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A

PRAEQER WORIpD OF ART PROFILE

$3.95

KLEE GUALTIERI

DI

SAN LAZZARO

>

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.4

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A

PRAEGER WORLD OFART PROFILE

Klee

Digitized by the Internet Archive in

2011

http://www.archive.org/details/kleestudyofhisliOOdisa

Klee A

STUDY OF

HIS LIFE

GUALTIERI

DI

AND WORK

BY

SAN LAZZARO

TRANSLATED FROM THE ITALIAN BY

STUART HOOD

Frederick A. Praeger, Publishers

NEW YORK

TRANSLATED FROM THE ITALIAN BY STUART HOOD

FERNAND HAZAN,

(g)

FIRST PUBLISHED IN THE

FREDERICK I

I

I

PARIS, 1957

UNITEDSTATES OFAMERICA

IN 1957

BY

PRAEGER, INC., PUBLISHERS FOURTH AVENUE, NEW YORK 3, N.Y. SECOND PRINTING, 964 A.

I

LIBRARY OF CONGRESS CATALOG CARD NUMBER

57-1

I

232

FIRST PUBLISHED IN THIS FORMAT, 964 GREAT BRITAIN BY JARROLD & SONS LTD, NORWICH REPRODUCTION RIGHTS RESERVED BY FELIX KLEE, BERNE I

PRINTED

IN

Contents The

Arab

Little

page

Three years of Darkness

The

Artist

Paris

page

Alone

page 33 page 46

faire*

and Cubisni

page 67

page 79

Africa

War page

87

page

'Creative Confession*

The Bauhaus

page

116

page

K, K, Gesellschaft

lOS

page 127

Line, Tonality, Colour

149

Crystalline Painting

page

Return to Berne

page 183

I6S

Demons page

Angels, Saints and

The Last Days

page 225

page 235

Saint

page 243

Biographical Notes

Catalogue of Principal Works Klee's Writings

197

page 209

'The Heart of Creation*

An Unorthodox

14

page 22

Mastering Life

'Bonne a tout

I

page 257

page 281

page 282

Books Illustrated by Klee Principal Exhibitions

Bibliography

page 282

page 284

Index of Works Reproduced Index of Persons

page 287

page 303

WE ARE GRATEFUL TO M.

AND THE

FELIX ICLEE

KLEE FOUNDATION, BERNE

FOR INVALUABLE ASSISTANCE

IN

THE PREPARATION OF THIS BOOK

OUR THANKS ARE ALSO DUE TO THOSE WHO PERMITTED US TO PHOTOGRAPH

THE

WORKS OF

KLEE IN THEIR COLLECTIONS

AND PARTICULARLY TO M.

MLLE ANGELA MR.

AND MME BURGl OF

AND F.

C.

M. SIEGFRIED

BERNE.

ROSENGART OF LUCERNE,

SCHANG AND

MR.

BERGGRUEN

SELF-PORTRAIT— DRAWING FOR A

The

Little

Arab

The son of a Swiss mother and a German father, Paul Klee was a wonderful epitome of the physical and psychoboth his indeed almost impossible to be more German and yet more Swiss than he. But some distant trace of the Mediterranean had left its mark on him both logical

parents.

characteristics It

would be

—

of

difficult

—

WOODCUT.

1909.

physically and spiritually. In photographs taken when he was a child, he has the secretive, sensual face of a little Arab. As an adult he was always to feel strongly the lure of the Mediterranean. The thin line of the beard running straight from the corners of his mouth, his thick lips and dark, penetrating eyes are characteristically African. And because of this remote influence which has never been accurately defined by

LANDSCAPE—from

—

a

sketchbook,

biographers family on his his mother's side is suspected of North African connections he was himself to become African. From Africa came the mystery, the incantation which seemed to be the source of his last works. His biographers tell us that his mother, Ida Maria Klee, came from Basle, which is at oncethe most bitingly witty and the most sensual of Swiss cities. His father, Hans, on the other his

—

c.

1898. Klee-Stiftung, berne.

hand, was German.

