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How Did the Degenerate Art Exhibition Affect the Us and the Art Scene Here?

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Swiss-German language painter

Paul Klee
Paul Klee by Hugo Erfurth, 1927.jpg

Paul Klee in 1926
Born 18 Dec 1879

Münchenbuchsee, Switzerland
Died 29 June 1940(1940-06-29) (aged lx)

Muralto, Switzerland
Nationality German
Educational activity Academy of Fine Arts, Munich
Known for Painting, drawing, watercolor, printmaking

Notable work

 More than 10,000 paintings, drawings, and etchings, including Angelus Novus (1920), Twittering Machine (1922), Fish Magic (1925), Viaducts Break Ranks (1937).
Movement Expressionism, Bauhaus, Surrealism

Paul Klee (German: [paʊ̯l ˈkleː]; 18 Dec 1879 – 29 June 1940) was a Swiss-born High german artist. His highly individual style was influenced by movements in art that included expressionism, cubism, and surrealism. Klee was a natural draftsman who experimented with and eventually securely explored color theory, writing nearly it extensively; his lectures Writings on Course and Blueprint Theory (Schriften zur Grade und Gestaltungslehre), published in English language as the Paul Klee Notebooks, are held to be as important for modern fine art as Leonardo da Vinci'due south A Treatise on Painting for the Renaissance.[1] [two] [3] He and his colleague, Russian painter Wassily Kandinsky, both taught at the Bauhaus school of art, design and compages in Germany. His works reflect his dry humor and his sometimes childlike perspective, his personal moods and beliefs, and his musicality.

Early life and preparation [edit]

First of all, the art of living; so as my ideal profession, poetry and philosophy, and as my real profession, plastic arts; in the last resort, for lack of income, illustrations.

—Paul Klee[4]

Paul Klee was born in Münchenbuchsee, Switzerland, as the 2d child of High german music instructor Hans Wilhelm Klee (1849–1940) and Swiss singer Ida Marie Klee, born Frick (1855–1921).[a] His sister Mathilde (died half-dozen December 1953) was born on 28 January 1876 in Walzenhausen. Their father came from Tann and studied singing, piano, organ and violin at the Stuttgart Conservatory, where he met his future married woman Ida Frick. Hans Wilhelm Klee was active as a music teacher at the Bern Land Seminary in Hofwil near Bern until 1931. Klee was able to develop his music skills as his parents encouraged and inspired him throughout his life.[v] In 1880, his family moved to Bern, where they somewhen, in 1897, after a number of changes of residence, moved into their own house in the Kirchenfeld district [de].[half dozen] From 1886 to 1890, Klee visited primary school and received, at the historic period of 7, violin classes at the Municipal Music School. He was so talented on violin that, anile xi, he received an invitation to play every bit an boggling fellow member of the Bern Music Association.[7]

My Room (German: Meine Bude), 1896. Pen and ink wash, 120 by 190 mm (four+ 3⁄four by 7+ 1⁄2  in). In the collection of the Klee Foundation, Bern, Switzerland

In his early years, following his parents' wishes, Klee focused on becoming a musician; but he decided on the visual arts during his teen years, partly out of rebellion and partly considering modern music lacked meaning for him. He stated, "I didn't find the idea of going in for music creatively specially attractive in view of the decline in the history of musical achievement."[8] As a musician, he played and felt emotionally jump to traditional works of the eighteenth and nineteenth century, merely as an artist he craved the freedom to explore radical ideas and styles.[8] At sixteen, Klee'southward landscape drawings already show considerable skill.[ix]

Around 1897, Klee started his diary, which he kept until 1918, and which has provided scholars with valuable insight into his life and thinking.[10] During his school years, he avidly drew in his schoolhouse books, in item drawing caricatures, and already demonstrating skill with line and volume.[11] He barely passed his terminal exams at the "Gymnasium" of Bern, where he qualified in the Humanities. With his characteristic dry wit, he wrote, "Afterward all, information technology'due south rather hard to accomplish the verbal minimum, and it involves risks."[12] On his own fourth dimension, in addition to his deep interests in music and fine art, Klee was a great reader of literature, and later a writer on art theory and aesthetics.[13]

With his parents' reluctant permission, in 1898 Klee began studying fine art at the Academy of Fine Arts in Munich with Heinrich Knirr and Franz von Stuck. He excelled at drawing but seemed to lack whatever natural colour sense. He later on recalled, "During the third winter I even realized that I probably would never learn to paint."[12] During these times of youthful adventure, Klee spent much time in pubs and had affairs with lower-course women and artists' models. He had an illegitimate son in 1900 who died several weeks after birth.[fourteen]

Subsequently receiving his Fine Arts degree, Klee traveled in Italy from October 1901 to May 1902[xv] with friend Hermann Haller. They visited Rome, Florence, Naples and the Amalfi Coast, studying the principal painters of past centuries.[14] He exclaimed, "The Forum and the Vatican have spoken to me. Humanism wants to suffocate me."[sixteen] He responded to the colors of Italy, simply sadly noted, "that a long struggle lies in store for me in this field of color."[17] For Klee, color represented the optimism and nobility in fine art, and a hope for relief from the pessimistic nature he expressed in his black-and-white grotesques and satires.[17] Returning to Bern, he lived with his parents for several years, and took occasional art classes. By 1905, he was developing some experimental techniques, including drawing with a needle on a blackened pane of glass, resulting in fifty-seven works including his Portrait of My Father (1906).[11] In the years 1903–05 he as well completed a cycle of eleven zinc-plate etchings chosen Inventions, his commencement exhibited works, in which he illustrated several grotesque characters.[14] [18] He commented, "though I'm adequately satisfied with my etchings I can't get on like this. I'm not a specialist."[19] Klee was withal dividing his fourth dimension with music, playing the violin in an orchestra and writing concert and theater reviews.[20]

Spousal relationship and early years [edit]

Marriage [edit]

Bloom Myth (Blumenmythos) 1918, watercolor on pastel foundation on cloth and newsprint mounted on board, Sprengel Museum, Hannover, Germany

Klee married Bavarian pianist Lily Stumpf in 1906 and they had ane son named Felix Paul in the following twelvemonth. They lived in a suburb of Munich, and while she gave piano lessons and occasional performances, he kept house and tended to his fine art work. His effort to be a magazine illustrator failed.[20] Klee's art piece of work progressed slowly for the side by side five years, partly from having to divide his fourth dimension with domestic matters, and partly as he tried to find a new approach to his art. In 1910, he had his first solo exhibition in Bern, which so travelled to three Swiss cities.

