Paul Klee posters, prints and serigraphs.


Paul Klee 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. "Transcendentalism was the common interest of the painters who formed the Expressionist group known as Der Blaue Reiter (The Blue Rider) in 1910. It was also a deep-set part of Bauhaus thought and practice, for nothing could be further from the truth than the idea that the Bauhaus represented some kind of logic opposed to the world-transforming aspirations of Expressionism. When Kandinsky taught at the Bauhaus, so did a Swiss artist named Paul Klee. And though Klee was not a Theosophist he was, like Kandinsky, devoted to an ideal ofpainting that stemed from German idealist metaphysics. "The monument of Klee's obsession with this metaphysics was a singular book, The Thinking Eye, written during his teaching years at the Bauhaus - one of the most detailed manuals on the "science" of design ever written, conceived in terms of an all embracing theory of visual "equivalents" for spiritual states which, in its knotty elaboration, rivalled Kandinsky's. Klee tended to see the world as a model, a kind of orrery run up by the cosmic clockmaker - a Swiss God - to demonstrate spiritual truth. This helps account for the toylike character of his fantasies; if the world had no final reality, it could be represented with the freest, most schematic wit, and this Klee set out to do. Hence his reputation as a petit-maitre. "Like Kandinsky, Klee valued the "primitive," and especially the art of children. He envied their polymorphous freedom to create signs, and respected their innocence and directness. 'Do not laugh, reader! Children also have artistic ability, and there is wisdom in their having it! The more helpless they are, the more instructive are the examples they furnish us ....' In his desire to paint 'as though newborn, knowing absolutely nothing about Europe,' Klee was a complete European. His work ferreted around in innumerable crannies of culture, bringing back small trophies and emblems from botany, astronomy, physics, and psychology. Music had a special influence on him. He believed that eighteenth-century counterpoint (his favourite form) could be translated quite directly into gradations of colour and value, repetitions and changes of motif; his compositions of stacked forms, fanned out like decks of cards or colour swatches, are attempts to freeze time in a static composition, to give visual motifs the "unfolding" quality of aural ones - and this sense of rhythmic disclosure, repetition, and blossoming transferred itself, quite naturally, to Klee's images of plants and flowers. He was the compleat Romantic,hearing the Weltgeist in every puff of wind, reverent before nature but careful to stylize it. Klee's assumptions were unabashedly transcendentalist. 'Formerly we used to represent things visible on earth,' he wrote in 1920, 'things we either liked to look at or would have liked to see. Today we reveal the reality that is behind visible things, thus expressing the belief that the visible world is merely an isolated case in relation to the universe and that there are many more other, latent realities ...' "Klee's 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 his work had many affinities - its interest in dreams, in primitive art, in myth, and cultural incongruity), he refused to draw hard distinctions between art and writing. Indeed, many of his paintings 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 Klee could get away with a shorthand organization that skimped the spatial grandeur of high French modernism while retaining its unforced delicacy of mood. Klee's work did not offer the intense feelings of Picasso's, or the formal mastery of Matisse's. The spidery, exact line, crawling and scratching around the edges of his fantasy, works in a small compass of post-Cubist overlaps, transparencies, and figure- field play-offs. In fact, most of Klee's ideas about pictorial space came out of Robert Delaunay's work, especially the Windows. The paper, hospitable to every felicitous accident of blot and puddle in the watercolour washes, contains the images gently. As the art historian Robert Rosenblum has said, 'Klee's particular genius [was] to be able to take any number of the principal Romantic motifs and ambitions that, by the early twentieth century, had often swollen into grotesquely Wagnerian dimensions, and translate them into a language appropriate to the diminutive scale of a child's enchanted world.' "If Klee was not one of the great formgivers, he was still ambitious. Like a miniaturist, he wanted to render nature permeable, in the most exact way, to the language of style - and this meant not only close but ecstatic observation of the natural world, embracing the Romantic extremes of the near and the far, the close-up detail and the "cosmic" landscape. At one end, the moon and mountains, the stand of jagged dark pines, the flat mirroring seas laid in a mosaic of washes; at the other, a swarm of little graphic inventions, crystalline or squirming, that could only have been made in the age of high-resolution microscopy and the close-up photograph. There was a clear link between some of Klee's plant motifs and the images of plankton, diatoms, seeds, and micro-organisms that German scientific photographers were making at the same time. In such paintings, Klee 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."