A common

passion

for music had brought the couple to-

—

gether that and Hans Klee's almost legendary powers of sarcasm, which a native of Basle could not but consider with a certain benevolent tolerance. Paul was born on 18th December 1879, at Munchenbuchsee near Berne where his father he had had to give up singing taught as" a schoolmaster. Tempered by the understanding of the

—

—

ARCO— SOUTH

boy's

mother, the sarcasm

Klee became

humour

in

TYROL.

of

1896. Felix Klee Collection, Berne.

Hans

The

his son.

musical aspirations of the parents reappeared undiminished in Paul who was even tempted at one stage to give up the violin, to which he owed his first childish successes, and by devoting himself to singing, realize the most

tenacious of his parents' desires.

There was another riage

— Mathilde,

child of the

whose

marby

portrait

Klee is well known (Cat. 3). But she had no influence on her brother al-

though

she was devoted upbringing and

Heredity,

personality

made

to

him.

his

own

an artist of Klee.

In

need to escape was merely an extension of his personality and not the expression of a revolt against the milieu in which he lived, as it was in the case of many other artists. In a 'sous-verre' by his son, Hans his case his

VIRGIN IN A TREE.

-1903.

Klee has the majestic vanity of a Grand

bitions as an artist and

But in the photographs of the same period he displays the simple cordiality of an emaciated, bearded patriarch. Perhaps he was a bit of both. But few patriarchs have had the good fortune to bring into the world a more affectionate and devoted son. Even more than a father Hans Klee must have been a friend to his son. It was to his father that the young art student later confided his first am-

expressed the sincere ambitions awakened within him by the masterpieces of the Munich Pinakothek.

Elector (page

6).

in

enthusiastic

letters

This sarcastic first

playfellow

man

then, was his son's

—the

first

admirer of

the drawings which the child, encouraged by his maternal grandmother, produced with his left hand. Not that he

was

really

know from and

left-handed

—that

his son, Felix Klee.

painted

with the

left

we He drew

hand but

STILL LIFE— FLOWERPOTS

AND

VASES.

1908. Klee-Stiftung, Berne.

PORTRAIT OF MY FATHER.

1906. Felix Klee Collection, berne.

wrote with the right. He could also write and draw with both hands simultaneously, working either from right to left or from left to right. For heavy

be able to do without them. They were to occupy the same place in his work as Picasso at a certain period gave to perhaps an even more imthe owl

work he The

—

left

hand.

portant place, for to Picasso the owl

small boy's other friends

were

symbol of antiquity, whereas the cat is Klee's most familiar demon, the genius of his hearth. At school his gay, ironic character won him the liking of his companions particularly of those who were most dissatisfied

preferred to use the

the cats which held absolute sway over the district of Berne to which his family had moved shortly after he was born. And to the cats, too, Klee was to remain loyal all his life. He would never

merely

a

—

is

PORTRAIT OF

LILY KLEE. 1906.

Felix Klee Collection, Berne.

with its very broad education, which took no account of individual leanings. Klee was one of the most pugnacious of the boys, yet he never showed any desire to assume the authority of leader. His notebooks were full of drawings with which he was continually busy as he followed the lesson with one ear. But in the Greek class he was more attentive, for

poet

in

Greek appealed to the

him.

The Klee archives contain twelve notebooks from these years, full of drawings which cannot be described as masterpieces but which have nevertheless sensibility. The most moving are those from his early childhood on themes presumably suggested by the Christ child, a his grandmother

—

guardian

angel,

the

Christmas-tree.

The Christmas-tree was to revert to being a simple pine and become one of

Htp?

—

his most constant symbols the leafy symbol which, after his journey to Tunisia, he was to set against the full round moon of the South. The boy was

particularly

which

fond

men and

processions

of

animals

in

alternated.

Certain spidery personages which were in the illustrations to Candide are already there. There is a

to reappear later certain

humour, too,

in

these early

drawings but it disappears in later works which reveal his growing preoccupation with technicalities. Space and light are the two problems which beset the young artist. But he is still moved by love and his youthful landscapes from the years 1895 and 1896 show sensibility and sometimes technical

ability

worthy of

a

mature

artist.

One remembers

with particular emotion an envelope which at the age of ten he painted and cut out as if it were

m

BERNE— INDUSTRIAL QUARTER WITH CATHEDRAL TOWER.

