Nuit bleue paul klee biography

His Ad Parnassum is considered his masterpiece and the best example of his pointillist style; it is also one of his largest, most finely worked paintings. He produced nearly works in during his last year in Germany. However, inKlee began experiencing the symptoms of what was diagnosed as scleroderma after his death. The progression of his fatal disease, which made swallowing very difficult, can be followed through the art he created in his last years.

His output in was only 25 pictures. In the later s, 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 he created over 1, works, a career high for one year. He used heavier lines and mainly geometric forms with fewer but larger blocks of color.

His varied color palettes, some with bright colors and others somber, perhaps reflected his alternating moods of optimism and pessimism. Back in Germany inseventeen of Klee's pictures were included in an exhibition of "Degenerate art" and of his works in public collections were seized by the Nazis. In2 years after moving to Switzerland and working in a very confined situation, Klee developed scleroderma, an autoimmune disease resulting in hardening of connective tissue.

He endured pain that seems to be reflected in his last works of art. In his last months he created 50 drawings of angels. One of his last paintings, Death and Fire, features a skull in the center with the German word for death, "Tod", appearing in the face. He died in Muralto, Locarno, Switzerland, on 29 June without having obtained Swiss citizenship, despite his birth in that country.

His art work was considered too revolutionary, even degenerate, by the Swiss authorities, but eventually they accepted his request six days after his death. His legacy comprised about 9, 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 yet unborn.

Slightly closer to the heart of creation than usual, but still not close enough. Paul Klee German, - Angebot Black Columns in a Landscape Nach oben Wird erwachen Will Awaken Der Sauerbaum Die Hexe mit dem Kamm Witch with a Comb Rich Harbor Picture of a Journey Singer of the Comic Opera Alea jacta Load More Loading View all Artworks. Even now, during an almost triumphant feminism, such a distribution of forces in the family cannot be called habitual, and at the beginning of the 20th century it was a real revolution, which laid the foundation for the venomous psychoanalysts to Freud's followers.

But Felix was one of the happiest boys in the entire universe. While mom worked, dad fed him, went to the store and made a theater for him. He will soon have no time to do household chores. Paul Klee was the first to invent an automatic letter, for which the surrealists would then write it down in their predecessors, he invented unique techniques such as scratching a pattern on tinted glass, for which he would soon be called to teach students in the avant-garde Bauhaus.

The creation process for him was always more important than the finished result, becoming - more important than recognition. Klee is born as an artist slowly and with pleasure. An excellent draftsman, sensitive to the changing forms of the world, Klee nevertheless could not cope with oil for a long time and make the color live in the paintings.

Until he went to Tunisia. This journey, made in after several solo exhibitions, participation in the second exhibition of the Blue Horseman and in the First German Salon in the Sturm Gallery will finally free the artist in Klei, who will be free from isms all his life from influences colleagues and masters, which will always be unexpected even in relation to last year.

He will lead stained glass, textile and bookbinding workshops here for 10 years, create several theoretical works that will be published in the Bauhaus Books series and grow several generations of artisans who will have one important skill from Klee: not to blindly repeat their teacher, and have the courage to be free. In the early 30s, Paul Klee will leave the Bauhaus, without waiting for it to close soon.

In Switzerland, where Klee would leave, there was practically no artistic life, his colleagues mainly emigrated to America, some to the Soviet Union. Klee will no longer have his own workshop, but he never really needed it. He dreamed of someday growing a work of art as a plant. He knew how to talk with snakes, and they obeyed him. In his diary Klee wrote the following note at that time:.

In the large molding pit are lying ruins, on which one partially hangs. They provide the material for the abstraction. Under the impression of his military service he created the painting Trauerblumen Velvetbells inwhich, with its graphical signs, vegetal and phantastic shapes, is a forerunner of his future works, harmonically combining graphic, color and object.

For the first time birds appear in the pictures, such as in Blumenmythos Flower Myth frommirroring the flying and falling planes he saw in Gersthofen, and the photographed plane crashes. In the watercolor painting Einst dem Grau der Nacht enttauchta compositional implemented poem, possibly written by Klee, he incorporated letters in small, in terms of color separated squares, cutting off the first verse from the second one with silver paper.

At the top of the cardboard, which carries the picture, the verses are inscribed in manuscript form. Here, Klee did not lean on Delaunay's colors, but on Marc's, although the picture content of both painters does not correspond with each other. The Villa R Kunstmuseum Basel from unites visible realities such as sun, moon, mountains, trees and architectures, as well as surreal pledges and sentiment readings.

His works during this time include Camel in rhythmic landscape with trees as well as other paintings with abstract graphical elements such as betroffener Ort Affected Place After being named defamatory in the Munich exhibition " Entartete Kunst ", the painting was later bought by the Buchholz Gallery, New York, and then transferred in to the Museum of Modern Art.

The "twittering" in the nuit bleue paul klee biography refers to the open-beaked birds, while the "machine" is illustrated by the crank. The watercolor painting appears at a first glance childish, but it allows more interpretations. The picture can be interpreted as a critic by Klee, who shows through denaturation of the birds, that the world technization heist the creatures' self-determination.

Through variations of the canvas ground and his combined painting techniques Klee created new color effects and picture impressions. From toKlee created 50 hand puppets for his son Felix. The puppets are not mentioned in the Bauhaus catalog of works, since they were intended as private toys from the beginning. He not only dealt with puppet shows privately, but also in his artistic work at the Bauhaus.

