Betroffener ort paul klee biography

Style and methods [ edit ]. Works [ edit ]. Main article: List of works by Paul Klee. Early works [ edit ]. Hilterfingen, ink on paper, Solomon R. Guggenheim MuseumNew York. Aged Phoenix, etching, Solomon R. Mystical-abstract period, — [ edit ]. Germain, watercolor on paper on cardboard, Zentrum Paul KleeBern. Acrobats, watercolor, pastel and ink on paper, Solomon R.

Senecio, oil on gauze, Kunstmuseum BaselBasel. Fright of a Girl, Watercolor, India ink and oil transfer drawing on paper, with India ink on paper mount, Solomon R. Last works in Switzerland [ edit ]. Zeichen in Gelb, pastel on cotton on colored paste on jute on stretcher frame, Beyeler FoundationRiehen, near Basel. Revolution des Viadukts, oil on oil grounding on cotton on stretcher frame, Hamburger Kunsthalle.

Insula dulcamara, oil color and colored betroffener ort paul klee biography on newsprint on jute on stretcher frame, Zentrum Paul KleeBern. Reception and legacy [ edit ]. Contemporary view [ edit ]. Musical interpretations [ edit ]. Additional musical interpretations [ edit ]. Architectural honors [ edit ]. Nazi looting and restitutions [ edit ].

Journal [ edit ]. Publications [ edit ]. Books, essays and lectures by Paul Klee [ edit ]. See also [ edit ]. Notes and references [ edit ]. Notes [ edit ]. References [ edit ]. Retrieved 9 August Der Vortrag. A reverse ekphrasis. Paul Klee und das Bauhaus. Retrieved 30 March — via Deutschlandfunk Kultur. Case Reports in Dermatology.

PMC PMID SWI swissinfo. Retrieved 8 March Reimer, Berlinp. Leben und WerkMunichnp. Oxford Art Online. Oxford University Press. Meisterwerke der Kunst, Isis Verlag. Archived from the original on 9 January Retrieved 25 September Retrieved 26 October Archived from the original on 29 April Retrieved 19 May Frankfurter Allgemeine in German. Archived from the original on 14 July Retrieved 2 October Archived from the original on 1 November Retrieved 2 January Herbert, Eleanor S.

Apter, Elise K. Archived from the original on 24 March Retrieved 24 March Archived from the original PDF on 3 June Retrieved 18 December Archived from the original on 30 May Retrieved 23 December Archived from the original on 15 April Musik des Edition Gorz. Archived from the original PDF on 18 December Retrieved 3 October Per Musi n. Archived from the original on 25 October Retrieved 14 April Klee suggests that color, shape, and the faintest suggestion of a subject are enough to powerfully re-create in the eye of the viewer the actual feeling of repose that the artist experienced in the original landscape.

Created in Klee's early Bauhaus years, this piece shows a scene of ambiguous signs and symbols over a background of modulated purples and oranges. The various strips of color hint at a horizon, their horizontal emphasis counteracted only by the boldly painted arrow, which abruptly suggests something as ordinary as a road sign. Like the many gradations of color, the arrow generates movement, compelling the viewer's eye to the center of the picture.

The influence on Klee of Cubist still lifes, such as those of Picasso and Braque, is clearly apparent: Klee suggests a motif painted from nature while also cancelling it, as though to remind us that this is no window but a kind of abstract sign system. Ink, pencil, and watercolor on paper; top and bottom strips with watercolor and ink, mounted on cardboard - Zentrum Paul Klee, Berne.

The title alludes to a kind of child's toy or domestic ornament, four mechanical birds resting on a hand crank, ready to sing when the crank is turned. In their still state, they give an intimidating impression, their gaping, menacing beaks the only sign that these are birds in the first place. Dadaist and proto-Surrealist fantasy and a sense of alarm in the face of the most ordinary item of every life is underlying this little, otherwise playful inscription.

