Swiss-German painter (1879–1940)
"Klee" redirects here. For other uses, see Painter (disambiguation).
Paul Klee | |
|---|---|
Klee in 1926 | |
| Born | (1879-12-18)December 18, 1879 Münchenbuchsee, Bern, Switzerland |
| Died | 29 June 1940(1940-06-29) (aged 60) Muralto, Ticino, Switzerland |
| Nationality | German |
| Education | Academy of Fine Arts, Munich |
| Known for | Painting, plan, watercolor, printmaking |
| Notable work | More than 10,000 paintings, drawings, and etchings, including Angelus Novus (1920), Senecio and Twittering Machine (1922), Fish Magic (1925), Viaducts Break Ranks (1937). |
| Movement | Expressionism, Bauhaus, Surrealism |
Paul Klee (German:[paʊ̯lˈkleː]; 18 December 1879 – 29 June 1940) was a Swiss-born 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 deeply explored color theory, writing about it extensively; his lectures Writings beckon Form and Design Theory (Schriften zur Form und Gestaltungslehre), publicised in English as the Paul Klee Notebooks, are held enrol be as important for modern art as Leonardo da Vinci's A Treatise on Painting was for the Renaissance.[1][2][3] He don his colleague, Russian painter Wassily Kandinsky, both taught at picture Bauhaus school of art, design and architecture in Germany. His works reflect his dry humor and his sometimes childlike standpoint, his personal moods and beliefs, and his musicality.
First of all, the art of living; then introduction my ideal profession, poetry and philosophy, and as my hostile profession, plastic arts; in the last resort, for lack have a high regard for income, illustrations.
— Paul Klee[4]
Paul Klee was born in Münchenbuchsee, Switzerland, bring in the second child of German music teacher Hans Wilhelm Painter (1849–1940) and Swiss singer Ida Marie Klee, born Frick (1855–1921).[a] His sister Mathilde (died 6 December 1953) was born exaggerate 28 January 1876 in Walzenhausen. Their father came from Tann and studied singing, piano, organ and violin at the City Conservatory, where he met his future wife Ida Frick. Hans Wilhelm Klee was active as a music teacher at say publicly Bern State Seminary in Hofwil near Bern until 1931. Painter was able to develop his music skills as his parents encouraged and inspired him throughout his life.[5] In 1880, his family moved to Bern, where they eventually, in 1897, afterward a number of changes of residence, moved into their international house in the Kirchenfeld district [de].[6] From 1886 to 1890, Painter visited primary school and received, at the age of 7, violin classes at the Municipal Music School. He was positive talented on violin that, aged 11, he received an attraction to play as an extraordinary member of the Bern Opus Association.[7] His other hobbies, drawing and writing poems, were crowd together fostered in the same way as music was.[8]
In his originally 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 because today's music lacked meaning for him. He stated, "I didn't dredge up the idea of going in for music creatively particularly taking in view of the decline in the history of lilting achievement."[9] As a musician, he played and felt emotionally tied to traditional works of the eighteenth and nineteenth century, but as an artist he craved the freedom to explore elemental ideas and styles.[9] At sixteen, Klee's landscape drawings already suggest considerable skill.[10]
Around 1897, Klee started his diary, which he reserved until 1918, and which has provided scholars with valuable perspicacity into his life and thinking.[11] During his school years, take action avidly drew in his school books, in particular drawing caricatures, and already demonstrating skill with line and volume.[12] He only just passed his final exams at the "Gymnasium" of Bern, where he qualified in the Humanities. With his characteristic dry pleasantry, he wrote, "After all, it's rather difficult to achieve picture exact minimum, and it involves risks."[13] On his own over and over again, in addition to his deep interests in music and cut up, Klee was a great reader of literature, and later a writer on art theory and aesthetics.[14]
With his parents' reluctant consent, in 1898 Klee began studying art at the Academy subtract Fine Arts in Munich with Heinrich Knirr and Franz von Stuck. He excelled at drawing but seemed to lack harebrained natural color sense. He later recalled, "During the third iciness I even realized that I probably would never learn make a distinction paint."[13] During these times of youthful adventure, Klee spent more time in pubs and had affairs with lower-class women current artists' models. He had an illegitimate son in 1900 who died several weeks after birth.[15]
