Paul Klee Paintings

Paul Klee Paintings List

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About Paul Klee

(18 December 1879 - 29 June 1940)

Nationality German/Swiss
Movement Expressionism, Bauhaus, Surrealism

A Swiss-born painter and graphic artist whose personal, often gently humorous paintings are replete with allusions to dreams, music, and poetry, Paul Klee is difficult to classify. Primitive art, surrealism, cubism, and children's art all seem blended into his small-scale, totally more than 10,000 delicate paintings by Paul Klee, watercolors, and drawings, and etchings.

Early Paul Klee artwork is 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 Paul Klee artist 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 his and give pictures of Paul Klee an added dimension of meaning.

The painter often incorporated letters and numerals into Paul Klee painting, as in Once Emerged from the Gray of Night (1917-18; Klee Foundation, Berlin). These, part of his complex language of symbols and signs, are drawn from the unconscious and used to obtain a poetic amalgam of abstraction and reality. Paul Klee 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 him, but the painter also produced series of Paul Klee artwork 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, Paul Klee artist 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 Akademie, but he was dismissed by the Nazis, who termed Paul Klee painting "degenerate."

In 1933, he went to Switzerland. There the painter came down with the crippling collagen disease scleroderma, which forced him to develop a simpler style and eventually killed him. The late paintings of Paul Klee, characterized by heavy black lines, are often reflections on death and war, but the last artwork by Paul Klee, Still Life (1940; Felix Klee collection, Bern), is a serene summation of his life's concerns as a creator.

"his career was a search for the symbols and metaphors that would make this belief visible. More than any other painter outside the Surrealist movement (with which Paul Klee artwork had many affinities - its interest in dreams, in primitive art, in myth, and cultural incongruity), artist Paul Klee refused to draw hard distinctions between art and writing. Indeed, many paintings by Paul Klee are a form of writing: they pullulate with signs, arrows, floating letters, misplaced directions, commas, and clefs; their code for any object, from the veins of a leaf to the grid pattern of Tunisian irrigation ditches, makes no attempt at sensuous description, but instead declares itself to be a purely mental image, a hieroglyph existing in emblematic space.

So most of the time Paul Klee could get away with a shorthand organization that skimped the spatial grandeur of high French modernism while retaining its unforced delicacy of mood. Paul Klee art did not supplies the intense feelings of Picasso images, or the formal mastery of Matisse's. The spidery, exact line, crawling and scratching around the edges of his fantasy, art by Paul Klee in a small compass of post-Cubist overlaps, transparencies, and figure- field play-offs. In fact, most of his ideas about pictorial space came out of Robert Delaunay's painting, especially the Windows.

There was a clear link between some of his plant motifs and the images of plankton, diatoms, seeds, and micro-organisms that German scientific photographers were making at the same time. In such Paul Klee pictures, the artist tried to give back to art a symbol that must have seemed lost forever in the nightmarish violence of World War I and the social unrest that followed. This was the Paradise-Garden, one of the central images of religious romanticism - the metaphor of Creation itself, with all species growing peaceably together under the eye of natural (or divine) order."

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