Its overlaying technique evinces the polyphonic character of his drawing method between and In this mosaic-like work in the style of pointillism he combined different techniques and compositional nuit bleue pauls klee biography. Influenced by his trip to Egypt from toKlee built a color field from individually stamped dots, surrounded by similarly stamped lines, which results in a pyramid.

Above the roof of the " Parnassus " there is a sun. The title identifies the picture as the home of Apollo and the Muses. In the architecture of the ancient funerary moments Klee discovered a sense of proportion and measure in which human beings appeared to establish a convincing relationship with the immensity of the landscape; furthermore, he was drawn to the esoteric numerology that governed the way in which these monuments had been built.

The self-portrait in the same year—with the programmatic title von der Liste gestrichen removed from the list —provides information about his feeling after losing his professorship. The abstract portrait was painted in dark colors and shows closed eyes and compressed lips, while on the back of his head there is a large "X", symbolizing that his art was no longer valued in Germany.

In this period Klee mainly worked on large-sized pictures. After the onset of illness, there were about 25 works in the catalogue, but his productivity increased in to pictures, toand —his most productive year—to They dealt with ambivalent themes, expressing his personal fate, the political situation and his wit. Examples are the watercolor painting Musiker musiciana stick-man face with partially serious, partially smiling mouth; and the Revolution des Viadukts Revolution of the Viaduktan anti-fascist art.

In Viadukt the bridge arches split from the bank as they refuse to be linked to a chain and are therefore rioting. Bitterness and sorrow are not rare in much of his works during this time. Klee created in a picture which strongly differs from the previous works, leaving it unsigned on the scaffold. The comparatively realistic still lifeOhne Titellater named as Der Todesengel Angel of Deathdepicts flowers, a green pot, sculpture and an angel.

The moon on black ground is separated from these groups. During his 60th birthday Klee was photographed in front of this picture. In a minimum of one line he can reveal his wisdom. He is everything; profound, gentle and many more of the good things, and this because: he is innovative", wrote Oskar SchlemmerKlee's future artist colleague at the Bauhaus, in his September diary.

When Klee visited the Paris surrealism exhibition inMax Ernst was impressed by his work. His partially morbid motifs appealed to the surrealists. He is by no means a dreamer; he is a modern person, who teaches as a professor at the Bauhaus.

Nuit bleue paul klee biography

But Breton despises him. Insome papers from Prinzhorn's anthology were presented at the National Socialist propaganda exhibition " Entartete Kunst " in Munich, with the purpose of defaming the works of KirchnerKlee, Nolde and other artists by likening them to the works of the insane. In Marcel Duchamp commented on Paul Klee: "The first reaction in front of a Klee painting is the very pleasant discovery, what everyone of us could or could have done, to try drawing like in our childhood.

Most of his compositions show at the first glance a plain, naive expression, found in children's drawings. A deep understanding of dealing with watercolors to paint a personal method in oil, structured in decorative shapes, let Klee stand out in the contemporary art and make him incomparable. On the other side, his experiment was adopted in the last 30 years by many other artists as a basis for newer creations in the most different areas in painting.

His extreme productivity never shows evidence of repetition, as is usually the case. He had so much to say, that a Klee never became another Klee. One of Klee's paintings, Angelus Novuswas the object of an interpretative text by German philosopher and literary critic Walter Benjaminwho purchased the nuit bleue paul klee biography in In his "Theses on the Philosophy of History" Benjamin suggests that the angel depicted in the painting might be seen as representing the angel of history.

Another aspect of his legacy, and one demonstrating his multi-faceted presence in the modern artistic imagination, is his appeal for those interested in the history of the algorithm as exemplified by Homage to Paul Klee by computer art pioneer Frieder Nake. Unlike his taste for adventurous modern experiment in painting, Klee, though musically talented, was attracted to older traditions of music; he appreciated neither composers of the late 19th century, such as WagnerBruckner and Mahlernor contemporary music.

Bach and Mozart were for him the greatest composers; he most enjoyed playing the works by the latter. It was made using portions and cutouts from Paul Klee's paintings. It is located within the art history department, established by Franz-Joachim Verspohl. It encompasses the private library of book collector Rolf Sauerwein which contains nearly works from 30 years composed of monographs about Klee, exhibition catalogues, extensive secondary literature as well as originally illustrated issues, a postcard and a signed photography portrait of Klee.

Located in Bern, the museum exhibits about of Klee works overall in a six-month rotation, as it is impossible to show all of his works at once. Furthermore, his pictures require rest periods; they contain relatively photosensitive colors, inks and papers, which may bleach, change, turn brown and become brittle if exposed to light for too long.

In addition to Klee's works that Nazis seized from museums, several of his artworks were looted by Nazis from Jewish collectors and their families. Some of these have been restituted [ ] while others have been the subject of lawsuits and claims for restitution. The Zwitscher-Maschine. It encompasses art historical and art technological studies, as well as literary or philosophical texts on the life and work of Paul Klee.

The journal is freely accessible to authors from the international Klee research community, following an open-access approach known as the ' golden nuit bleue paul klee biography ' primary publishing strategy. Contents move to sidebar hide. Article Talk. Read Edit View history. Tools Tools. Download as PDF Printable version.

In other projects. 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. 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.

Klee visited Delaunay's studio in Paris that same year. His experiments with abstraction began at about this time. Klee's trip to Tunisia in changed his relationship with color.