After receiving his Fine Arts moment, Klee traveled in Italy from October 1901 to May 1902[16] with friend Hermann Haller. They visited Rome, Florence, Naples become peaceful the Amalfi Coast, studying the master painters of past centuries.[15] He exclaimed, "The Forum and the Vatican have spoken cork me. Humanism wants to suffocate me."[17] He responded to picture colors of Italy, but sadly noted, "that a long exert oneself lies in store for me in this field of color."[18] For Klee, color represented the optimism and nobility in agile, and a hope for relief from the pessimistic nature no problem expressed in his black-and-white grotesques and satires.[18] Returning to Berne, he lived with his parents for several years, and took occasional art classes. By 1905, he was developing some beforehand techniques, including drawing with a needle on a blackened quarrel of glass, resulting in fifty-seven works including his Portrait pattern My Father (1906).[12] In the years 1903–05 he also concluded a cycle of eleven zinc-plate etchings called Inventions, his twig exhibited works, in which he illustrated several grotesque characters.[15][19] Bankruptcy commented, "though I'm fairly satisfied with my etchings I can't go on like this. I'm not a specialist."[20] Klee was still dividing his time with music, playing the violin appearance an orchestra and writing concert and theater reviews.[21]
Klee married Bavarian pianist Lily Stumpf in 1906 and they had one son named Felix Paul in the following day. They lived in a suburb of Munich, and while she gave piano lessons and occasional performances, he kept house unthinkable tended to his art work. His attempt to be a magazine illustrator failed.[21] Klee's art work progressed slowly for description next five years, partly from having to divide his regarding with domestic matters, and partly as he tried to rest a new approach to his art. In 1910, he confidential his first solo exhibition in Bern, which then travelled generate three Swiss cities.
In Jan 1911, Alfred Kubin met Klee in Munich and encouraged him to illustrate Voltaire's Candide. His resultant drawings were published afterwards in a 1920 version of the book edited by Kurt Wolff. Around this time, Klee's graphic work increased. His specifically inclination towards the absurd and the sarcastic was well traditional by Kubin, who befriended Klee and became one of his first significant collectors.[22] Klee met, through Kubin, the art critic Wilhelm Hausenstein in 1911. Klee was a foundation member captain manager of the Munich artists' union Sema that summer.[23] Encircle autumn he made an acquaintance with August Macke and Wassily Kandinsky, and in winter he joined the editorial team infer the almanac Der Blaue Reiter, founded by Franz Marc last Kandinsky. On meeting Kandinsky, Klee recorded, "I came to engender a feeling of 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 components of the Blaue Reiter, but he was not yet on the sly integrated.[25]
The release of the almanac was delayed for the gain of an exhibition. The first Blaue Reiter exhibition took spring from 18 December 1911 to 1 January 1912 in picture Moderne Galerie Heinrich Thannhauser in Munich. Klee did not be present at it, but in the second exhibition, which occurred from 12 February to 18 March 1912 in the Galerie Goltz, 17 of his graphic works were shown. The name of that art exhibition was Schwarz-Weiß, as it only regarded graphic painting.[26] Initially planned to be released in 1911, the release undercurrent of the Der Blau Reiter almanac by Kandinsky and Marc was delayed in May 1912, including the reproduced ink sketch Steinhauer by Klee. At the same time, Kandinsky published his art history writing Über das Geistige in der Kunst.[27]
The association opened Klee's mind to modern theories of color. His travels to Paris in 1912 also receptive him to the ferment of Cubism and the pioneering examples of "pure painting", an early term for abstract art. Description use of bold color by Robert Delaunay and Maurice result Vlaminck also inspired him.[28] Rather than copy these artists, Painter 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 mean color with limited overlap.[29] Klee acknowledged that "a long encounter lies in store for me in this field of color" in order to reach his "distant noble aim." Soon, prohibited discovered "the style which connects drawing and the realm grounding color."[18]
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 here. He wrote, "Color has taken possession of me; no person do I have to chase after it, I know desert it has hold of me forever... Color and I negative aspect one. I am a painter."[30] With that realization, faithfulness molest nature faded in importance. Instead, Klee began to delve run into the "cool romanticism of abstraction".[30] In gaining a second elegant vocabulary, Klee added color to his abilities in draftsmanship, nearby in many works combined them successfully, as he did hill one series he called "operatic paintings".[31][32] One of the domineering literal examples of this new synthesis is The Bavarian Hard Giovanni (1919).[33]
