Art Gallery Alternating Paintings by Van Gogh With Artwork by Suda the Painting Elephant

Paul Klee (18 December 1879 - 29 June 1940) was born in Munchenbuchsee, Switzerland, and is considered both a German and a Swiss painter. His highly individual way was influenced by movements in fine art that included expressionism, cubism, and surrealism. He was likewise a student of orientalism. Klee was a natural draftsman who experimented with and eventually mastered color theory, and wrote extensively well-nigh information technology; his lectures Writings on Grade and Design Theory (Schriften zur Course und Gestaltungslehre), published in English as the Paul Klee Notebooks, are considered then important for modern art that they are compared to the importance that Leonardo da Vinci'southward A Treatise on Painting had for Renaissance. He and his colleague, the Russian painter Wassily Kandinsky, both taught at the High german Bauhaus school of fine art, design and compages. His works reflect his dry sense of humour and his sometimes childlike perspective, his personal moods and beliefs, and his musicality.

Paul Klee was born equally the 2d child of the German music teacher Hans Wilhelm Klee (1849-1940) and the Swiss singer Ida Marie Klee, nee Frick (1855-1921). His sister Mathilde (died half-dozen December 1953) was built-in on 28 Jan 1876 in Walzenhausen. Their male parent came from Tann and studied at the Stuttgart Conservatory singing, piano, organ and violin, where he met his hereafter wife Ida Frick. Until 1931 Hans Wilhelm Klee was active every bit a music instructor at the Bern State Seminary in Hofwil near Bern. Due to this circumstances, Klee was able to develop his music skills through his parental home; his parents backed and inspired him until his decease. In 1880, his family unit moved to Bern, where they moved 17 years later on later numerous changes of residence into a house at the Kirchenfeld district. From 1886 to 1890, Klee visited the primary school and received, at the age of vii, violin classes at the Municipal Music School. He was so talented on violin that, aged 11, he received an invitation to play as an infrequent fellow member of the Bern Music Association.

In his early years, post-obit his parent'south wishes, he focused on becoming a musician; just he decided on the visual arts during his teen years, partly out of rebellion and partly because of a belief that mod music lacked pregnant 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." As a musician, he played and felt emotionally bound to traditional works of the eighteenth and nineteenth century, simply as an artist he craved the freedom to explore radical ideas and styles. At 16, Klee's landscape drawings already testify considerable skill.

Around 1897, he started his diary, which he kept until 1918, and which has provided scholars with valuable insight into his life and thinking. During his school years, he avidly drew in his schoolhouse books, in particular cartoon caricatures, and already demonstrating skill with line and volume. He barely passed his final exams at the "Gymnasium" of Bern, where he qualified in the Humanities. With his characteristic dry out wit, he wrote, "Later on all, it's rather hard to reach the exact minimum, and it involves risks." On his own fourth dimension, in improver to his deep interests in music and art, Klee was a swell reader of literature, and afterward a writer on fine art theory and aesthetics.

With his parents' reluctant permission, in 1898 he began studying art at the Academy of Fine Arts in Munich with Heinrich Knirr and Franz von Stuck. He excelled at drawing simply seemed to lack whatever natural color sense. He later recalled, "During the third wintertime I even realized that I probably would never acquire to pigment." During these times of youthful adventure, Klee spent much fourth dimension in pubs and had affairs with lower class women and artists' models. He had an illegitimate son in 1900 who died several weeks after birth.

After receiving his Fine Arts degree, Klee went to Italian republic from October 1901 to May 1902 with friend Hermann Haller. They stayed in Rome, Florence, and Naples, and studied the principal painters of past centuries. He exclaimed, "The Forum and the Vatican accept spoken to me. Humanism wants to suffocate me." He responded to the colors of Italy, just sadly noted, "that a long struggle lies in store for me in this field of color." For Klee, color represented the optimism and nobility in art, and a hoped for relief from the pessimistic nature he expressed in his blackness-and-white grotesques and satires. 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 Male parent (1906). In the years 1903-v he as well completed a bike of xi zinc-plate etchings chosen Inventions, his beginning exhibited works, in which he illustrated several grotesque characters. He commented, "though I'm adequately satisfied with my etchings I tin't go on like this. I'g non a specialist." Klee was still dividing his time with music, playing the violin in an orchestra and writing concert and theater reviews.

