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 Klee, Paul
TIMELINE: The 20th century

A Swiss-born painter and graphic artist whose personal, often gently humorous works are replete with allusions to dreams, music, and poetry, Paul Klee, b. Dec. 18, 1879, d. June 29, 1940, is difficult to classify.

Primitive art, surrealism, cubism, and children's art all seem blended into his small-scale, delicate paintings, watercolors, and drawings. Klee grew up in a musical family and was himself a violinist. After much hesitation he chose to study art, not music, and he attended the Munich Academy in 1900. There his teacher was the popular symbolist and society painter Franz von STUCK. Klee later toured Italy (1901-02), responding enthusiastically to Early Christian and Byzantine art.

Klee's early works are mostly etchings and pen-and-ink drawings. These combine satirical, grotesque, and surreal elements and reveal the influence of Francisco de Goya and James Ensor, both of whom Klee admired. Two of his best-known etchings, dating from 1903, are Virgin in a Tree and Two Men Meet, Each Believing the Other to Be of Higher Rank. Such peculiar, evocative titles are characteristic of Klee and give his works an added dimension of meaning.

After his marriage in 1906 to the pianist Lili Stumpf, Klee settled in Munich, then an important center for avant-garde art. That same year he exhibited his etchings for the first time. His friendship with the painters Wassily Kandinsky and August Macke prompted him to join Der Blaue Reiter (The Blue Rider), an expressionist group that contributed much to the development of abstract art.

A turning point in Klee's career was his visit to Tunisia with Macke and Louis Molliet in 1914. He was so overwhelmed by the intense light there that he wrote:

"Color has taken possession of me; no longer do I have to chase after it, I know that it has hold of me forever. That is the significance of this blessed moment. Color and I are one. I am a painter."
He now built up compositions of colored squares that have the radiance of the mosaics he saw on his Italian sojourn. The watercolor Red and White Domes (1914; Collection of Clifford Odets, New York City) is distinctive of this period.

Klee often incorporated letters and numerals into his paintings, as in Once Emerged from the Gray of Night (1917-18; Klee Foundation, Berlin). These, part of Klee's complex language of symbols and signs, are drawn from the unconscious and used to obtain a poetic amalgam of abstraction and reality. He wrote that "Art does not reproduce the visible, it makes visible," and he pursued this goal in a wide range of media using an amazingly inventive battery of techniques. Line and color predominate with Klee, but he also produced series of works that explore mosaic and other effects.

Klee taught at the BAUHAUS school after World War I, where his friend Kandinsky was also a faculty member. In Pedagogical Sketchbook (1925), one of his several important essays on art theory, Klee tried to define and analyze the primary visual elements and the ways in which they could be applied. In 1931 he began teaching at Dusseldorf Academy, but he was dismissed by the Nazis, who termed his work "degenerate." In 1933, Klee went to Switzerland. There he came down with the crippling collagen disease scleroderma, which forced him to develop a simpler style and eventually killed him. The late works, characterized by heavy black lines, are often reflections on death and war, but his last painting, Still Life (1940; Felix Klee collection, Bern), is a serene summation of his life's concerns as a creator.


1126 x 764 138.8K
138.8K, 1126 x 764

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The Golden Fish
Painted: 1925
Oil and watercolor on paper, mounted on cardboard
50 x 69 cm
Kunsthalle
Hamburg


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Ad Parnassum
Painted: 1932
Oil on canvas
100 x 126 cm

1144 x 900 214.2K
214.2K, 1144 x 900

715 x 859 75.2K
75.2K, 715 x 859

1914

Ancient Sound, Abstract on Black
Painted: 1925
Oil on cardboard
15 x 15 in
Kunstsammlung
Basel

904 x 937 137.5K
137.5K, 904 x 937

882 x 990 210.0K
210.0K, 882 x 990

Captive
Painted: 1940
Oil on burlap
18 7/8 x 17 3/8 in
Collection Mr. and Mrs. Frederick Zimmerman
New York

Dream City
Painted: 1921
Watercolor and oil
18 7/8 x 12 1/4 in
Private collection
Turin