After returning home, Klee painted his first pure ideational, In the Style of Kairouan (1914), composed of colored rectangles and a few circles.[34] The colored rectangle became his undecorated building block, what some scholars associate with a musical take notes, which Klee combined with other colored blocks to create a color harmony analogous to a musical composition. His selection remaining a particular color palette emulates a musical key. Sometimes lighten up uses complementary pairs of colors, and other times "dissonant" colours, again reflecting his connection with musicality.[35]
A few weeks after, World War I began. At first, Klee was somewhat free from it, as he wrote ironically, "I have long confidential this war in me. That is why, inwardly, it go over none of my concern."[36] Klee was conscripted as a Landsturmsoldat (soldier of the reserve forces in Prussia or Imperial Germany) on 5 March 1916. The deaths of his friends Grand 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).[37] Equate finishing the military training course, which began on 11 Step 1916, he was committed as a soldier behind the momentum. Klee moved on 20 August to the aircraft maintenance company[b] in Oberschleissheim, executing skilled manual work, such as restoring bomb camouflage, and accompanying aircraft transports. On 17 January 1917, do something was transferred to the Royal Bavarian flying school in Gersthofen (which 54 years later became the USASA Field Station Augsburg) to work as a clerk for the treasurer until depiction end of the war. This allowed him to stay speedy a small room outside of the barrack block and keep up painting.[38][39]
He continued to paint during the entire war and managed to exhibit in several shows. By 1917, Klee's work was selling well and art critics acclaimed him as the leading of the new German artists.[40] His Ab ovo (1917) problem particularly noteworthy for its sophisticated technique. It employs watercolor prize gauze and paper with a chalk ground, which produces a rich texture of triangular, circular, and crescent patterns.[30] Demonstrating his range of exploration, mixing color and line, his Warning an assortment of the Ships (1918) is a colored drawing filled with colourful images on a field of suppressed color.[41]
In 1919 Painter applied for a teaching post at the Academy of Trickle in Stuttgart,[42] but the attempt failed. After that he managed to secure a three-year contract, with a minimum annual takings, with dealer Hans Goltz, whose influential gallery gave Klee important exposure, and some commercial success. A retrospective of over Cardinal works, in 1920, was also notable.[43]
Klee taught at the Bauhaus from January 1921 to April 1931.[44] He was a "Form" master in the bookbinding, stained glass, and mural painting workshops and was provided with two studios.[45] In 1922, Kandinsky married the staff and resumed his friendship with Klee. Later defer year the first Bauhaus exhibition and festival was held, commandeer which Klee created several of the advertising materials.[46] Klee welcomed the many conflicting theories and opinions within the Bauhaus: "I also approve of these forces competing one with the provoke if the result is achievement."[47]
Klee was also a member ceremony Die Blaue Vier (The Blue Four), with Kandinsky, Lyonel Feininger, and Alexej von Jawlensky, which formed in 1923, at representation instigation of Galka Scheyer, who subsequently organized exhibitions of their work in the United States. In 1924, Klee had his first exhibits in Paris, and he became a hit house the French Surrealists.[48] Klee visited Egypt in 1928, which impressed him less than Tunisia. In 1929, the first major 1 on Klee's work was published, written by Will Grohmann.[49]
Klee along with taught at the Düsseldorf Academy from 1931 to 1933, famous was singled out by a Nazi newspaper, "Then that ready to go fellow Klee comes onto the scene, already famed as a Bauhaus teacher in Dessau. He tells everyone he's a animal 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 (1933) commemorates interpretation sad occasion.[50] In 1933–34, Klee had shows in London ride Paris, and finally met Pablo Picasso, whom he greatly admired.[52] The Klee family emigrated to Switzerland in late 1933.[52]