1909. Klee-Stiftung. Berne.

!N

a real letter

from

THE QUARRY.

a fount of type.

already a miniature Klee.

Many

It

1913. Klee-Stiftung, Berne.

is

years

he was to return to the same theme in the famous drawing The Spirit later

of the Letter. He was very fond of flowers and plants, of birds and butter-

and of fish with human features, such as he was to come across later in the Aquarium at Naples. Like a true botanist, he knew both the German and Latin names of the flowers. He

flies

loved to

draw and

paint

cyclamens,

gentians and Alpine roses. Unlike his

drawings of birds, which are copied

from books, those of flowers are very delicate

— not

scholastic exercises but

studies by an with a precise feeling for colour. When he left school after taking his final examination, he inserted an advertisement in the student magazine,

precious

preliminary

artist

to which he had been a faithful contributor, offering "a large number of

Mary

Magdalenes, of taken from the notebooks of a sixth-form pupil".

Madonnas,

girls,

of

brigands,

etc.,

He drew whatever came head

— Madonnas,

Mary

into

his

Magdelenes

fj">j>

BIRDCAGE

ON THE COLUMN.

and brigands. But other things too of which his mother one day disapproved. Like many boys of his age, Paul Klee was greatly taken up with the problem of sex. He himself records in his Diary that he was attracted by the beauty of small girls at a precocious age and that he had even wanted to be a girl so as to be able, like them, to wear lace-frilled 10

lo

1908. Klee-Stiftung. Berne.

knickers. His

seven

—was

first

love

a little

—

at

Italian

the age of girl.

Some

years later he was strongly attracted by in whose house he the autumn of 1887 and 1888. Finally a drawing of a naked woman with her belly full of children fell into his mother's hands. The poor woman,

a cousin

stayed

from Basle

in

whose ignorance

of sex education was

'^ ..

^

r \ "^:/

\ ^i%

.^k-'

\

fi HANNAH.

1910. F. C. Schong Collection,

New

York.

complete, was terrified and reacted with such severity as to produce inevitably the opposite effect from that intended. From that moment only whatever was prohibited could attract the adolescent boy. His studies left him indifferent, apart from Greek poetry

and music which, along with drawing,

were

his

great

passions.

He wrote

erotic poetry and erotic stories which

he immediately destroyed. But the study of landscape and life in the open air gave his tormented spirit a certain peace and allowed

him

—

we

have and produce works which even today are worthy of our admiration. It was natural, therefore, that having passed his examinations with no great distinction, he should decide to study painting seriously. In 1898 he left for Munich. He was nineteen years old. said

—to express himself

YOUNG WOMAN 12

IN

as

artistically

A DECK CHAIR.

1909. Klee-Stiftung. Berne.

iiu^'/é'^ C:^^»7.v^#

HUMAN WEAKNESS.

1913. Klee-Stiftung, Berne.

13

IMA'^'.-^-'-jJjp'^y^ff

Ijil

I'O

MUNICH— THE

Three Years of Darkness

STATION.

1911

provincial.

The young man examined

himself and realized that he loved none

Of the three

years which

Paul

Klee

spent in Munich studying painting, first at Professor Knirr's and later at the

we have only together with some rather insignificant works. Klee was not to find himself until he had calmed both his senses and his imagination, thanks to the beneficial

Academy under the

artist's

influence of

Stuck,

account

Lily, a

young

eight years later was to

pianist

become

who his

wife.

there was no lack of maternal girls in Munich, but his first attempts were disappointing, precisely because of the motherly attitude which they felt they must assume towards this inexpert Evidently

accommodating,

14

of them

he was simply attracted by the mystery of the female species. None of them succeeded in filling the void in his ;

heart.

Yet these years had fluence on his future. that he found

It

a decisive

was

at

in-

Munich

confidence in himself, every inclination with a subtlety, with a pedantry even, worthy of a psychiatrist. Music, literature and painting attracted him equally. But he did not leave it to chance to decide whether he was to be a musician, writer or painter. He chose painting because he had a definite feeling that painting, more than music or poetry, would allow the full expression of his personality. "I shall make painting take analysing

wrote to his parents The rigorous self-discipline

steps forward", he in

Berne.

which

he

imposed

on

himself

occasionally amusing results, as

had

when

he entered in a notebook the names of all the girls he had not yet possessed. The last name in the list is that of Lily, beside which he wrote the one word:

"Wait". While he waited for

woman

Lily,

who was

to

poor girl enabled him to satisfy the most urgent promptings of his sexual curiosity. She was far from being his ideal woman be the

in

his

life,

an imaginary creature to

given the at least a

name

of Eveline

a

whom

he had

— but she was

being of the opposite sex.