Affiliation to the "Blaue Reiter", 1911 [edit]

In January 1911, Alfred Kubin met Klee in Munich and encouraged him to illustrate Voltaire's Candide. His resultant drawings were published after in a 1920 version of the book edited by Kurt Wolff. Around this time, Klee's graphic work increased. His early inclination towards the absurd and the sarcastic was well received by Kubin, who befriended Klee and became i of his first significant collectors.[21] Klee met, through Kubin, the art critic Wilhelm Hausenstein in 1911. Klee was a foundation member and manager of the Munich artists' union Sema that summer.[22] In autumn he made an associate with Baronial Macke and Wassily Kandinsky, and in winter he joined the editorial squad of the almanac Der Blaue Reiter, founded by Franz Marc and Kandinsky. On coming together Kandinsky, Klee recorded, "I came to experience a deep trust in him. He is somebody, and has an uncommonly beautiful and lucid mind."[23] Other members included Macke, Gabriele Münter and Marianne von Werefkin. Klee became in a few months 1 of the nearly important and contained members of the Blaue Reiter, but he was not however fully integrated.[24]

The release of the almanac was delayed for the benefit of an exhibition. The offset Blaue Reiter exhibition took place from 18 December 1911 to 1 Jan 1912 in the Moderne Galerie Heinrich Thannhauser in Munich. Klee did not nourish it, only in the second exhibition, which occurred from 12 February to xviii March 1912 in the Galerie Goltz, 17 of his graphic works were shown. The name of this art exhibition was Schwarz-Weiß, equally it only regarded graphic painting.[25] Initially planned to be released in 1911, the release date of the Der Blau Reiter almanac by Kandinsky and Marc was delayed in May 1912, including the reproduced ink drawing Steinhauer by Klee. At the same fourth dimension, Kandinsky published his art history writing Über das Geistige in der Kunst.[26]

Participation in art exhibitions, 1912–1913 [edit]

The association opened Klee's mind to modern theories of color. His travels to Paris in 1912 also exposed him to the ferment of Cubism and the pioneering examples of "pure painting", an early term for abstract art. The use of bold color by Robert Delaunay and Maurice de Vlaminck besides inspired him.[27] Rather than copy these artists, Klee began working out his own color experiments in pale watercolors and did some primitive landscapes, including In the Quarry (1913) and Houses near the Gravel Pit (1913), using blocks of color with express overlap.[28] Klee acknowledged that "a long struggle lies in store for me in this field of colour" in social club to reach his "distant noble aim." Soon, he discovered "the style which connects drawing and the realm of color."[17]

Trip to Tunis, 1914 [edit]

Klee's artistic breakthrough came in 1914 when he briefly visited Tunisia with August Macke and Louis Moilliet and was impressed by the quality of the light there. He wrote, "Color has taken possession of me; no longer do I take to chase after it, I know that it has agree of me forever... Colour and I are one. I am a painter."[29] With that realization, faithfulness to nature faded in importance. Instead, Klee began to delve into the "cool romanticism of abstraction".[29] In gaining a 2d creative vocabulary, Klee added color to his abilities in draftsmanship, and in many works combined them successfully, as he did in i series he called "operatic paintings".[thirty] [31] One of the nigh literal examples of this new synthesis is The Bavarian Don Giovanni (1919).[32]

Later on returning home, Klee painted his first pure abstract, In the Style of Kairouan (1914), equanimous of colored rectangles and a few circles.[33] The colored rectangle became his basic building block, what some scholars associate with a musical notation, which Klee combined with other colored blocks to create a colour harmony analogous to a musical limerick. His choice of a detail colour palette emulates a musical key. Sometimes he uses complementary pairs of colors, and other times "anomalous" colors, again reflecting his connectedness with musicality.[34]

Military career [edit]

Paul Klee as a soldier, 1916

A few weeks later, Globe War I began. At showtime, Klee was somewhat detached from information technology, as he wrote ironically, "I take long had this war in me. That is why, inwardly, it is none of my concern."[35] Klee was conscripted as a Landsturmsoldat (soldier of the reserve forces in Prussia or Purple Germany) on five March 1916. The deaths of his friends Baronial Macke and Franz Marc in battle began to affect him. Venting his distress, he created several pen and ink lithographs on war themes including Death for the Idea (1915).[36] Afterward finishing the armed services training class, which began on 11 March 1916, he was committed as a soldier behind the front end. Klee moved on 20 August to the shipping maintenance company[b] in Oberschleissheim, executing skilled manual work, such as restoring shipping camouflage, and accompanying aircraft transports. On 17 Jan 1917, he was transferred to the Royal Bavarian flying school in Gersthofen (which 54 years later became the USASA Field Station Augsburg) to piece of work equally a clerk for the treasurer until the end of the war. This allowed him to stay in a small room outside of the barrack block and go along painting.[37] [38]

He continued to paint during the unabridged war and managed to exhibit in several shows. Past 1917, Klee's work was selling well and fine art critics acclaimed him as the best of the new German artists.[39] His Ab ovo (1917) is peculiarly noteworthy for its sophisticated technique. It employs watercolor on gauze and paper with a chalk ground, which produces a rich texture of triangular, circular, and crescent patterns.[29] Demonstrating his range of exploration, mixing color and line, his Warning of the Ships (1918) is a colored drawing filled with symbolic images on a field of suppressed colour.[40]

Mature career [edit]

In 1919, Klee applied for a teaching post at the Academy of Art in Stuttgart.[41] This effort failed but he had a major success in securing a three-year contract (with a minimum annual income) with dealer Hans Goltz, whose influential gallery gave Klee major exposure, and some commercial success. A retrospective of over 300 works in 1920 was also notable.[42]

Klee taught at the Bauhaus from January 1921 to Apr 1931.[43] He was a "Form" principal in the bookbinding, stained glass, and mural painting workshops and was provided with two studios.[44] In 1922, Kandinsky joined the staff and resumed his friendship with Klee. Later that year the first Bauhaus exhibition and festival was held, for which Klee created several of the advertising materials.[45] Klee welcomed the many conflicting theories and opinions inside the Bauhaus: "I also corroborate of these forces competing one with the other if the consequence is achievement."[46]

Tropical Gardening, 1923 watercolor and oil transfer drawing on paper, The Solomon R. Guggenheim Museum, New York.

Klee was also a fellow member of Die Blaue Vier (The Blue Four), with Kandinsky, Lyonel Feininger, and Alexej von Jawlensky; formed in 1923, they lectured and exhibited together in the US in 1925. That same twelvemonth, Klee had his first exhibits in Paris, and he became a hit with the French Surrealists.[47] Klee visited Egypt in 1928, which impressed him less than Tunisia. In 1929, the first major monograph on Klee'southward work was published, written by Will Grohmann.[48]

Nocturnal Festivity, 1921, The Solomon R. Guggenheim Museum, New York.