Klee was at the peak of his creative output. His Ad Parnassum (1932) is considered his masterpiece and the best example look up to his pointillist style; it is also one of his prime, most finely worked paintings.[53][54] He produced nearly 500 works encompass 1933 during his last year in Germany.[55] However, in 1933, Klee began experiencing the symptoms of what was diagnosed reorganization scleroderma after his death. The progression of his fatal ailment, which made swallowing very difficult, can be followed through representation art he created in his last years. His output engage 1936 was only 25 pictures. In the later 1930s, his health recovered somewhat and he was encouraged by a come again from Kandinsky and Picasso.[56] Klee's simpler and larger designs enabled him to keep up his output in his final age, and in 1939 he created over 1,200 works, a occupation high for one year.[57] He used heavier lines and generally geometric forms with fewer but larger blocks of color. His varied color palettes, some with bright colors and others solemn, perhaps reflected his alternating moods of optimism and pessimism.[58] Make longer in Germany in 1937, seventeen of Klee's pictures were star in an exhibition of "Degenerate art" and 102 of his works in public collections were seized by the Nazis.[59]
In 1935, two years after moving to Switzerland and working in a very confined situation, Klee developed scleroderma, an autoimmune disease resulting in hardening of connective tissue.[60]
He endured pain that seems assail be reflected in his last works of art.[61] In his last months he created 50 drawings of angels.[60] One virtuous his last paintings, Death and Fire, features a skull embankment the center with the German word for death, "Tod", attendance in the face. He died in Muralto, Locarno, Switzerland, predisposition 29 June 1940 without having obtained Swiss citizenship, despite his birth in that country.[61][62] His art work was considered else revolutionary, even degenerate, by the Swiss authorities, but eventually they accepted his request six days after his death.[63] His donation comprised about 9,000 works of art.[18] The words on his tombstone, Klee's credo, placed there by his son Felix, discipline, "I cannot be grasped in the here and now, assistance my dwelling place is as much among the dead pass for the yet unborn. Slightly closer to the heart of whim than usual, but still not close enough."[64] He was in the grave at Schosshaldenfriedhof, Bern, Switzerland.
Klee has been multifariously associated with Expressionism, Cubism, Futurism, Surrealism, and Abstraction, but his pictures are difficult to classify. He generally worked in detachment from his peers, and interpreted new art trends in his own way. He was inventive in his methods and technic. Klee worked in many different media—oil paint, watercolor, ink, pastel, etching, and others. He often combined them into one gratuitous. He used canvas, burlap, muslin, linen, gauze, cardboard, metal foils, fabric, wallpaper, and newsprint.[65] Klee employed spray paint, knife relevancy, stamping, glazing, and impasto, and mixed media such as lubricate with watercolor, watercolor with pen and India ink, and scuff with tempera.[66]
He was a natural draftsman, and through long research developed a mastery of color and tonality. Many of his works combine these skills. He uses a great variety announcement color palettes from nearly monochromatic to highly polychromatic. His deeds often have a fragile childlike quality to them and property usually on a small scale. He often used geometric forms and grid format compositions as well as letters and information, frequently combined with playful figures of animals and people. Untainted works were completely abstract. Many of his works and their titles reflect his dry humor and varying moods; some communicate political convictions. They frequently allude to poetry, music and dreams and sometimes include words or musical notation. The later scowl are distinguished by spidery hieroglyph-like symbols. Rainer Maria Rilke wrote about Klee in 1921, "Even if you hadn't told work away at he plays the violin, I would have guessed that penchant many occasions his drawings were transcriptions of music."[14]
Pamela Kort observed: "Klee's 1933 drawings present their beholder with an unparalleled chance to glimpse a central aspect of his aesthetics that has remained largely unappreciated: his lifelong concern with the possibilities grapple parody and wit. Herein lies their real significance, particularly ask for an audience unaware that Klee's art has political dimensions."[67]
Among description few plastic works are hand puppets made between 1916 innermost 1925, for his son Felix. The artist neither counted them as a component of his oeuvre, nor did he allocate them in his catalogue raisonné. Thirty of the preserved puppets are stored at the Zentrum Paul Klee, Bern.[68]
Main article: Link up with of works by Paul Klee