One

evening he got drunk. He thought of Lily and felt guilty, but he justified himself by arguing that he did not yet belong to any one woman. His instincts were polygamous, yet even in his moments of depression they were due chiefly to sexual frustration he was sure of one thing: that painting was his real profession. It was a conviction which grew in him. In the autumn of 1900 he was at last allowed

—

—

to join Professor Stuck's class at the

Academy. Although he thought he had by now a fair mastery of draughtsmanship Klee had to admit that colour was a

difficult

obstacle.

Kandinsky was to

And

say, for

—

Stuck as he too was a

7i/r

MAKE WAY, MAKE WAY, FOR THE REVEREND COLONEL"

(CANDIDE), 15

^^

wretched academic painter poor ally in the struggle.

pupil of this

—was

a

He consoled

himself

in

Lily's

com-

She for her part succeeded in inviting him to her house on Christmas While continuing his sexual Eve. initiation with other girls, Klee was more and more attracted to the young whom he shared his pianist with passion for music. Music and poetry were his great comfort. He composed and wrote verses in honour of his imaginary Eveline. Literature, too, atpany.

tracted

him.

Tolstoy's

Resurrection

overwhelmed him and he had no peace until Lily too had read it; for more and more he felt the need to gain the approval of a

girl

whom

he already con-

sidered his fiancee. Yet from time to

SKETCH OF A STREET 16

IN

time he was tortured by jealousy and he might be mistaken in his choice. "It would be a pity", he wrote in his Diary, "because Lily has a good influence on me." At school he was increasingly confident although Stuck did not share his opinion and even encouraged him to leave painting and take up sculpture. In the spring of 1901, he felt he could lay down aguiding principlefor his life: "First of all, the art of living; then as my ideal profession, poetry and philosophy, and as my real profession, plastic art; in the last resort, for lack of income, illustrations." He was attracted by the satirical journals; but he realized that his ambitions went much deeper. One day he feared

A TOWN.

1912. Klee-Stiftung, Berne.

ANATOMY OF APHRODITE.

1915. Felix Klee Collection. Berne.

17

1f/'i

ASa?

4X%

HEADS.

1913. K/ee-St/ftung. Berne.

decided to be a great portrait painter. "It is not my task to reproduce appearances", he notes in his Diary, "for that there is the photographic plate want to penetrate into the inmost meaning of the model. want to reach the heart. write words on the forehead and

—

I

I

'

I

my

round the

lips.

than

Many years

life."

But

faces are truer

later

he kept

his

promise and succeeded in expressing a reality which is no longer only physical without being merely psychological. But he still had only a vague presentiment of that reality. Although they were expressed with such confidence,

his ambitions were actually more modest. Gradually his erotic fancy seemed to be assuaged. In his heart there was a growing need for a "noble" love. At Whitsun, which he was spending with Lily's parents her father who was a doctor had treated him for a nervous disorder of the heart some months previously he was able to win a first but decisive victory over the

—

—

young wait

From that day, Lily was order to marry him, to he thought eight years

pianist.

prepared,

the

necessary maturity.

in

to

reach

his

full

artistic

sex". The three years in Munich had not been wasted. They would have

Klee undoubtedly had a lengthy adolescence and a tortuous development. His three years in Munich were dark years lit from time to time by a ray of light. When he went home to

been so perhaps had he not met Lily, from whom he had been able to part for the moment without pain. "Now have staked everything on Italy." Italy, too, like Lily, was to have a beneficial effect on him. Italy was to be

Berne in the summer of 1901 and prepared to set out for Italy with his friend Mailer, whom he had known since he was six, and who had been with him in

I

his

Munich, he was cured. He could at last think that "he had become a moral man even from the point of view of

convalescence; after the troubled

years

in

Munich he was, for the

first

time, sure of himself

—

\,

A FRAGMENT OF EDEN.

fil^>lìdjcchén ^i^fT^

1913.

