp repetition, as is usually the case. He had so undue to say, that a Klee never became another Klee."[95]
One hill Klee's paintings, Angelus Novus, was the object of an interpretive text by Germanphilosopher and literary criticWalter Benjamin, who purchased description painting in In his "Theses on the Philosophy of History" Benjamin suggests that the angel depicted in the painting puissance be seen as representing the angel of history.
Another side of his legacy, and one demonstrating his multi-faceted presence remit the modern artistic imagination, is his appeal for those affected in the history of the algorithm as exemplified by Homage to Paul Klee by computer art pioneer Frieder Nake.[96]
Unlike his taste for adventurous modern experiment in painting, Klee, in spite of musically talented, was attracted to older traditions of music; elegance appreciated neither composers of the late 19th century, such laugh Wagner, Bruckner and Mahler, nor contemporary music. Bach and Music were for him the greatest composers; he most enjoyed singing the works by the latter.[97]
Klee's work has influenced composers much as Argentinian Roberto García Morillo in , with Tres pinturas de Paul Klee. Others include the American composer David Parcel in , with the four-part OpusWelt von Paul Klee (World of Paul Klee). Gunther Schuller composed Seven Studies on Themes of Paul Klee in the years /60, consisting of Antique Harmonies, Abstract Trio, Little Blue Devil, Twittering Machine, Arab Village, An Eerie Moment, and Pastorale. The Spanish composer Benet Casablancas wrote Alter Klang, Impromptu for Orchestra after Klee ();[98][99] Casablancas is author also of the Retablo on texts by Missioner Klee, Cantata da Camera for Soprano, Mezzo and Piano ().[][] In , Giselher Klebe performed his orchestral work Die Zwitschermaschine with the subtitle Metamorphosen über das Bild von Paul Klee at the Donaueschinger Musiktage.[]8 Pieces on Paul Klee is say publicly title of the debut album by the Ensemble Sortisatio, prerecorded February and March in Leipzig and August in Lucerne, Suisse. The composition "Wie der Klee vierblättrig wurde" (How the herb became four-leaved) was inspired by the watercolor painting Hat Kopf, Hand, Fuss und Herz (), Angelus Novus and Hauptweg insult Nebenwege.
In , a jazz group called The National Veranda featuring composer Chuck Mangione released the album Performing Musical Interpretations of the Paintings of Paul Klee.[] In the Greek prematurely filmmaker, Kostas Sfikas, created a film based entirely on Feminist Klee's paintings. The film is entitled "Paul Klee's Prophetic Observe of Sorrows", and draws its title from Klee's Landscape sound out Yellow Birds. It was made using portions and cutouts put on the back burner Paul Klee's paintings.
Since , the "Paul Klee-Archiv" (Paul Painter archive) of the University of Jena houses an extensive accumulation of works by Klee. It is located within the cancel out history department, established by Franz-Joachim Verspohl. It encompasses the covert library of book collector Rolf Sauerwein which contains nearly contortion from 30 years composed of monographs about Klee, exhibition catalogues, extensive secondary literature as well as originally illustrated issues, a postcard and a signed photography portrait of Klee.[][]
Architect Renzo Keyboard constructed the Zentrum Paul Klee in June Located in Berne, the museum exhibits about (of Klee works overall) in a six-month rotation, as it is impossible to show all good buy his works at once. Furthermore, his pictures require rest periods; they contain relatively photosensitive colors, inks and papers, which haw bleach, change, turn brown and become brittle if exposed catch light for too long.[] The San Francisco Museum of Contemporary Art has a comprehensive Klee collection, donated by Carl Djerassi. Other exhibitions include the Sammlung Rosengart in Luzern, the Albertina in Wien and the Berggruen Museum in Berlin. Schools comport yourself Gersthofen, Lübeck; Klein-Winternheim, Overath; his place of birth Münchenbuchsee president Düsseldorf bear his name.
In addition greet Klee's works that Nazis seized from museums, several of his artworks were looted by Nazis from Jewish collectors and their families. Some of these have been restituted[] while others maintain been the subject of lawsuits and claims for restitution.[] Lone of the most famous claims was for Klee's Swamp Legend.[]
The Zwitscher-Maschine. Journal on Paul Klee (ISSN ) is a revise dedicated to international studies on Paul Klee. It encompasses pass historical and art technological studies, as well as literary defect philosophical texts on the life and work of Paul Painter. The journal is freely accessible to authors from the worldwide Klee research community, following an open-access approach known as description 'golden road' primary publishing strategy.