Some of Klee's early without a scratch children's drawings, which his grandmother encouraged, were listed on his catalogue raisonné. A total of 19 etchings were produced all along the Bern years; ten of these were made between 1903 and 1905 in the cycle "Inventionen" (Inventions),[69] which were be on fire in June 1906 at the "Internationale Kunstausstellung des Vereins bildender Künstler Münchens 'Secession'" (International Art Exhibition of the Association storage Graphic Arts, Munich, Secession), his first appearance as a maestro in the public.[70] Klee had removed the third Invention, Pessimistische Allegorie des Gebirges (Pessimistic Allegory of the Mountain), in Feb 1906 from his cycle.[71] The satirical etchings, for example Jungfrau im Baum/Jungfrau (träumend) (Virgin on the tree/Virgin (dreaming)) from 1903 and Greiser Phoenix (Aged Phoenix) from 1905, were classified get ahead of Klee as "surrealistic outposts". Jungfrau im Baum ties on depiction motive Le cattive madri (1894) by Giovanni Segantini. The be thankful for was influenced by grotesque lyric poetries of Alfred Jarry, Feature Jacob and Christian Morgenstern.[72] It features a cultural pessimism, which can be found at the turn of the 20th c 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 II and Franz Carpenter I of Austria, recognizable by their hairstyle and beards. Variety their clothes and insignia were bereft, "both of them plot no clue if their conventional salute […] is in structure or not. As they assume that their counterpart could imitate been higher rated", they bow and scrape.[73]
Dame mit Sonnenschirm, 1883–1885, pencil on paper on cardboard, Zentrum Paul Klee, Bern
Hilterfingen, 1895, ink on paper, Solomon R. Guggenheim Museum, New York
Third Invention: Jungfrau im Baum, 1903, etching, Museum of Modern Art, Creative York
Sixth Invention: Zwei Männer, einander in höherer Stellung vermutend, begegnen sich, 1903, etching, Zentrum Paul Klee, Bern
Aged Phoenix, 1905, imprint, Solomon R. Guggenheim Museum, New York
Klee began to introduce a new technique in 1905: scratching on a blackened glass turn with a needle. In that manner he created about 57 Verre églomisé pictures, among those the 1905 Gartenszene (Scene tyrannize a Garden) and the 1906 Porträt des Vaters (Portrait warning sign a Father), with which he tried to combine painting pole scratching.[74] Klee's solitary early work ended in 1911, the day he met and was inspired by the graphic artist Aelfred Kubin, and became associated with the artists of the Blaue Reiter.[75]
During his twelve-day educational trip to Tunis hit April 1914 Klee produced with Macke and Moilliet watercolor paintings, which implement the strong light and color stimulus of rendering North African countryside in the fashion of Paul Cézanne sports ground Robert Delaunay's cubistic form concepts. The aim was not exchange imitate nature, but to create compositions analogous to nature's plastic 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 talk over colored harmony. He also created abstract works in that stretch of time such as Abstract and Farbige Kreise durch Farbbänder verbunden (Colored Circles Tied Through Inked Ribbons).[76] He never abandoned the object; a permanent segregation never took place. It took over coerce years that Klee worked on experiments and analysis of depiction color, resulting to an independent artificial work, whereby his establish ideas were based on the colorful oriental world.
Fenster bring into being Palmen, 1914, watercolor on grounding on paper on cardboard, Kunsthaus Zürich, Zurich
In den Häusern von St. Germain, 1914, watercolor imitation paper on cardboard, Zentrum Paul Klee, Bern
Föhn im Marc’schen Garten, 1915, watercolor on paper on cardboard, Lenbachhaus, Munich
Acrobats, 1915, watercolor, pastel and ink on paper, Solomon R. Guggenheim Museum, Fresh York
Föhn im Marc'schen Garten (Foehn at Marc's Garden) was made after the Turin trip. It indicates the relations mid color and the stimulus of Macke and Delaunay. Although elements of the garden are clearly visible, a further steering indulge abstraction is noticeable. In his diary Klee wrote the followers note at that time:
In the large molding pit conniving lying ruins, on which one partially hangs. They provide representation material for the abstraction. […] The terrible the world, say publicly abstract the art, while a happy world produces secularistic art.[77]
Under the impression of his military service he created the picture Trauerblumen (Velvetbells) in 1917, which, with its graphical signs, vegetational and phantastic shapes, is a forerunner of his future totality, harmonically combining graphic, color and object. For the first put on the back burner birds appear in the pictures, such as in Blumenmythos (Flower Myth) from 1918, mirroring the flying and falling planes powder saw in Gersthofen, and the photographed plane crashes.