F.

C.

Schongs

Collection.

New

York.

19

-

-^

"i

fi

%

i'

LITTLE PORT.

20

1914. Felix Klee Collection, Berne.

LITTLE VIGNETTE

FOR EGYPT.

1918. Felix Klee Collection, Berne.

21

K^

TOWER

BY THE SEA.

Mastering Life

Klee-Stiftung. Berne.

effects

duced

Women had

apart,

and

with

no contact, Paul

—

them

Klee's

he

Italy

is

entirely composed of museums. But whereas Stendhal abandoned himself to his imlike

Stendhal's

theatres and

pulses, to his unflagging zest for things Italian,

Klee

severely

analysed his feelings.

observed

and

To him the most

important thing in Italy was his own reactions. This does not mean to say that he did not allow himself to be carried away by enthusiasm, but immediately afterwards he noted the 22

which that enthusiasm had proin his mind. Paul Klee was in-

in Paul Klee and the flowering of his own personality the way in which his moral and artistic conscience developed. The sub-title of

terested principally

his

Diary could well be:

How Became I

Paul Klee.

Munich, and

as later in

Germany and

Egypt, he

In Italy, as in

Paris, Africa,

was seeking himself. Italy gave him the opportunity of measuring himself against

antiquity,

of confronting the

academic art they had taught him at Munich with Classicism, towards which

he had been steered by Burckhardt's famous book, although he did not always agree with it. His sense of his own unimportance did not frighten him, for his future was always present in his

He did not hesitate to say that he had reached the point where he could lump together Antiquity and Renaissance. "But cannot conceive", mind.

I

adds

he

immediately,

relationship with our

'"'any

own

artistic

epoch.

And

the creation of anything outside the framework of our age seems very suspect to me." Naturally, since he knew nothing of French art, he could have only the vaguest idea of his own age. In

October

panied by

1901

then, Paul accom-

his friend,

Hermann

crossed the frontier.

In

mired the Tintorettos

in

Genoa was in Italy.

His

his first real

Haller,

Milan, he ad-

the Brera; but stopping-place

first port, his first sea, his

voyage in a steamer (to Leghorn, which he found boring): all these he saw like pictures in an exhibition. Compared to Genoa, which he described as a "dramatic" city, Rome, the goal of first

his

journey, suggested to his imagina-

tion the epithet "epic".

Some months

he was to tire of Rome and prefer Naples; but his first contact, celebrated with generous libations in an osteria, aroused his spirits and his senses. later

He found lodgings in the Via dell' Archetto. With his precious Burckhardt under his arm he at once began museums and churches. The Chapel and the frescoes of Pinturicchio and Raphael left the pupil of Knirr and Franz von Stuck bewildered, as if he had been the victim of a vigorous and unmerited assault. But Michelangelo's Pietà left him indifferent. And for the Baroque he conto

visit

Sistine

THE FLOWER AS OBJECT OF LOVE.

1915. Klee-Stiftung, Berne.

23

zoo. 24

1918. Klee-Stiftung, Berne.

ceived something approaching hatred.

On

the other hand his enthusiasm was aroused by the Byzantine mosaics of San Giovanni in Laterano and by certain sculptures 'in a primitive style",

whose beauty lay entirely in expression. The emotion' awakened in him by these sculptures was to be more fruitful than the assault inflicted on him in the Sistine Chapel. By the time that he was really Paul Klee, Michelangelo and Raphael were to be eclipsed however by Leonardo, who was already even unconsciously

—

—

But the primitive arts would always be dear to his heart. If the Laocoon annoyed him the Belvedere Apollo fascinated him. It if

his

ideal.

was with difficulty that he accepted Guido Reni's Beatrice Cenci. At the Museo Nazionale in Naples he admired the frescoes from Pompeii which seemed to have been "painted and discovered" for him. In the Aquarium his enthusiasm was kindled by the starfish,

the octopuses and the great which he describes as "ex-

shell-fish,

pressive". "Expressive" is an adjective which frequently recurs in his vocabulary. In

the ordinary octopuses he finds

acomic resemblance toart dealers. One of them, in particular, seemed to look at him as if he were a new Boecklin. Not only did the Aquarium at Naples, many years later, inspire some of his most beautiful compositions, but certain effects of light, certain sub-

marinetones, certain delicate iridescent passages have a strict connection with that distant revelation. Unlike Picasso, Klee never exploited his

own

tions immediately. He allowed mature slowly within himself

sensa-

them to Almost 25

CATS.

