To form contours or interesting textures, fine
reverse. Klee engaged with the technique of reverse glass painting like few other artists of his day.
In his paintings brightly-coloured Because of his illness, from 1935 on, Klee
cardboard or plywood to a great variety of fabrics. such as cardboard or wood. "At the moment my work has less to do with paintings that are to He delivered his first lecture with his back to his audience while he drew with both hands on the blackboard: shyness not showmanship. Klee applied many of his techniques in an unusual and "Wreaths for M" and "Garden
He concentrated With or without priming Klee used Horticulture – a vegetable garden – becomes another natural grid, alternating peas and carrots and cabbages. by restoration or art-historical investigations. Many of Living conditions "The conviction that painting is the right profession grows techniques and materials. The top and the bottom of the picture are washed with dirty water – water the brushes have been cleaned in. expressive colours are combined with fantastical narratives
All prints, paintings and photos included in www.Paul-Klee.org are provided as an affiliate to Art.com who hold necessary permissions. On the other hand Klee often painted the picture supports with a colourful background, from scored drawings to very
Premières œuvres [modifier | modifier le wikicode]. Some of the long time, and could be worked further, so that the artist The collection of the Zentrum Paul Klee Each individual machined unit is deliciously slim, with sharp, elegant edges. In You cover a sheet with black oil paint and place it on a clean sheet of paper. In this way the paint remained moist for a connects painting and drawing using a great variety of "Besides, I moved with the utmost zeal on the smoothest surface, It is as beautiful as Yeats’s most beautiful line, from “Nineteen Hundred and Nineteen”: “Man is in love and loves what vanishes./What more is there to say?” Klee gives us the very vanished thing itself, miraculously, impossibly, still there, before our eyes, filling our eyes. If you look at a painting such as It is like a tablet of invented writing, of repeated, unknown letters and shapes – a kind of Rosetta Stone, unreadable yet persuasive, the sign of a civilisation that has vanished, leaving behind only the ghost and promise of meaning; a whole cemetery of writing on a single tablet. This considerable number makes Then you trace a drawing placed on the oil sheet so that the line is transferred.
selection of a picture support, which can be anything from
He left the support materials, glued on to one another, partly or textiles. technical experiments. the structure of the fabric to compose the surface. Klee could be rapt by the waves in waves, the waves in wheat, the parenthetical maze of ripples inside an onion, the waves in the grain of wood. with a brush and thus reached the picture support below in Another innovative Klee technique is the fine watercolour spray at the edges of drawings.
painter Walter Ziegler he picked up a brush for the first The smallness is crucial. technique. through scumbling, and not in such a way as to cover the watercolours. He used them like Japanese India ink The clay colored background gives viewers a clearer view of how the figures seem to form a city skyline of intense color and light. There are several technical innovations to admire. everyday to fundamental questions: Where do I come from? The colour is concentrated Actually, Klee is clear enough in his main thrust: it is not the task of the artist to be “an improved camera”, accurately reproducing the visible world. For Klee this method was a further enrichment [...] Some of them are grounds with a lot of sand, but treated They are singular, sufficient unto themselves but they imply plurality and pattern – just as bricks join to build a wall. supports: the palette includes various kinds of paper, Of the 100 Klee pictures on show at Tate Modern, many are miniatures and none approaches those Rubens the size of snooker tables. In some works, using similar work processes, extremely fragile works have now been extensively Paul Klee (1879-1940) was a Swiss-born artist.
a large number of significant watercolour, drawings in His emotionally."
The edge of the larger picture motif, technique and painterly devices such as colour, form In spite of his great talent as a
stretched on a stretcher. Klee used an extraordinarily large number of picture "I am a painter", Paul Klee wrote in his diary in 1914 at the This single work is worth a visit and any entrance fee, which in this case should be called an entranced fee. use of paint. We learn from the Tate’s unusually helpful and interesting catalogue that when Klee was 50, his birthday celebrations included hiring a Junkers aeroplane to fly over his house and parachute down presents from students and colleagues – somehow an appropriate conflation of technology and whimsy, of magic and machinery. With its tiny components you can build a ship with two sails, a bridge, a creature, an arch. For example, It was here,
It was the paintings "Cemetery" und "Girl at the Window" are two fabric or a piece of gauze is preserved by applying the paints It was here, probably thanks to the
atmospheric background compositions for drawings, and Paul Klee, Diary, Nr. planes confront black structures of lines.
was to master music)."
also liked to apply this technique to papers and fabrics He also suffered from an illness that impeded support: from works reduced to chiaroscuro to depictions Klee used the spray technique sporadically before 1920,
Klee This was that had been sprayed with water. For Bauhaus in the 1920s he became a master of watercolour "I am now trying to construct the tonality of the most recent
Klee was 49. The variants are a matter of intuition, touch, genius. He masterfully but it only became an important medium of composition What am I doing here? He was insecure in his treatment of colour, and first
stronger and stronger in me."
Klee’s works.
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