755 x 1170 139.7K
139.7K, 755 x 1170

1037 x 832 137.2K
137.2K, 1037 x 832

Embrace
Painted: 1939
Paste color, watercolor, and oil on paper
9 1/2 x 12 1/4 in
Collection Dr. Bernhard Sprengel
Hanover

Highway and Byways
Painted: 1929
Oil on canvas
32 5/8 x 26 3/8 in
Collection Christoph and Andreas Vowinckel

820 x 1035 302.1K
302.1K, 820 x 1035

1337 x 647 211.8K
211.8K, 1337 x 647

Insula Dulcamara
Painted: 1938
Oil on newsprint, mounted on burlap
31 1/2 x 69 in
Klee Foundation
Bern

Park of Idols
Painted: 1939
Watercolor on blackened paper
14 x 8 1/4 in
Collection Felix Klee
Bern

748 x 1197 148.4K
148.4K, 748 x 1197

1011 x 854 223.5K
223.5K, 1011 x 854

Southern Gardens
Painted: 1936
Oil on paper, mounted on cardboard
10 3/8 x 12 1/4 in
Collection Norman Granz
Geneva

Southern (Tunisian) Gardens
Painted: 1919
Watercolor
9.5 x 7.5 in
Collection Heinz Berggruen
Paris

818 x 1077 176.5K
176.5K, 818 x 1077

895 x 944 140.6K
140.6K, 895 x 944

Red and White Domes
Painted: 1914
Oil on canvas
Watercolor and body color on Japanese, vellum mounted on cardboard
14.6 x 13.7 cm
Kunstsammlung Nordrhein-Westfalen
Dusseldorf


Remembrance of a Garden
Painted: 1914
Watercolor on linen paper mounted on cardboard
25.2 x 21.5 cm
Kunstsammlung Nordrhein-Westfalen
Dusseldorf


851 x 994 148.7K
148.7K, 851 x 994

873 x 989 188.3K
188.3K, 873 x 989

Legend of the Nile
Painted: 1937
Pastel on cotton cloth mounted on burlap
69 x 61 cm
Kunstmuseum Bern


 Images of death and fear
Klee painted with intense rapidity and sureness and it is impossible to indicate the full breadth of his range, his unfailing magic, and his poetry. Diana in the Autumn Wind (1934; 63 x 58 cm (24 3/4 x 19 in)) gives a hint of his sense of movement. Leaves flying in a moist breeze are, at the same time, the Virgin goddess on the hunt, and yet also a fashionably dressed woman from Klee's social circle. The eeriness of the dying year takes shape before our eyes and beyond all this are lovely balancing forms that exist in their own right. This work is strangely pale for Klee, yet the gentle pallor is demanded by the theme: he hints that Diana is disintegrating under the force of autumnal fruitfulness.

Klee died relatively young of a slow and wasting disease, his death horribly mimicked by the death of peace that signified World War II. his last paintings are unlike any of his others. They are larger, with the forms often enclosed by a thick black line, as if Klee were protecting them against a violent outrage. The wit is gone and there is a huge sorrow, not personal, but for foolish and wilful humanity.

Death and Fire (1940; 46 x 44 cm (18 x 17 1/3 in)) is one of Klee's last paintings. A white, gleaming skull occupies the center, with the German word for death, Tod, forming the features of its face. A minimal man walks towards death, his breast stripped of his heart, his face featureless, his body without substance. Death is his only reality, his facial features waiting there in the grave for him. But there is fire in this picture too: the sun, not yet set, rests on the earth's rim, which is also the hand of death. The upper air is luminous with fire, presenting not an alternative to death, but a deeper understanding of it. The man walks forward bravely, into the radiance, into the light. The cool, grey-green domain of death accepts the fire and offers wry comfort.

Three mysterious black stakes jag down vertically from above, and the man strikes the skull with another. If fate forces him down into the earth, he does not go passively or reluctantly: he cooperates. Death's head is only a half-circle, but the sun that it balances in its hand is a perfect globe. The sun is what endures the longest, what rises highest, what matters most, even to death itself. Klee understood his death as a movement into the deepest reality, because, as he said, ``the objective world surrounding us is not the only one possible; there are others, latent''. He reveals a little of that latent otherness here.