Klee likewise taught at the Düsseldorf Academy from 1931 to 1933, and was singled out by a Nazi paper, "Then that cracking fellow Klee comes onto the scene, already famed as a Bauhaus instructor in Dessau. He tells everyone he'south a thoroughbred Arab, merely he's a typical Galician Jew."[49] His home was searched by the Gestapo and he was fired from his task.[iii] [50] His self-portrait Struck from the List (1933) commemorates the lamentable occasion.[49] In 1933–34, Klee had shows in London and Paris, and finally met Pablo Picasso, whom he greatly admired.[51] The Klee family unit emigrated to Switzerland in tardily 1933.[51]

Klee was at the peak of his creative output. His Ad Parnassum (1932) is considered his masterpiece and the best example of his pointillist mode; it is likewise one of his largest, most finely worked paintings.[52] [53] He produced well-nigh 500 works in 1933 during his final year in Frg.[54] All the same, in 1933, Klee began experiencing the symptoms of what was diagnosed as scleroderma later his death. The progression of his fatal disease, which fabricated swallowing very hard, tin be followed through the art he created in his final years. His output in 1936 was only 25 pictures. In the after 1930s, his health recovered somewhat and he was encouraged by a visit from Kandinsky and Picasso.[55] Klee's simpler and larger designs enabled him to keep up his output in his final years, and in 1939 he created over ane,200 works, a career high for 1 year.[56] He used heavier lines and mainly geometric forms with fewer but larger blocks of colour. His varied color palettes, some with brilliant colors and others somber, perhaps reflected his alternating moods of optimism and pessimism.[57] Back in Germany in 1937, seventeen of Klee's pictures were included in an exhibition of "Degenerate art" and 102 of his works in public collections were seized by the Nazis.[58]

Death [edit]

Klee's grave in Schosshalden cemetery

In 1935, 2 years later on moving to Switzerland and working in a very confined situation, Klee adult scleroderma, an autoimmune affliction resulting in hardening of connective tissue.[59]

He endured pain that seems to be reflected in his last works of art.[ commendation needed ] In his final months he created l drawings of angels.[59] Ane of his last paintings, Expiry and Fire, features a skull in the center with the German give-and-take for death, "Tod", appearing in the face. He died in Muralto, Locarno, Switzerland, on 29 June 1940 without having obtained Swiss citizenship, despite his birth in that country.[60] [61] His art work was considered too revolutionary, even degenerate, by the Swiss authorities, but eventually they accustomed his request half dozen days after his death.[62] His legacy comprised virtually 9,000 works of art.[17] The words on his tombstone, Klee's ideology, placed at that place past his son Felix, say, "I cannot be grasped in the here and now, for my abode place is as much among the dead as the yet unborn. Slightly closer to the middle of creation than usual, merely even so not shut plenty."[63] He was cached at Schosshaldenfriedhof, Bern, Switzerland.

Way and methods [edit]

Tale à la Hoffmann (1921), watercolor, ink, and pencil on newspaper. 31.1 × 24.one cm. In the collection of the Metropolitan Museum of Art, New York

Klee has been variously associated with Expressionism, Cubism, Futurism, Surrealism, and Brainchild, simply his pictures are difficult to classify. He generally worked in isolation from his peers, and interpreted new fine art trends in his own way. He was inventive in his methods and technique. Klee worked in many different media—oil paint, watercolor, ink, pastel, etching, and others. He ofttimes combined them into ane work. He used sheet, burlap, muslin, linen, gauze, cardboard, metal foils, fabric, wallpaper, and newsprint.[64] Klee employed spray paint, knife application, stamping, glazing, and impasto, and mixed media such every bit oil with watercolor, watercolor with pen and India ink, and oil with tempera.[65]

He was a natural draftsman, and through long experimentation developed a mastery of color and tonality. Many of his works combine these skills. He uses a great diverseness of color palettes from nearly monochromatic to highly polychromatic. His works often have a fragile artless quality to them and are normally on a pocket-sized calibration. He ofttimes used geometric forms and grid format compositions as well as letters and numbers, frequently combined with playful figures of animals and people. Some works were completely abstract. Many of his works and their titles reflect his dry sense of humor and varying moods; some limited political convictions. They frequently insinuate to poetry, music and dreams and sometimes include words or musical notation. The later works are distinguished by spidery hieroglyph-like symbols. Rainer Maria Rilke wrote about Klee in 1921, "Even if yous hadn't told me he plays the violin, I would have guessed that on many occasions his drawings were transcriptions of music."[13]

Pamela Kort observed: "Klee's 1933 drawings nowadays their beholder with an unparalleled opportunity to glimpse a central aspect of his aesthetics that has remained largely unappreciated: his lifelong concern with the possibilities of parody and wit. Herein lies their real significance, especially for an audition unaware that Klee's fine art has political dimensions."[66]

Amidst the few plastic works are hand puppets made between 1916 and 1925, for his son Felix. The artist neither counted them as a component of his oeuvre, nor did he listing them in his catalogue raisonné. Thirty of the preserved puppets are stored at the Zentrum Paul Klee, Bern.[67]

Works [edit]

Early works [edit]

Some of Klee's early preserved children's drawings, which his grandmother encouraged, were listed on his catalogue raisonné. A total of 19 etchings were produced during the Bern years; ten of these were made between 1903 and 1905 in the cycle "Inventionen" (Inventions),[68] which were presented in June 1906 at the "Internationale Kunstausstellung des Vereins bildender Künstler Münchens 'Secession'" (International Art Exhibition of the Association for Graphic Arts, Munich, Secession), his start appearance equally a painter in the public.[69] Klee had removed the third Invention, Pessimistische Allegorie des Gebirges (Pessimistic Allegory of the Mountain), in Feb 1906 from his cycle.[lxx] The satirical etchings, for example Jungfrau im Baum/Jungfrau (träumend) (Virgin on the tree/Virgin (dreaming)) from 1903 and Greiser Phoenix (Anile Phoenix) from 1905, were classified by Klee as "surrealistic outposts". Jungfrau im Baum ties on the motive Le cattive madri (1894) by Giovanni Segantini. The picture was influenced by grotesque lyric poetries of Alfred Jarry, Max Jacob and Christian Morgenstern.[71] It features a cultural pessimism, which can be found at the plow of the 20th century in works by Symbolists. The Invention Nr. 6, the 1903 etching Zwei Männer, einander in höherer Stellung vermutend (Two Men, Supposing the Other to be in a Higher Position), depicts two naked men, presumably emperor Wilhelm 2 and Franz Joseph I of Austria, recognizable by their hairstyle and beards. As their clothes and insignia were bereft, "both of them take 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.[72]

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

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

Klee began to introduce a new technique in 1905: scratching on a blackened glass console with a needle. In that manner he created near 57 Verre églomisé pictures, among those the 1905 Gartenszene (Scene on a Garden) and the 1906 Porträt des Vaters (Portrait of a Male parent), with which he tried to combine painting and scratching.[73] Klee's solitary early on work ended in 1911, the year he met and was inspired past the graphic artist Alfred Kubin, and became associated with the artists of the Blaue Reiter.[74]

Mystical-abstract period, 1914–1919 [edit]

During his twelve-24-hour interval educational trip to Tunis in April 1914 Klee produced with Macke and Moilliet watercolor paintings, which implement the strong light and color stimulus of the North African countryside in the fashion of Paul Cézanne and Robert Delaunays' cubistic form concepts. The aim was not to imitate nature, merely to create compositions analogous to nature's determinative 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 it dissolves into colored harmony. He also created abstract works in that flow such as Abstract and Farbige Kreise durch Farbbänder verbunden (Colored Circles Tied Through Inked Ribbons).[75] He never abandoned the object; a permanent segregation never took identify. It took over ten years that Klee worked on experiments and analysis of the color, resulting to an independent artificial work, whereby his design ideas were based on the colorful oriental globe.