Klee's

all

'personages',

anemones and rium

at

shell-fish

like in

1915. Klee-Stiftung, Berne.

the sea-

the Aqua-

Naples, would one day have

their individual atmosphere,

removed

almost always a gently satirical obserOne composition on which he

vation.

worked

in

Rome was

on squint Chimneys.

called Moralizing

The work

is

value-

the

enchantment of acclimatization.

there is the germ of the picture all Klee is there already. Speaking of another satirical composition showing a group of three young men, he says he hopes to succeed one day in creating not only with the mind but beauty too. This hope was to be

We

can already at this date establish

fulfilled

from which they could not conceivably exist. A fish in an aquarium, in a bowl or even caught in a net, a bird in a cage, a man shut up in a room or on a stage

—

all

Klee's poetry

tion of this kind,

lies in

magic limita-

what we might

that the starting-point of his

26

call

work was

less

In

but

in

the

title

—

with the years. the evening he went to the opera,

CHILD.

1918. Klee-Stiftung, Berne

27

ayy-^gy

1923. Fe//x K/ee Collection, Berne.

CAMP ROAD.

little

Studio

where he could

1923. Coierie Rosengort. Lucerne.

paint

in

was in this studio that in 1910 he produced the well-known work in the Expressionist manner, Girl with Jugs. In Paris that same year Picasso peace.

It

painted the Cubist portrait of Vollard;

he already had behind him all the Rose and Blue periods, which alone would

fame as a great artist. But Klee was one day to make up for the

justify his

long wait.

Meanwhile Klee having discovered that a picture, like the consisted of a skeleton, skin

—that

special

is

human body, muscles and

to say that a picture had a

anatomy

— stated

that

he

in-

57

tended to paint: figures.

He

(a)

space

and

(5)

preferred the palette-knife

to the brush, as being cleaner. Another of his methods of painting in oils was

to spread the colour in the canvas and to model to obtain

his light

flat

washes on in order

them

and shades.

He was taken up not only with colour but with

line,

such importance

in

which was to have work. The line

his

does not exist in nature. One can give an impression of nature by patches of colour and tones, he thought, for he was enthralled by the line of van Gogh and Ensor. Now his study of nature, to which he had devoted so many years.

allowed him to renew his attempts at "psychic improvisations". Without entirely losing sight of nature, he now wished to express the feelings which occupied his mind and heart and those events which can be translated into line even at the depth of night. He was undoubtedly right in thinking that only thus would his personality be "able to find fullest liberty". It

was

1911,

he

this state of

in

began

the

which

mind

that, in

illustrations

in

he

W^'^^^^^^rji^^-

i?0

-ffv

BLOSSOM. 58

to

suddenly rediscovered a childish freedom. Naturlong ally his childishness had been pondered, as he hastens to demonCandide,

1924. Klee-Sti flung. Berne.

^/r.

•'%4f ;^/Pr - •^-

i

^^tr

>-.

,,i :

i

!

1

1

-> _

--i

^

.

i t

X

'%»':.:

rrmrm

II

Ill

—

on earth things which had been or would be seen with pleasure. Today the reality of visible objects has been revealed and the belief has been

expressed

that,

in

universe, the visible

relation is

to

the

only an isolated

case and that other truths exist latently and are in the majority." Just as the simultaneous existence of the male and female principles constitute ethical stability, so in the domain of the plastic arts there is a corresponding "simultaneous combination of forms, movement and counter-movement or to put it more naively contrasting objects (chromatically: the use of fragmented colourcontrasts, as in Delaunay)". In the work of art every force requires a complementary power to attain a state of

—

—

equilibrium.

Klee has taken us a long

way on the

path towards abstraction and generalizatron.

Coming back

some

concrete

to earth he gives

examples.

To

the

-^

^

-s*'-^t

"^ SPECIAL DOOR.