Flora on the Sand by Paul Klee, Senecio by Paul Klee, Color Composition, 1915 by Paul Klee, Lady Apart (serigraph on special paper) by Paul Klee, Farbtafel `QU I` by Paul Klee, Fish Magic by Paul Klee, Signs in Yellow by Paul Klee, Moonrise by Paul Klee, Blaue Nacht by Paul Klee, Rich Harbor by Paul Klee, Dancing from Fear by Paul Klee, Farbtafel, 1930 by Paul Klee, Oriental Feast (offset on special paper) by Paul Klee 39x20 Fine-Art Print, Castle and Sun by Paul Klee, The Blossoming Garden by Paul Klee, Three White Bluebells by Paul Klee, Flora di Roccia by Paul Klee, Fisch Bild, 1925 by Paul Klee, Untitled by Paul Klee, With Two Camels and a Donkey by Paul Klee, Senecio by Paul Klee, Red and White Domes by Paul Klee, Lonely Flower by Paul Klee, Comforts of the Orient by Paul Klee, Il Giardino Del Tempio by Paul Klee, Landscape with Black Columns by Paul Klee, Park Bei Lu, 1938 by Paul Klee, Sinbad the Sailor by Paul Klee, Heroic Roses by Paul Klee, Florentine Villa District by Paul Klee 24x32 Fine-Art Print, The Rose Garden by Paul Klee, Looking Out of the Twilight by Paul Klee, There was a Child Who Never Wanted by Paul Klee, With Two Camels by Paul Klee, Der Vollmond by Paul Klee, Making a Footprint by Paul Klee, Composition , 1920 by Paul Klee, Uberland by Paul Klee, View of Kairouan by Paul Klee, Versunkene Landschaft by Paul Klee, Red and White Domes by Paul Klee, Notte Egiziana by Paul Klee, Tempelviertel von Pert by Paul Klee, Scheidung Abends by Paul Klee, Head of a Man by Paul Klee, Cityscape with Yellow Windows by Paul Klee, Hammamet and It's Mosque by Paul Klee, Kreuze und Saulen by Paul Klee, Young Moe, 1938 by Paul Klee, Bimba e Zia by Paul Klee, Golden Fish, 1925 by Paul Klee, Fish in Harbour by Paul Klee, Ebne Landschaft by Paul Klee, The Law (serigraph on special paper) by Paul Klee, Der Niesen by Paul Klee, Incendio Sotto la Luna Piena by Paul Klee, Kleinode, 1937 by Paul Klee, Bimba e Zia by Paul Klee, Heroic Roses by Paul Klee, Niesen by Paul Klee, Sunken Landscape by Paul Klee 24x31 Fine-Art Print, Flourishing Port (serigraph on specail paper) by Paul Klee, Figure in Garden by Paul Klee, Before the Gates of Kairouan by Paul Klee, Garten im Orient by Paul Klee, Park Bei Lu (Zern) by Paul Klee, Flowers in Stone by Paul Klee, Palace, Partially Destroyed by Paul Klee, View of St. Germain by Paul Klee, Das Abenteurer - Schiff by Paul Klee, Scheffe im Dunkeln by Paul Klee, View of Saint Germain, 1914 by Paul Klee, Saint Germain Near Tunis by Paul Klee, Motiv aus Hammamet by Paul Klee, Legend of the Nile by Paul Klee, Landschaft mit Gelben Vogeln, 19... by Paul Klee, Villas Florentines, 1926 by Paul Klee, Kreuze und Saulen by Paul Klee, Flora di Roccia by Paul Klee, Garten im Orient by Paul Klee, Little Pine Tree, 1922, 176 by Paul Klee, Temple Garden by Paul Klee, The Deer by Paul Klee, Harvest of Lemons by Paul Klee, Boats in the Flood (offset serigraph) by Paul Klee, St-German Bei Tunis, Landeinwarts by Paul Klee, Arab Song, 1932 by Paul Klee, Partie Aus G. by Paul Klee, Wandbild aus dem Tempel der Sehn... by Paul Klee, Komposition auf Schwarzen Grund by Paul Klee, Cameretta a Venezia by Paul Klee, Incendio Sotto la Luna Piena by Paul Klee, Jardin de la Colonie by Paul Klee, Schlangenwege by Paul Klee, Der Graue und die Kuste, 1938 by Paul Klee, Night Feast by Paul Klee, Window by Paul Klee, Der Goldene Fisch by Paul Klee, Paesaggio al Tramonto by Paul Klee, Ohne Titel by Paul Klee, Abenteur - Schiff by Paul Klee, With the Eagle by Paul Klee, Mit Der Sinken by Paul Klee, Abenteurer-Schiff by Paul Klee, Blaue Nacht by Paul Klee, Landschaft Nahe Dem Hades by Paul Klee, Picture Album, 1937 by Paul Klee, Paesaggio al Tramonto by Paul Klee
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