  • Fenster und Palmen, 1914, watercolor on grounding on newspaper 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 cardboard, Lenbachhaus, Munich

Föhn im Marc'schen Garten (Foehn at Marc'south Garden) was made after the Turin trip. Information technology indicates the relations between color and the stimulus of Macke and Delaunay. Although elements of the garden are clearly visible, a further steering towards abstraction is noticeable. In his diary Klee wrote the following note at that time:

In the large molding pit are lying ruins, on which ane partially hangs. They provide the material for the abstraction. […] The terrible the world, the abstract the fine art, while a happy world produces secularistic art.[76]

Under the impression of his military machine service he created the painting Trauerblumen (Velvetbells) in 1917, which, with its graphical signs, vegetal and phantastic shapes, is a forerunner of his future works, harmonically combining graphic, colour and object. For the first time birds appear in the pictures, such as in Blumenmythos (Flower Myth) from 1918, mirroring the flying and falling planes he saw in Gersthofen, and the photographed plane crashes.

In the 1918 watercolor painting Einst dem Grau der Nacht enttaucht, a compositional implemented verse form, peradventure written by Klee, he incorporated messages in pocket-sized, in terms of color separated squares, cutting off the kickoff verse from the second one with silvery paper. At the top of the cardboard, which carries the moving picture, the verses are inscribed in manuscript grade. Here, Klee did non lean on Delaunay's colors, merely on Marc's, although the picture content of both painters does not correspond with each other. Herwarth Walden, Klee'due south art dealer, saw in them a "Wachablösung" (changing of the guard) of his art.[77] Since 1919 he often used oil colors, with which he combined watercolors and colored pencil. The Villa R (Kunstmuseum Basel) from 1919 unites visible realities such as sun, moon, mountains, trees and architectures, equally well as surreal pledges and sentiment readings.[78]

Works in the Bauhaus flow and in Düsseldorf [edit]

His works during this time include Camel (in rhythmic landscape with trees) as well as other paintings with abstract graphical elements such as betroffener Ort (Afflicted Place) (1922). From that period he created Dice Zwitscher-Maschine (The Twittering Machine), which was afterward removed from the National Gallery. After being named defamatory in the Munich exhibition "Entartete Kunst", the painting was later on bought by the Buchholz Gallery, New York, and and then transferred in 1939 to the Museum of Modern Art. The "twittering" in the title refers to the open-beaked birds, while the "machine" is illustrated by the crank.[79]

In Engelshut, 1931, watercolor and colored inks on paper, mounted on newspaper, Guggenheim Museum

The watercolor painting appears at a first glance childish, just it allows more interpretations. The film can exist interpreted equally a critic past Klee, who shows through denaturation of the birds, that the globe technization heist the creatures' self-conclusion.[80]

Other examples from that period are der Goldfisch (The Goldfish) from 1925, Katze und Vogel (Cat and Bird), from 1928, and Hauptweg und Nebenwege (Main Road and Byways) from 1929. Through variations of the canvas ground and his combined painting techniques Klee created new color furnishings and motion picture impressions.

From 1916 to 1925, Klee created 50 hand puppets for his son Felix. The puppets are not mentioned in the Bauhaus catalog of works, since they were intended as private toys from the start.[81] Nevertheless, they are an impressive example of Klee's imagery. He not only dealt with puppet shows privately, but too in his artistic work at the Bauhaus.[82]

In 1931, Klee transferred to Düsseldorf to teach at the Akademie; the Nazis shut downwardly the Bauhaus soon after.[83] During this time, Klee illustrated a series of guardian angels. Among these figurations is "In Engelshut" (In the Angel's Intendance). Its overlaying technique evinces the polyphonic character of his drawing method between 1920 and 1932.[84]

The 1932 painting Ad Parnassum was likewise created in the Düsseldorf menses. 100 cm × 126 cm (39 in × l in) This is i of his largest paintings, every bit he usually worked with pocket-size formats. In this mosaic-like work in the mode of pointillism he combined dissimilar techniques and compositional principles. Influenced by his trip to Arab republic of egypt from 1928 to 1929, Klee built a color field from individually stamped dots, surrounded by similarly stamped lines, which results in a pyramid. In a higher place the roof of the "Parnassus" there is a sun. The title identifies the picture as the home of Apollo and the Muses.[85] During his 1929 travels through Arab republic of egypt, Klee adult a sense of connection to the land, described by art historian Olivier Berggruen as a mystical feeling: "In the desert, the sun's intense rays seemed to envelop all living things, and at night, the movement of the stars felt even more than palpable. In the compages of the ancient funerary moments Klee discovered a sense of proportion and measure in which homo beings appeared to establish a convincing relationship with the immensity of the landscape; furthermore, he was fatigued to the esoteric numerology that governed the way in which these monuments had been built."[86] In 1933, his last yr in Germany, he created a range of paintings and drawings; the catalogue raisonné comprised 482 works. The self-portrait in the same yr—with the programmatic title von der Liste gestrichen (removed from the list)—provides information nigh his feeling later on losing his professorship. The abstruse portrait was painted in dark colors and shows closed eyes and compressed lips, while on the dorsum of his caput at that place is a large "X", symbolizing that his art was no longer valued in Germany.[87]

  • Fearfulness of a Daughter, 1922, Watercolor, India ink and oil transfer drawing on paper, with India ink on paper mountain, Solomon R. Guggenheim Museum, New York

  • Puppet without title (cocky - portrait), 1922

Terminal works in Switzerland [edit]

In this period Klee mainly worked on large-sized pictures. After the onset of affliction, in that location were nearly 25 works in the 1936 catalogue, but his productivity increased in 1937 to 264 pictures, 1938 to 489, and 1939—his most productive twelvemonth—to 1254. They dealt with clashing themes, expressing his personal fate, the political state of affairs and his wit. Examples are the watercolor painting Musiker (musician), a stick-man face with partially serious, partially smiling oral cavity; and the Revolution des Viadukts (Revolution of the Viadukt), an anti-fascist art. In Viadukt (1937) the bridge arches divide from the bank as they refuse to be linked to a chain and are therefore rioting.[88] Since 1938, Klee worked more intensively with hieroglyphic-like elements. The painting Insula dulcamara from the aforementioned year, which is one of his largest (88 cm × 176 cm (35 in × 69 in)), shows a white face in the middle 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, 1937, pastel on cotton wool on colored paste on jute on stretcher frame, Fondation Beyeler, Riehen near Basel

  • Nach der Überschwemmung, 1936, wallpaper gum and watercolors on Ingres newspaper on paper-thin

  • Revolution des Viadukts, 1937, oil on oil grounding on cotton on stretcher frame, Hamburger Kunsthalle

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

  • Ohne Titel (Letztes Stillleben), 1940, oil on canvass on stretcher frame, Zentrum Paul Klee, Bern

  • Tod und Feuer (Death and Fire), 1940, oil on distemper on jute, Zentrum Paul Klee, Bern

Klee created in 1940 a motion picture which strongly differs from the previous works, leaving it 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 moon on black ground is separated from these groups. During his 60th birthday Klee was photographed in front end of this picture.[89]

Reception and legacy [edit]

External video
Paul Klee - Forest Witches - Google Art Project.jpg
video icon Paul Klee at Tate Mod on YouTube, (3:38), The Art Fund (UK)

Gimmicky view [edit]

Was fehlt ihm? (What Is He Missing?), 1930, stamp drawing in ink, Ingres paper on cardboard, Fondation Beyeler, Riehen near Basel

Art does non reproduce the visible; rather, it makes visible.