In rendering 1918 watercolor painting Einst dem Grau der Nacht enttaucht, a compositional implemented poem, possibly written by Klee, he incorporated letters in small, in terms of color separated squares, cutting abounding the first verse from the second one with silver arrangement. At the top of the cardboard, which carries the innovation, the verses are inscribed in manuscript form. Here, Klee sincere not lean on Delaunay's colors, but on Marc's, although depiction picture content of both painters does not correspond with initiate other. Herwarth Walden, Klee's art dealer, saw in them a "Wachablösung" (changing of the guard) of his art.[78] 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 increase in intensity architectures, as well as surreal pledges and sentiment readings.[79]
His works during that time include Camel (in rhythmic landscape with trees) as ablebodied as other paintings with abstract graphical elements such as betroffener Ort (Affected Place) (1922). From that period he created Die Zwitscher-Maschine (The Twittering Machine), which was later removed from description National Gallery. After being named defamatory in the Munich extravaganza "Entartete Kunst", the painting was later bought by the Buchholz Gallery, New York, and then transferred in 1939 to depiction Museum of Modern Art. The "twittering" in the title refers to the open-beaked birds, while the "machine" is illustrated offspring the crank.[80]
The watercolor painting appears at a first glance babyish, but it allows more interpretations. The picture can be taken as a critic by Klee, who shows through denaturation go along with the birds, that the world technization heist the creatures' self-determination.[81]
Other examples from that period are der Goldfisch (The Goldfish) use up 1925, Katze und Vogel (Cat and Bird), from 1928, charge Hauptweg und Nebenwege (Main Road and Byways) from 1929. Weekend case variations of the canvas ground and his combined painting techniques Klee created new color effects and picture impressions.
From 1916 to 1925, Klee created 50 hand puppets for his jointly Felix. The puppets are not mentioned in the Bauhaus class of works, since they were intended as private toys devour the beginning.[82] Nevertheless, they are an impressive example of Klee's imagery. He not only dealt with puppet shows privately, but also in his artistic work at the Bauhaus.[83]
In 1931, Painter transferred to Düsseldorf to teach at the Akademie; the Nazis shut down the Bauhaus soon after.[84] During this time, Painter illustrated a series of guardian angels. Among these figurations go over the main points "In Engelshut" (In the Angel's Care). Its overlaying technique evinces the polyphonic character of his drawing method between 1920 become calm 1932.[85]
The 1932 painting Ad Parnassum was also created in depiction Düsseldorf period. 100 cm × 126 cm (39 in × 50 in) This is one invoke his largest paintings, as he usually worked with small formats. In this mosaic-like work in the style of pointillism loosen up combined different techniques and compositional principles. Influenced by his stripe to Egypt from 1928 to 1929, Klee built a aspect field from individually stamped dots, surrounded by similarly stamped kill time, which results in a pyramid. Above the roof of depiction "Parnassus" there is a sun. The title identifies the extent as the home of Apollo and the Muses.[86] During his 1929 travels through Egypt, Klee developed a sense of linking to the land, described by art historian Olivier Berggruen chimp a mystical feeling: "In the desert, the sun's intense rays seemed to envelop all living things, and at night, say publicly movement of the stars felt even more palpable. In description architecture of the ancient funerary moments Klee discovered a indecipherable of proportion and measure in which human beings appeared spoil establish a convincing relationship with the immensity of the landscape; furthermore, he was drawn to the esoteric numerology that governed the way in which these monuments had been built."[87] Exclaim 1933, his last year in Germany, he created a varnish of paintings and drawings; the catalogue raisonné comprised 482 entireness. The self-portrait in the same year—with the programmatic title von der Liste gestrichen (removed from the list)—provides information about his feeling after losing his professorship. The abstract portrait was motley in dark colors and shows closed eyes and compressed lips, while on the back of his head there is a large "X", symbolizing that his art was no longer esteemed in Germany.[88]
Red/Green Architecture (yellow/violet gradation), 1922, oil on canvas compete cardboard mat, Yale University Art Gallery, Yale University, New Seaport, Connecticut
Senecio, 1922, oil on gauze, Kunstmuseum Basel, Basel
Fright of a Girl, 1922, Watercolor, India ink and oil transfer drawing reposition paper, with India ink on paper mount, Solomon R. Industrialist Museum, New York
Puppet without title (self-portrait), 1922, Zentrum Paul Painter, Bern
In this period Klee mainly worked attempt large-sized pictures. After the onset of illness, there were problem 25 works in the 1936 catalogue, but his productivity exaggerated in 1937 to 264 pictures, 1938 to 489, and 1939—his most productive year—to 1254. They dealt with ambivalent themes, expressing his personal fate, the political situation and his wit. Examples are the watercolor painting Musiker (musician), a stick-man face be smitten by partially serious, partially smiling mouth; and the Revolution des Viadukts (Revolution of the Viadukt), an anti-fascist art. In Viadukt (1937) the bridge arches split from the bank as they cry off to be linked to a chain and are therefore rioting.[89] Since 1938, Klee worked more intensively with hieroglyphic-like elements. Say publicly painting Insula dulcamara from the same year, which is way of being of his largest (88 cm × 176 cm (35 in × 69 in)), shows a snowy face in the middle of the elements, symbolizing death have under surveillance its black-circled eye sockets. Bitterness and sorrow are not rarified in much of his works during this time.
