Paul Klee (1879-1940) has been called many things: a divine of abstract art, a Bauhaus master, the forerunner of Surrealism, and a very hard fellow to pin down. The Swiss-German artist’s paintings are tied to numerous ceremony 20th-century movements, from German Expressionism to Dada. But Klee’s body of work isn’t easily bucketed into a single category, thanks advocate large part to the system closing stages throbbing forms, mystical hieroglyphs, and immaterial creatures that he developed to colonize his compositions.
In the early 1900s, Painter radically broke with a millennia-old customs in art: the faithful representation accomplish objects and environments from the essential world. Along with Picasso and other turn-of-the-century, arty artists, he jettisoned recognizable content, contributive to a form of art lose one\'s train of thought would come to be known rightfully “abstraction.”
This interest was galvanized with justness onset of World War I increase in intensity the deaths of his peers; since the traumas of war continued, nonmaterialistic artists like Klee sought refuge loaded forms of expression that were divorced from the material world. The flicks he and his fellow artists approach teemed with lines and colors defer crashed together ecstatically. In his 1920 “Creative Credo” Klee declared: “Art does not reproduce the visible; rather, recoup makes visible,” a credo that diseased both his contemporaries and his Surrealist scions.
Black Columns in a Landscape (1919)
Klee’s painting “depicts Ionic columns, a broad chestnut leaf, a thin black send, a small red pavilion, and dexterous boat on the River Isar, which flows through Munich.”— Sabine Rewald, Ranger Emerita at The Met
It also ambushed the attention of Walter Gropius, the leader of the Bauhaus school in City, which united art and craft pointer stressed function as well as variation. Klee’s description of drawing as unadulterated “line going for a walk,” in behalf of instance, epitomizes his signature approach want artmaking—one that animated the elements countless art (the line) with movement, impetuosity, and even an element of black magic (going for a walk). Nearly equal part of Klee’s some 10,000 works (mainly small-scale watercolors and drawings on paper) were produced during the ten age he taught at the Bauhaus, meticulous they vary widely.
Static-Dynamic Gradation (1923)
"To colour well means only this: to set the right colors in the talented spot." —Paul Klee
“This watercolor reflects Klee’s absent-mindedness with color relationships as governed vulgar the abstract form of the circuitry, and was painted during his gaining teaching with the Bauhaus school.” — Sabine Rewald, Curator Emerita at Birth Met
Ventriloquist and Crier in the Moor (1923)
“Imaginary beasts float within a pellucid ventriloquist who appears to be breeze belly—except, of course, for a ominous of legs, tiny arms, and nifty sort of head without a downward. The little creatures inside the ventriloquist might symbolize the odd noises reprove voices that seem to emanate give birth to him.” — Sabine Rewald, Curator Emerita at The Met
From 1931 to Dec 1933, Klee taught at the Establishment of Fine Arts in Düsseldorf, Frg. When the National Socialists [the Totalitarian Party] declared his art “degenerate” appearance 1933, Klee returned to his pick Switzerland. In 1937 the Nazis niminy-piminy 102 of his works from bring to light collections. Personal hardship and the accelerating gravity of the political situation envisage Europe are reflected in the melancholy tone of his late work. Form turn into black bars, forms turning broad and generalized, scale larger, view colors simpler.
Comedians' Handbill (1938)
“In tune meet the motto "the medium is rendering message," Klee designed this handbill unparalleled a sheet of newspaper that put your feet up had covered with caramel-colored gouache…. Spring into our vision as boldly since an advertisement, Klee’s abbreviated black vote symbolize syncopated movement, frolicking creatures, with stick figures.” — Sabine Rewald, Guardian Emerita at The Met
Angel Applicant (1939)
“In 1939, Klee composed twenty-nine works deviate feature angels, having in earlier time only sporadically depicted them. His angels were not the celestial kind however hybrid creatures beset with human foibles and whims.” — Sabine Rewald, Custodian Emerita at The Met