"Klee's human action is very prestigious. In a minimum of ane line he can reveal his wisdom. He is everything; profound, gentle and many more of the good things, and this because: he is innovative", wrote Oskar Schlemmer, Klee's futurity creative person colleague at the Bauhaus, in his September 1916 diary.[90]

Novelist and Klee's friend Wilhelm Hausenstein wrote in his work Über Expressionismus in der Malerei (On Expressionism in Painting), "Maybe Klee's mental attitude is in full general understandable for musical people—how Klee is one of the most delightsome violinist playing Bach and Händel, who ever walked on earth. […] For Klee, the High german classic painter of the Cubism, the world music became his companion, possibly even a part of his art; the composition, written in notes, seems to be non dissimilar."[91]

When Klee visited the Paris surrealism exhibition in 1925, Max Ernst was impressed by his work. His partially morbid motifs appealed to the surrealists. André Breton helped 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-scale lyrical louses from mysterious abysses." Paul Klee's confidante Will Grohmann argued in the Cahiers d'art that he "stands definitely well solid on his anxiety. He is past no means a dreamer; he is a mod person, who teaches as a professor at the Bauhaus." Whereupon Breton, as Joan Miró remembers, was disquisitional of Klee: "Masson and I have both discovered Paul Klee. Paul Éluard and Crevel are besides interested in Klee, and they take even visited him. Simply Breton despises him."[92]

The art of mentally ill people inspired Klee besides as Kandinsky and Max Ernst, subsequently Hans Prinzhorns book Bildnerei der Geisteskranken (Artistry of the Mentally Ill) was published in 1922. In 1937, some papers from Prinzhorn'due south anthology were presented at the National Socialist propaganda exhibition "Entartete Kunst" in Munich, with the purpose of defaming the works of Kirchner, Klee, Nolde and other artists by likening them to the works of the insane.[93]

In 1949 Marcel Duchamp commented on Paul Klee: "The first reaction in front of a Klee painting is the very pleasant discovery, what everyone of us could or could have done, to try cartoon similar in our babyhood. Almost of his compositions show at the showtime glance a plain, naive expression, plant in children'southward drawings. […] At a second analyse 1 can observe a technique, which takes as a footing a big maturity in thinking. A deep understanding of dealing with watercolors to paint a personal method in oil, structured in decorative shapes, let Klee stand out in the gimmicky fine art and make him incomparable. On the other side, his experiment was adopted in the terminal 30 years by many other artists equally a basis for newer creations in the most different areas in painting. His extreme productivity never shows evidence of repetition, as is usually the case. He had and so much to say, that a Klee never became another Klee."[94]

I of Klee'southward paintings, Angelus Novus, was the object of an interpretative text by German philosopher and literary critic Walter Benjamin, who purchased the painting in 1921. In his "Theses on the Philosophy of History" Benjamin suggests that the angel depicted in the painting might be seen as representing the angel of history.

Some other aspect of his legacy, and one demonstrating his multi-faceted presence in the modern artistic imagination, is his entreatment for those interested in the history of the algorithm as exemplified past Homage to Paul Klee by estimator art pioneer Frieder Nake.[95]

Musical interpretations [edit]

Unlike his gustatory modality for adventurous modern experiment in painting, Klee, though musically talented, was attracted to older traditions of music; he appreciated neither composers of the tardily 19th century, such as Wagner, Bruckner and Mahler, nor gimmicky music. Bach and Mozart were for him the greatest composers; he about enjoyed playing the works past the latter.[96]

Klee's work has influenced composers such every bit Argentinian Roberto García Morillo in 1943, with Tres pinturas de Paul Klee. Others include the American composer David Diamond in 1958, with the four-function Opus Welt von Paul Klee (World of Paul Klee). Gunther Schuller equanimous Seven Studies on Themes of Paul Klee in the years 1959/threescore, consisting of Antique Harmonies, Abstruse Trio, Little Blue Devil, Twittering Automobile, Arab Hamlet, An Eerie Moment, and Pastorale. The Castilian composer Benet Casablancas wrote Alter Klang, Impromptu for Orchestra after Klee (2006);[97] [98] Casablancas is author also of the Retablo on texts by Paul Klee, Cantata da Camera for Soprano, Mezzo and Piano (2007).[99] [100] In 1950, Giselher Klebe performed his orchestral work Dice Zwitschermaschine with the subtitle Metamorphosen über das Bild von Paul Klee at the Donaueschinger Musiktage.[101] eight Pieces on Paul Klee is the championship of the debut album past the Ensemble Sortisatio, recorded Feb and March 2002 in Leipzig and Baronial 2002 in Lucerne, Switzerland. The limerick "Wie der Klee vierblättrig wurde" (How the clover became four-leaved) was inspired by the watercolor painting Chapeau Kopf, Mitt, Fuss und Herz (1930), Angelus Novus and Hauptweg und Nebenwege.

In 1968, a jazz group called The National Gallery featuring composer Chuck Mangione released the album Performing Musical Interpretations of the Paintings of Paul Klee.[102] In 1995 the Greek experimental filmmaker, Kostas Sfikas, created a film based entirely on Paul Klee'south paintings. The film is entitled "Paul Klee's Prophetic Bird of Sorrows", and draws its championship from Klee'southward Landscape with Yellow Birds. It was made using portions and cutouts from Paul Klee's paintings.