Zeichen unfailingly Gelb, 1937, pastel on cotton on colored paste on european on stretcher frame, Beyeler Foundation, Riehen, near Basel
Nach der Überschwemmung, 1936, wallpaper glue and watercolors on Ingres paper on cardboard
Revolution des Viadukts, 1937, oil on oil grounding on cotton discern stretcher frame, Hamburger Kunsthalle
Die Vase, 1938, oil on jute, Fondation Beyeler, Riehen near Basel
Heroische Rosen (Heroic Roses), 1938, oil turmoil canvas, Kunstsammlung Nordrhein-Westfalen, Düsseldorf
Insula dulcamara, 1938, oil color and multicolored paste on newsprint on jute on stretcher frame, Zentrum Apostle Klee, Bern
Ohne Titel (Letztes Stillleben), 1940, oil on canvas send out stretcher frame, Zentrum Paul Klee, Bern
Tod und Feuer (Death obscure Fire), 1940, oil on distemper on jute, Zentrum Paul Painter, Bern
Klee created in 1940 a picture which strongly differs go over the top with the previous works, leaving it unsigned on the scaffold. Say publicly comparatively realistic still life, Ohne Titel, later named as Der Todesengel (Angel of Death), depicts flowers, a green pot, head and an angel. The moon on black ground is unconnected from these groups. During his 60th birthday Klee was photographed in front of this picture.[90]
Art does jumble reproduce the visible; rather, it makes visible.
"Klee's act is bargain prestigious. In a minimum of one line he can make known his wisdom. He is everything; profound, gentle and many extend of the good things, and this because: he is innovative", wrote Oskar Schlemmer, Klee's future artist colleague at the Bauhaus, in his September 1916 diary.[91]
Novelist and Klee's friend Wilhelm Hausenstein wrote in his work Über Expressionismus in der Malerei (On Expressionism in Painting), "Maybe Klee's attitude is in general clear for musical people—how Klee is one of the most delightsome violinist playing Bach and Händel, who ever walked on matteroffact. […] For Klee, the German classic painter of the Cubism, the world music became his companion, possibly even a rubbish of his art; the composition, written in notes, seems flavour be not dissimilar."[92]
When Klee visited the Paris surrealism exhibition throw in 1925, Max Ernst was impressed by his work. His to some extent morbid motifs appealed to the surrealists. André Breton helped walkout develop the surrealism and renamed Klee's 1912 painting Zimmerperspektive mash 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 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 feet. Subside is by no means a dreamer; he is a further person, who teaches as a professor at the Bauhaus." Whereupon Breton, as Joan Miró remembers, was critical of Klee: "Masson and I have both discovered Paul Klee. Paul Éluard distinguished Crevel are also interested in Klee, and they have unchanging visited him. But Breton despises him."[93]
The art of mentally observe people inspired Klee as well as Kandinsky and Max Painter, after Hans Prinzhorns book Bildnerei der Geisteskranken (Artistry of rendering Mentally Ill) was published in 1922. In 1937, some writing from Prinzhorn's anthology were presented at the National Socialist disinformation exhibition "Entartete Kunst" in Munich, with the purpose of defaming the works of Kirchner, Klee, Nolde and other artists make wet likening them to the works of the insane.[94]
In 1949 Marcel Duchamp commented on Paul Klee: "The first reaction in improvement of a Klee painting is the very pleasant discovery, what everyone of us could or could have done, to essay drawing like in our childhood. Most of his compositions theater at the first glance a plain, naive expression, found engross children's drawings. […] At a second analyse one can uncover a technique, which takes as a basis a large comeliness in thinking. A deep understanding of dealing with watercolors give up paint a personal method in oil, structured in decorative shapes, let Klee stand out in the contemporary art and put together him incomparable. On the other side, his experiment was adoptive in the last 30 years by many other artists restructuring a basis for newer creations in the most different areas in painting. His extreme productivity never shows evidence of review, as is usually the case. He had so much tote up say, that a Klee never became another Klee."[95]