Klee married Bavarian pianist Lily Stumpf in 1906 and they had i son named Felix Paul in the post-obit yr. They lived in a suburb of Munich, and while she gave piano lessons and occasional performances, he kept house and tended to his art piece of work. His endeavor to exist a mag illustrator failed. Klee's art work progressed slowly for the side by side 5 years, partly from having to split his time with domestic matters, and partly equally he tried to find a new approach to his art. In 1910, he had his first solo exhibition in Bern, which then traveled to three Swiss cities.

In January 1911 Alfred Kubin met Klee in Munich encouraging him to illustrate Voltaires Candide. Effectually this time, Klee's graphical piece of work saw an increase, and his early on inclination towards the absurd and the sarcastic was well received by Kubin. He did not only befriend Klee but he was too 1 of his first pregnant collectors. Klee met, through Kubin, the art critic Wilhelm Hausenstein in 1911, and was in the summer that twelvemonth foundation member and manager of the Munich artists' union Sema. In autumn he fabricated an acquaintance with August Macke and Wassily Kandinsky, and in winter he joined the editorial team of the almanach Der Blaue Reiter, founded by Franz Marc and Kandinsky. On meeting Kandinsky, Klee recorded, "I came to experience a deep trust in him. He is somebody, and has an exceptionally beautiful and lucid listen." Other members including Macke, Gabriele Munter and Marianne von Werefkin. Klee progressed in a few months of his assistance to one of the most important and independent members of the Blaue Reiter, but he was non yet fully integrated.

The release of the almanach was delayed for the benefit of an exhibition. The first Blaue Reiter exhibition took place from 18 Dec 1911 to 1 Jan 1912 in the Moderne Galerie Heinrich Thannhauser in Munich. Klee did not attend information technology, just in the second exhibition, occurred from 12 February to xviii March 1912 in the Galerie Goltz, 17 of his graphical works were showed. The proper noun of this art exhibition was Schwarz-Weiß, as information technology merely regarded graphic painting. Initially planned to exist released in 1911, the release engagement of the Der Blau Reiter almanach by Kandinsky and Marc was delayed in May 1912, including the reproducted ink drawing Steinhauer by Klee. At the same time, Kandinsky published his art history writing Uber das Geistige in der Kunst.

The association opened his mind to mod 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 abstruse art. The use of bold color by Robert Delaunayand Maurice de Vlaminck also inspired him. 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 virtually the Gravel Pit(1913), using blocks of color with limited overlap. Klee acknowledged that "a long struggle lies in store for me in this field of color" in order to reach his "distant noble aim." Soon, he discovered "the style which connects drawing and the realm of color."

While Klee was in Paris, he was able to access Post-Impresionism works of Paul Cezane and Vincent van Gogh. "Let me to exist scared stiff," Klee said afterward seeing van Gogh'south paintings. Van Gogh influenced Klee'due south use of color to limited emotion, his simplified or distorted drawing, and his cede of realistic illusions of depth to an emphatic surface design.

Kleee's artistic quantum 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, "Colour has taken possession of me; no longer exercise I have to chase afterward it, I know that it has concur of me forever... Colour and I are one. I am a painter." With that realization, faithfulness to nature fades in importance. Instead, Klee began to delve into the "cool romanticism of abstraction". In gaining a second creative vocabulary, Klee added color to his abilities in draftsmanship, and in many works combined them successfully, as he did in ane series he called "operatic paintings". Ane of the most literal examples of this new synthesis is The Bavarian Don Giovanni (1919).

After returning home, Klee painted his first pure abstruse, In the Mode of Kairouan (1914), equanimous of colored rectangles and a few circles. The colored rectangle became his basic building block, what some scholars associate with a musical note, which Klee combined with other colored blocks to create a color harmony coordinating to a musical limerick. His selection of a particular color palette emulates a musical fundamental. Sometimes he uses complementary pairs of colors, and other times "dissonant" colors, once again reflecting his connection with musicality.