Additional musical interpretations [edit]

  • Sándor Veress: Hommage à Paul Klee (1951), phantasy for two pianos and strings
  • Peter Maxwell Davies: Five Klee-Pictures (1962), orchestral
  • Harrison Birtwistle: Carmen Arcadiae Mechanicae Perpetuum (The Perpetual Song of Mechanical Arcadia) (1977), for orchestra
  • Edison Denisov: Drei Bilder von Paul Klee (Three Pictures of Paul Klee) (1985), for half dozen players (Diana im Herbstwind − Senecio – Kind auf der Freitreppe)
  • Tōru Takemitsu: All in Twilight (1987), for guitar
  • John Woolrich: The kingdom of dreams (1989), for oboe and piano ('Landscape with Yellowish Birds', 'The Bavarian Don Giovanni', 'Tale à la Hoffmann', 'Fish Magic')
  • Leo Brouwer: Sonata (1990), for guitar[103]
  • 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 with 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 six instruments
  • Michael Denhoff: Haupt- und Nebenwege (Principal and Sideways) (1998), for strings and pianoforte
  • Iris Szeghy: Advertizement parnassum (2005), for strings
  • Patrick van Deurzen: Six: a line is a dot that went for a walk (2006), for Flugelhorn, DoubleBass & Percussion
  • Jim McNeely: Paul Klee (2007), Jazz anthology written for the Swiss Jazz Orchestra equanimous of 8 pieces
  • Jason Wright Wingate: Symphony No. two: Kleetüden; Variationen für Orchester nach Paul Klee (Variations for Orchestra after Paul Klee) (2009), for orchestra in 27 movements
  • Sakanaction: "Klee" (2010), from the album Kikuuiki; a song envisioned as a dialogue with Klee'due south paintings.[104]
  • Ludger Stühlmeyer: Super flumina Babylonis [An den Wassern zu Babel]. (2019), fantasia for organ (Introduzione, Scontro, Elegie, Appassionato) on an aquarelle by Paul Klee.

Architectural honors [edit]

Since 1995, the "Paul Klee-Archiv" (Paul Klee archive) of the University of Jena houses an extensive collection of works past Klee. It is located within the art history section, established by Franz-Joachim Verspohl. It encompasses the individual library of volume collector Rolf Sauerwein which contains near 700 works from 30 years composed of monographs about Klee, exhibition catalogues, all-encompassing secondary literature as well every bit originally illustrated issues, a postcard and a signed photography portrait of Klee.[105] [106]

Builder Renzo Piano constructed the Zentrum Paul Klee in June 2005. Located in Bern, the museum exhibits about 150 (of 4000 Klee works overall) in a six-calendar month rotation, every bit it is impossible to show all of his works at one time. Furthermore, his pictures require rest periods; they contain relatively photosensitive colors, inks and papers, which may bleach, change, turn brown and go brittle if exposed to light for too long.[107] The San Francisco Museum of Mod Fine art has a comprehensive Klee collection, donated past Carl Djerassi. Other exhibitions include the Sammlung Rosengart in Luzern, the Albertina in Wien and the Berggruen Museum in Berlin. Schools in Gersthofen, Lübeck; Klein-Winternheim, Overath; his place of birth Münchenbuchsee and Düsseldorf bear his proper noun.

Tribute [edit]

In 2018, a Google Doodle was created to celebrate his 139th birthday.[108]

Publications [edit]

  • Jardi, Enric (1991). Paul Klee, Rizzoli Intl Pubns, ISBN 0-8478-1343-six
  • Kagan, Andrew (1993). Paul Klee at the Guggenheim Museum (exhibition catalogue) [1] Introduction by Lisa Dennison, essay by Andrew Kagan. 208 pages. English and Spanish editions. 1993, ISBN 978-0-89207-106-vii
  • Cappelletti, Paolo (2003). 50'inafferrabile visione. Pittura due east scrittura in Paul Klee (in Italian). Milan: Jaca Book. ISBN 88-sixteen-40611-9
  • Partsch, Susanna (2007). Klee (reissue) (in German). Cologne: Benedikt Taschen. ISBN978-3-8228-6361-9.
  • Rudloff, Diether (1982). Unvollendete Schöpfung: Künstler im zwanzigsten Jahrhundert (in German). ISBN978-three-87838-368-0.
  • Baumgartner, Michael; Klingsöhr-Leroy, Cathrin; Schneider, Katja (2010). Franz Marc, Paul Klee: Dialog in Bildern (in German) (1st ed.). Wädenswil: Nimbus Kunst und Bücher. ISBN978-iii-907142-50-nine.
  • Giedion-Welcker, Carola (1967). Klee (in German). Reinbek: Rowohlt. ISBN978-3-499-50052-7.
  • Glaesemer, Jürgen; Kersten, Wolfgang; Traffelet, Ursula (1996). Paul Klee: Leben und Werk (in German language). Ostfildern: Hatje Cantz. ISBN978-3-7757-0241-six.
  • Rümelin, Christian (2004). Paul Klee: Leben und Werk. Munich: C.H. Beck. ISBNiii-406-52190-8.
  • Lista, Marcella (2011). Paul Klee, 1879-1940 : polyphonies. Arles: Actes Sud. ISBN 978-2330000530

Books, essays and lectures by Paul Klee [edit]

  • 1922 Beiträge zur bildnerischen Formlehre ('Contributions to a pictorial theory of form', part of his 1921–22 lectures at the Bauhaus)
  • 1923 Wege des Naturstudiums ('Ways of Studying Nature'), 4 pages. Published in the catalogue for the Erste Bauhaus Ausstellung (First Bauhaus Exhibition) in Summertime 1923. Also published in Paul Klee Notebooks vol 1.
  • 1924 Über moderne Kunst ('On Modernistic Art'), lecture held at Paul Klee'southward exhibition at the Kunstverein in Jena on 26 January 1924
  • 1924 Pädagogisches Skizzenbuch ('Pedagogical Sketchbook')
  • 1949 Documente und Bilder aus den Jahren 1896–1930, ('Documents and images from the years 1896–1930'), Berne, Benteli
  • 1956 Graphik, ('Graphics'), Berne, Klipstein & Kornfeld
  • 1956 Schriften zur Grade und Gestaltungslehre ('Writings on form and pattern theory') edited past Jürg Spiller (English edition: 'Paul Klee Notebooks')
    • 1956 Band I: Das bildnerische Denken., ('Volume I: the artistic thinking'). 572 pages review. (English translation from German by Ralph Manheim: 'The thinking center')
    • 1964 Ring 2: Unendliche Naturgeschichte ('Volume two: Infinite Natural History') (English translation from German past Heinz Norden: 'The Nature of Nature')
  • 1964 The Diaries of Paul Klee 1898–1918 ed. Felix Klee Berkeley, University of California
  • 1976 Schriften, Rezensionen und Aufsätze edited past Ch. Geelhaar, Köln,
  • 1960 Gedichte, poems, edited by Felix Klee
  • 1962 Some poems by Paul Klee ed Anselm Hollo. London

See also [edit]

  • Color theory
  • Watercolors
  • Expressionism
  • Der Blaue Reiter

Notes and references [edit]

Notes [edit]

  • a Paul Klee's father was a German citizen; his female parent was Swiss. Swiss constabulary determined citizenship forth paternal lines, and thus Paul inherited his male parent's German citizenship. He served in the German army during World War I. Klee grew upwardly in Berne, Switzerland, and returned there oftentimes, even before his final emigration from Deutschland in 1933. He died before his application for Swiss citizenship was processed.[109] [110]
  • b German: Werftkompanie, lit. 'shipyard company'.