One of Klee's paintings, Angelus Novus, was the object of an interpretative text by Germanphilosopher and literary criticWalter Benjamin, who purchased the spraying in 1921. 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 standpoint of his legacy, and one demonstrating his multi-faceted presence comport yourself the modern artistic imagination, is his appeal for those fascinated 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, even though musically talented, was attracted to older traditions of music; let go appreciated neither composers of the late 19th century, such although Wagner, Bruckner and Mahler, nor contemporary music. Bach and Composer were for him the greatest composers; he most enjoyed acting the works by the latter.[97]
Klee's work has influenced composers much as Argentinian Roberto García Morillo in 1943, with Tres pinturas de Paul Klee. Others include the American composer David Adamant in 1958, 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 1959/60, 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 (2006);[98][99] Casablancas is author also of the Retablo on texts by Missionary Klee, Cantata da Camera for Soprano, Mezzo and Piano (2007).[100][101] In 1950, Giselher Klebe performed his orchestral work Die Zwitschermaschine with the subtitle Metamorphosen über das Bild von Paul Klee at the Donaueschinger Musiktage.[102]8 Pieces on Paul Klee is picture title of the debut album by the Ensemble Sortisatio, transcribed February and March 2002 in Leipzig and August 2002 display Lucerne, Switzerland. The composition "Wie der Klee vierblättrig wurde" (How the clover became four-leaved) was inspired by the watercolor craft Hat Kopf, Hand, Fuss und Herz (1930), Angelus Novus stream Hauptweg und Nebenwege.
In 1968, a jazz group called Interpretation National Gallery featuring composer Chuck Mangione released the album Performing Musical Interpretations of the Paintings of Paul Klee.[103] In 1995 the Greek experimental filmmaker, Kostas Sfikas, created a film family circle entirely on Paul Klee's paintings. The film is entitled "Paul Klee's Prophetic Bird of Sorrows", and draws its title cheat Klee's Landscape with Yellow Birds. It was made using portions and cutouts from Paul Klee's paintings.
Since 1995, the "Paul Klee-Archiv" (Paul Klee archive) of the University of Jena abodes an extensive collection of works by Klee. It is aeon within the art history department, established by Franz-Joachim Verspohl. On the trot encompasses the private library of book collector Rolf Sauerwein which contains nearly 700 works from 30 years composed of monographs about Klee, exhibition catalogues, extensive secondary literature as well likewise originally illustrated issues, a postcard and a signed photography sketch of Klee.[106][107]
Architect Renzo Piano constructed the Zentrum Paul Klee appearance June 2005. Located in Bern, the museum exhibits about Cardinal (of 4000 Klee works overall) in a six-month rotation, tempt it is impossible to show all of his works watch over once. Furthermore, his pictures require rest periods; they contain to some degree photosensitive colors, inks and papers, which may bleach, change, errand brown and become brittle if exposed to light for also long.[108] The San Francisco Museum of Modern Art has a comprehensive Klee collection, donated by Carl Djerassi. Other exhibitions incorporate the Sammlung Rosengart in Luzern, the Albertina in Wien enjoin the Berggruen Museum in Berlin. Schools in Gersthofen, Lübeck; Klein-Winternheim, Overath; his place of birth Münchenbuchsee and Düsseldorf bear his name.
In addition to Klee's works desert Nazis seized from museums, several of his artworks were loot by Nazis from Jewish collectors and their families. Some draw round these have been restituted[109] while others have been the bypass of lawsuits and claims for restitution.[110] One of the uppermost famous claims was for Klee's Swamp Legend.[111]
The Zwitscher-Maschine. Journal succession Paul Klee (ISSN 2297-6809 ) is a publication dedicated accomplish international studies on Paul Klee. It encompasses art historical direct art technological studies, as well as literary or philosophical texts on the life and work of Paul Klee. The periodical is freely accessible to authors from the international Klee investigating community, following an open-access approach known as the 'golden road' primary publishing strategy.