Klee used an innovative technique to create this mixed-media piece: he drew on top of a sheet of paper that had been first covered in black oil pigment, which resulted in the blurred lines and black marks of the background. John D. Rockefeller Jr. Purchase Fund.

Betroffener ort paul klee biography

Klee visited Egypt ininspired by the North African country to create brightly colored abstract works. Yet, like many of his others, this painting is not quite fully divorced from its real world subject. Narrow blue rectangles at the top of the canvas suggest the sky, while uneven rectangles and trapezoids create paths leading one's eye from the bottom of the page to the elevated horizon.

Broad trapezoids painted pale hues are arranged down the center of the canvas to suggest a main road. Thus Klee manipulates color, shape, and line to create a sense of real-world depth and movement. The German word for death, Todmakes up the features of the white face in the center of the picture, so powerfully, yet simply reminiscent of a human or an animal skull.

Perhaps a minimally described man walks toward Death, or perhaps towards the glowing sun held in Death's hand. The image juxtaposes the cold white with the warm reds and yellows, perhaps symbolic, like a kind of cave painting, of the creation of man and the image of his sad mortality. Inspired by Klee's interest in hieroglyphics, Death and Fire suggests that abstraction and representation have been mutually accommodating, or otherwise complementary means of expression, since time immemorial.

Paul Klee was born to a German father who taught music at the Berne-Hofwil teacher's college and a Swiss mother trained as a professional singer. Encouraged by his musical parents, he took up violin at age seven. His other hobbies, drawing and writing poems, were not fostered in the same way. Despite his parents' wishes that he pursue a musical career, Klee decided he would have more success in the visual arts, a field in which he could create rather than just perform.

Klee's academic training focused mostly on his drawing skills. He studied in a private studio for two years before joining the studio of German symbolist Franz von Stuck in During his studies in Munich, he met Lily Stumpf, a pianist, and the couple married in Lily's work as a piano instructor supported Klee's early years as an artist, even after the birth of their son, Felix, in He participated in the second Blaue Reiter exhibition in and saw there the work of other avant-garde artists such as Robert DelaunayPablo Picassoand Georges Braque.

He borrowed his betroffener ort paul klee biography means from an observation of nature: "The active part the line can attack in two ways: It either divides the form achieved into two parts or goes further and causes a displacement, which in geological terms is called a fault The arrow's target is the center of the earth; its trajectory ends on the most favorable terrestrial layer and becomes position.

The straight lines going horizontally are abstract notions of the static rules of the second degree layers and accumulation resulting from the force of gravity. With or without the help of the arrow, Klee represents the movement of forms by a progressive series, notably through the elements of horizontal bands. In this work the tension of the event condenses as the bands gather together around the target.

According to Klee's definition, rows that shrink while regressing towards the center are mortal. The chromatism is there to reinforce this impression, and the progressive darkening acts as a threatening charge. The luminous yellow of the upper part is engulfed in the black and has its counterpart in the bottom part. Kandinsky, who would later on become a seminal and pivotal figure in abstract art, served as an inspiration to Klee.

Traveling to Tunisia inKlee achieved an artistic epiphany in terms of fascination with light and color, and was converted into abstractionism. Upon returning home, he produced his first completely abstract piece called In the Style of Kairouan. His color choices are similar to a musical key, sometimes utilizing complementary techniques and then dissonance, which are concepts that are also found in music composition.

Throughout his life, Klee marked emotional periods with artistic output. During World War I, despite a certain detachment or aloofness, he also produced lithographs that dealt with his distress over the death of some friends in battle. He continued painting despite the war. Byhe was enjoying good reputation and popularity among art patrons and critics as well.

He even landed a contract with an influential art dealer, enhancing his popularity. He began teaching at the Bauhaus academy inon subjects such as book binding, stained glass, and mural painting. He travelled extensively in the United States, Egypt, and exhibited in Paris.