References [edit]

  1. ^ Disegno eastward progettazione By Marcello Petrignani p. 17
  2. ^ Guilo Carlo Argan "Preface", Paul Klee, The Thinking Middle, (ed. Jürg Spiller), Lund Humphries, London, 1961, p. xiii.
  3. ^ a b The individual Klee: Works past Paul Klee from the Bürgi Drove Archived 9 October 2009 at the Wayback Auto Scottish National Gallery of Mod Fine art, Edinburgh, 12 August – xx October 2000
  4. ^ Gualtieri Di San Lazzaro, Klee, Praeger, New York, 1957, p. 16
  5. ^ Rudloff, p. 65
  6. ^ Baumgartner, p. 199
  7. ^ Giedion-Welcker, pp. x–11
  8. ^ a b Partsch, p. 9
  9. ^ Kagan p. 54
  10. ^ Partsch, p. 7
  11. ^ a b Partsch, p. x
  12. ^ a b Kagan, p. 22
  13. ^ a b Jardi, p. 8
  14. ^ a b c Partsch, p. 11
  15. ^ Olga's Gallery Paul Klee
  16. ^ Jardi, p. ix
  17. ^ a b c d Kagan, p. 23
  18. ^ "Invention" Paul Klee at the Museum of Contemporary Art San Francisco ARTinvestment.RU – xviii April 2009
  19. ^ Jardi, p. x
  20. ^ a b Partsch, p. 12
  21. ^ Beate Ofczarek, Stefan Frey: Chronologie einer Freundschaft. Michael Baumgartner, Cathrin Klingsöhr-Leroy, Katja Schneider, p. 207
  22. ^ Thomas Kain, Mona Meister, Franz-Joachim Verspohl, Jena 1999, p. 90
  23. ^ Jardi, p. 12
  24. ^ Göttler: Der Blaue Reiter, p. 118
  25. ^ Dietmar Elger, Expressionismus. 1988, p. 141, ISBN 3-8228-0093-vii
  26. ^ Catalogue raisonné, volume 1, 1998, p. 512; Thomas Kain, Mona Meister, Franz-Joachim Verspohl; Paul Klee in Jena 1924. Der Vortrag. Minerva. Writings from Jena to Art History, volume 10, fine art history seminar, Jenoptik AG, print house Gera, Jena 1999, p. 92
  27. ^ Partsch, p. 18
  28. ^ Jardi, plate 7, 9
  29. ^ a b c Partsch, p. 20
  30. ^ Partsch, pp. 24–25
  31. ^ Kagan, p. 33
  32. ^ Kagan, p. 35
  33. ^ Partsch, p. 27
  34. ^ Kagan, pp. 27, 29.
  35. ^ Partsch, p. 31
  36. ^ Reproduced alongside Gerg Traki'due south verse form in Zeit-Echo 1915.A reverse ekphrasis.
  37. ^ Beate Ofczarek, Stefan Frey: Chronologie einer Freundschaft, pp. 214 et seqq
  38. ^ Partsch, p. 35
  39. ^ Partsch, p. 36
  40. ^ Partsch, p. 40
  41. ^ Anger, Jenny. Paul Klee and the Decorative in Modern Art, Cambridge University Printing 2004 pp. 120–122
  42. ^ Partsch, p. 44
  43. ^ Geelhaar, Christian (1972). Paul Klee und das Bauhaus. DuMont Schauberg, Köln, p. 9
  44. ^ Jardi, p. 17
  45. ^ Jardi, p. xviii
  46. ^ Partsch, p. 48
  47. ^ Jardi, pp. 18–19
  48. ^ Jardi, p. 20
  49. ^ a b Partsch, p. 73
  50. ^ Partsch, p. 55
  51. ^ a b Jardi, p. 23
  52. ^ Partsch, p. 64
  53. ^ Kagan, p. 42
  54. ^ Partsch, p. 74
  55. ^ Jardi, p. 25
  56. ^ Partsch, p. 76
  57. ^ Partsch, pp. 77–lxxx
  58. ^ Partsch, p. 94
  59. ^ a b Angelika Obert (20 September 2015). "Paul Klee und das innere Schauen". rundfunk.evangelisch.de (in German). Retrieved 30 March 2021 – via Deutschlandfunk Kultur.
  60. ^ Suter, Hans (eighteen April 2014). "Case Study on the Affliction of Paul Klee (1879–1940)". Case Reports in Dermatology. half-dozen (1): 108–113. doi:10.1159/000360963. PMC4025051. PMID 24876831.
  61. ^ swissinfo.ch, S. Due west. I.; Corporation, a branch of the Swiss Broadcasting. "Ein Berner, aber kein Schweizer Künstler". SWI swissinfo.ch (in German). Retrieved 8 March 2019.
  62. ^ Partsch, p. 80
  63. ^ Partsch, p. 84
  64. ^ Kagan, p. 26
  65. ^ Partsch, pp. 58–60
  66. ^ Paul Klee 1933 Archived 13 May 2008 at the Wayback Car at www.culturekiosque.com
  67. ^ Daniel Kupper: Paul Klee. p. 81
  68. ^ Christian Rümelin: Paul Klee. Leben und Werk, München 2004, pp. 12 et seq. online
  69. ^ Beate Ofczarek, Stefan Frey: Chronologie einer Freundschaft, p. 203
  70. ^ Gregor Wedekind: Paul Klee: Inventionen. Reimer, Berlin 1996, p. 62
  71. ^ Giedion-Welcker: Klee, pp. 23 et seqq
  72. ^ Christian Rümelin: Paul Klee. Leben und Werk, Munichn 2004, p. fifteen
  73. ^ Giedion-Welcker, Klee, pp. 22–25
  74. ^ Temkin, Ann . "Klee, Paul." Grove Art Online. Oxford Art Online. Oxford University Press. Spider web.
  75. ^ "Paul Klee". Meisterwerke der Kunst, Isis Verlag. Archived from the original on 9 January 2009. Retrieved 25 September 2008.
  76. ^ Göttler: Der Blaue Reiter. pp. 118 et seq
  77. ^ Partsch: Klee, p. 41
  78. ^ "Kunst öffnet Augen". augen.de. Archived from the original on 9 Jan 2009. Retrieved 26 October 2008.
  79. ^ The Twittering-Auto, moma.org, retrieved on x Jan 2011.
  80. ^ Siglind Bruhn: Das tönende Museum, Gorz Verlag 2004, pp. 34  et seq
  81. ^ Ingeborg Ruthe (xxx September 2008). "Paul Klee hinterließ kunstvolle Handpuppen. Berliner Spieler bringen sie auf die Bühne in einem Stück über das Malerleben". Berliner-zeitung.de. DuMont.next GmbH & Co. KG.
  82. ^ "Über den Klee oder Der Knochen in meinem Kopf". Tabula Rasa Magazin – Zeitung für Gesellschaft und Kultur. Dr. Dr. Stefan Groß, Grand.A. 28 April 2009.
  83. ^ "Archived re-create". Archived from the original on 29 April 2015. Retrieved nineteen May 2015. {{cite web}}: CS1 maint: archived copy as championship (link)
  84. ^ Andrew Kagan, Paul Klee at the Guggenheim Museum, New York: Guggenheim Museum Library, 2003, 41.
  85. ^ Partsch: Klee, p. 67
  86. ^ Berggruen, "Paul Klee – In Search of Natural Signs" in The Writing of Fine art (London: Pushkin Press, 2011), 63.
  87. ^ Partsch: Klee, p. 75
  88. ^ Partsch: Klee, p. 92
  89. ^ Partsch: Klee, pp. 76–83
  90. ^ Giedion-Welcker: Klee, p. 161
  91. ^ Giedion-Welcker: Klee, p. 162
  92. ^ Catrin Lorch (4 January 2007). "Klees feine kleine Klumpgeister". Frankfurter Allgemeine (in German). Archived from the original on fourteen July 2011. Retrieved 2 October 2008.
  93. ^ "Sammlung Prinzhorn der Psychiatrischen Universitätsklinik Heidelberg" (in High german). Städtische Museen Jena. Archived from the original on 1 November 2013. Retrieved 2 January 2011.
  94. ^ Robert L. Herbert, Eleanor Southward. Apter, Elise Thousand. Kenny: The Société Anonyme and the Dreier Bequest at Yale Academy. A Catalogue Raisonné, New Haven/ London 1984, p. 376
  95. ^ Smith, Glenn (31 May 2019). "An Interview with Frieder Nake". Arts. viii (2): 69. doi:10.3390/arts8020069.
  96. ^ Beate Ofczarek, Stefan Frey: Chronologie einer Freundschaft. In: Michael Baumgartner, Cathrin Klingsöhr-Leroy, Katja Schneider, p. 208
  97. ^ "Archived copy". Archived from the original on 24 March 2016. Retrieved 24 March 2013. {{cite web}}: CS1 maint: archived re-create every bit title (link)
  98. ^ "Alter Klang, Impromptu per a orquestra" (PDF). iii June 2013. Archived from the original (PDF) on 3 June 2013. Retrieved 18 December 2018.
  99. ^ "Archived copy". Archived from the original on 30 May 2013. Retrieved 23 December 2018. {{cite web}}: CS1 maint: archived copy as championship (link)
  100. ^ "Stradivarius – The leading italian classical music label". fifteen April 2011. Archived from the original on 15 April 2011.
  101. ^ Siglind Bruhn. "Die Zwitschermaschine: Klangsymbole der Moderne". Das tönende Museum. Musik des 20. Jahrhunderts interpretiert Werke bildender Kunst (PDF) (in German). Edition Gorz. Archived from the original (PDF) on 18 December 2006. Retrieved 3 October 2008.
  102. ^ Vinyl LP, Philips catalog number: PHS 600-266.
  103. ^ Marçal, Ricardo. Ekphrasis em música: os quadrados mágicos de Paul Klee na Sonata para violão solo de Leo Brouwer. Per Musi n. 19, january–jun 2009, pp. 47–62.
  104. ^ Nachi Ebisawa (18 March 2015). クローズアップ サカナクション (in Japanese). Excite. Archived from the original on 25 October 2011. Retrieved 14 Apr 2015.
  105. ^ ForSchUngsmagazin. Friedrich-Schiller-Universität Jena. Alma Mater Jenensis, Sommersemester 1995, p. xl
  106. ^ Thüringer Universitäts – und Landesbibliothek – Zweigbibliothek Kunstgeschichte b2i.de. Retrieved 19 April 2011.
  107. ^ "Dice Paul Klee-Bestände im Zentrum Paul Klee" (in High german). Zentrum Paul Klee. Retrieved 24 October 2012.
  108. ^ "Paul Klee's 139th Birthday". Google.com . Retrieved 18 December 2018.
  109. ^ Fayal, M.: Paul Klee: A man made in Switzerland, swissinfo, 25 May 2005. URL. Retrieved 5 September 2006.
  110. ^ Zentrum Paul Klee: A Swiss without a cherry-red passport Archived xviii July 2006 at the Wayback Machine. URL. Retrieved v September 2006.