A few weeks later, Globe War I began. At get-go, Klee was somewhat detached from it, every bit he wrote ironically, "I have long had this state of war in me. That is why, inwardly, it is none of my business concern." Soon, however, it began to impact him. His friends Macke and Marc both died in battle. Venting his distress, he created several pen and ink lithographs on state of war themes including Decease for the Idea (1915). He likewise continued with abstracts and semi-abstracts. In 1916, he joined the German war attempt, but with backside the scenes maneuvering by his begetter, Klee was spared serving at the front and concluded up painting camouflage on airplanes and working as a clerk.

He continued to paint during the entire state of war and managed to exhibit in several shows. By 1917, Kleee's work was selling well and art critics acclaimed him as the all-time of the new German artists. His Ab ovo (1917) is especially noteworthy for its sophisticated technique. Information technology employs watercolor on gauze and paper with a chalk basis, which produces a rich texture of triangular, round, and crescent patterns. 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.

In 1919, Klee applied for a teaching post at the Academy of Art in Dusseldorf. This endeavor failed only he had a major success in securing a iii-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 as well notable.

Klee taught at the Bauhaus from January, 1921 to April, 1931. He was a "Class" primary in the bookbinding, stained glass, and mural painting workshops and was provided with 2 studios. In 1922, Kandinsky joined the staff and resumed his friendship with Klee. Later on that twelvemonth the beginning Bauhaus exhibition and festival was held, for which Klee created several of the advert materials. And in the same year, the showtime series of Bauhaus books is published with works by Gropius (International Architecture), Paul Klee, Adolf Meyer, Oskar Schlemmer, and Piet Mondrian. Klee welcomed that at that place were many conflicting theories and opinions within the Bauhaus: "I too approve of these forces competing one with the other if the result is achievement."

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

Klee also taught at the Dusseldorf Academy from 1931 to 1933, and was singled out past a Nazi newspaper, "Then that great beau Klee comes onto the scene, already famed as a Bauhaus teacher in Dessau. He tells everyone he's a thoroughbred Arab, but he's a typical Galician Jew." His habitation was searched by the Gestapo and he was fired from his job. His self-portrait Struck from the Listing(1933) commemorates the sad occasion. In 1933-4, Klee had shows in London and Paris, and finally met Pablo Picasso, whom he profoundly admired. The Klee family emigrated to Switzerland in late 1933.

Klee was at the peak of his artistic output. His Advertizing Parnassum (1932) is considered his masterpiece and the best example of his pointillist mode; it is also one of his largest, near finely worked paintings. He produced nearly 500 works in 1933 during his last twelvemonth in Germany. Even so, in 1933, Klee began experiencing the symptoms of what was diagnosed as scleroderma afterwards his decease. The progression of his fatal disease, which made swallowing very hard, can be followed through the art he created in his last years. His output in 1936 was only 25 pictures. In the subsequently 1930s, his health recovered somewhat and he was encouraged by a visit from Kandinsky and Picasso. 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 one year. He used heavier lines and mainly geometric forms with fewer merely larger blocks of color. His varied color palettes, some with bright colors and others sober, perhaps reflected his alternating moods of optimism and cynicism. Back in Federal republic of germany in 1937, when Nazis took control of the government, seventeen of Klee'south pictures, along with other works of contemporary avant-garde artists, such equally Marc Chagall, Max Ernst, Piet Mondrian, and Wassily Kandinsky, were included in an exhibition of "Degenerate art" and 102 of his works in public collections were seized by the Nazis.

Klee suffered from a wasting illness, scleroderma, toward the end of his life, enduring pain that seems to exist reflected in his last works of fine art. One of his last paintings, Death and Fire, features a skull in the centre with the German word for expiry, "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. His art work was considered too revolutionary, even degenerate, by the Swiss authorities, simply eventually they accepted his asking 6 days afterwards his expiry. His legacy comprises virtually 9,000 works of art. The words on his tombstone, Klee's credo, placed there by his son Felix, say, "I cannot be grasped in the here and now, For my dwelling place is as much among the dead, As the still unborn, Slightly closer to the heart of creation than usual, Merely withal not shut plenty." He was buried at Schosshaldenfriedhof, Bern, Switzerland.

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Source: https://paulklee.net/

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