Farther reading [edit]

  • Berggruen, Olivier (2011). "Paul Klee – In Search of Natural Signs". The Writing of Art. London: Pushkin Press. ISBN978-1906548629.
  • Franciscono, Marcel (1991). Paul Klee: His Piece of work and Thought. University of Chicago Press, 406 pages, ISBN 0-226-25990-0.
  • Hausenstein, Wilhelm (1921). Kairuan oder eine Geschichte vom Maler Klee und von der Kunst dieses Zeitalters ('Kairuan or a History of the Artist Klee and the Art of this Age')
  • Kort, Pamela (2004). Comic Grotesque: Wit and Mockery in German Art, 1870–1940. Prestel. p. 208. ISBN978-3-7913-3195-nine. Archived from the original on 4 March 2008.
  • Paul Klee: Catalogue Raisonné. 9 vols. Edited past the Paul Klee Foundation, Museum of Fine Arts, Berne. New York: Thames & Hudson, 1998–2004.
  • Rump, Gerhard Charles (1981), "Paul Klees Poetik der Linie. Bemerkungen zum graphischen Vokabular ". In: Gerhard Charles Rump: Kunstpsychologie, Kunst und Psychoanalyse, Kunstwissenschaft. Olms, Hildesheim and New York. pp. 169–185. ISBN 3-487-07126-6.
  • Sorg, Reto, and Osamu Okuda (2005). Dice satirische Muse – Hans Bloesch, Paul Klee und das Editionsprojekt Der Musterbürger. ZIP Zürich (Klee-Studien; 2), ISBN three-909252-07-ix
  • Paul Klee: 1933, published by Städtische Galerie im Lenbachhaus, Munich, Helmut Friedel. Contains essays in German past Pamela Kort, Osamu Okuda, and Otto Karl Werckmeister.
  • Werckmeister, Otto Karl (1989) [1984]. The Making of Paul Klee'southward Career, 1914–1920. University of Chicago Press, 343 pages, 125 halftones.[ ISBN missing ]

External links [edit]

  • Paul Klee's Cats
  • Publications past and nigh Paul Klee in the catalogue Helveticat of the Swiss National Library
  • Zentrum Paul Klee – The Paul Klee museum in Bern
  • Scans of pages of Paul Klee's notebooks from the Zentrum Paul Klee
  • Electric current exhibitions and connexion to galleries at Artfacts.Net
  • "Creative Credo" – by Paul Klee, 1920
  • Paul Klee at the Museum of Modern Art
  • Paul Klee at The San Francisco Museum of Mod Art (SFMOMA)
  • Biographie Paul Klee (in French)
  • "Paul Klee", Der Ararat, Vol. 1, 2nd Special Number, edited by Hans Goltz, Munich, May–June 1920

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