12

1932. Klee-Stiftung, Berne.

o

//

.,.^.1

TOWN WITH WATCHTOWERS.

1929. Klee-Stiftung. Berne.

OLD TOWN AND

BRIDGE.

1928. R. Doetsch-Benziger Collection. Basle.

experiences of a sailor of long ago in his boat there corresponded the little vision of ancient

man; modern man on

the other hand, walking the deck of a ship is familiar with his own movement, that of the boat, the direction and speed of the current, the rotation of the earth, the course of the stars. "Result: an agglomeration of movements in the universe with as its centre myself and the steamer." Another example: an apple-tree in blossom an

—

agglomeration 114

of

various

stages

of

growth. Third example: a man asleep

—an agglomeration of functions united in

repose.

these lines Klee reveals his secret to us the mechanism of the image. The apple-tree in blossom lives and grows before our eyes here are "its In

—

—

mounting sap, its trunk, a cross-section of the trunk to show the thickness of the wood, the flower and roots, the

its

structure,

its

sexual functions, the

core and seeds". All the operations which he describes

fruit,

and which are associated in artistic creation that is to say, the liberation of the elements and their regrouping, the dismembering and reconstruction of the whole, 'plastic polyphony', the conquest of repose by the equilibrium of movements all these are of decisive importance for understanding the construction of forms. "But that is not art in its most exalted form. In its most exalted form there is behind the ambiguity a last mystery and at that point the light of the intellect dies

—

—

away miserably."

It

is

thanks to this

element of mystery that art can have such a powerful effect on us, that our imagination can remind us of experiences which cheer and excite us more than any conscious terrestrial or superterrestrial states, and that "symbols comfort the spirit". Klee ends with an enthusiastic and joyful appeal, with an invitation toenjoy the possibility which art offers us "of having a change of point of view just as we have a change of air". 15

¥^tt

AN 116

HABITUE.

1931. Klee-Stiftung, Berne.

The Bauhaus Thus to

1920,

in

come

when Gropius asked him in Weimar,

to the Bauhaus

Klee had already written his Creative which was being printed

Confession,

by Reiss of Berlin. In the Bauhaus, Walter Gropius proposed to create a new corporation of artists and artisans. Abolishing all barriers between themselvesthey were

to collaborate

in

the construction of a artistic and

new order which was both ethical.

Architecture,

painting

were to form

sculpture a

and

harmonious

unity.

RICH LAND.

Gropius succeeded in immediately surrounding himself with collaborators worthy of the task Feininger and Oskar Schlemmer, Moholy-Nagy and George Muche, the sculptor Gerhard Marcks and the architect Meyer. Paul Klee joined them in January 1920, deserting his beloved Munich. Two years later, Kandinsky arrived from Moscow with his young wife. The Bauhaus was certainly unlike any other school. It aimed, as we have seen, to rediscover the harmony between the various departments of art above all between the strictly artistic activities and the handicrafts.

—

—

1931. Felix Klee Collection. Berne.

17

RESONANCE OF THE SOUTHERN FLORA.

1927.

The

traditional division between the and applied arts was ignored. "Our final aim, although it is still distant", said the inaugural manifesto, "is the

personal theories and to their particu-

fine

lar dialectic.

unitary work of art, the Great Work, which will do away with all distinctions between monumental and decorative

work

Bauhaus was an advanced school of form and as such left its mark on a period of extremely fruitful experiment; round about 1925 evolved a style which was everyit where much admired and which bears its name. There is no doubt that the Bauhaus contributed greatly to the evolution of both Klee's and Kandinsky 's thought, to the formation of their 118

A

of Picasso. short essay published by Klee

reality,

the

in

a

produced by the Bauhaus in extremely useful for under-

collection

1923

art." In

However there is no such break between Munich and Weimar in Klee's work as Cubism produced in the

is

standing

Wege

his

art.

In

it-— the

title

is

(Approaches to the study of Nature) we once more find the intimate tone of the des Naturstudiums

—

Creative Confession. artist the dialogue with remains a sine qua non. The artist is a man, himself nature and a part of nature, within nature's space." This axiom expresses a general and

"For the

nature

constant truth; what vary from tinne to time are the methods of studying nature, which is a necessary condition of artistic creation. But one must not let oneself be misled as to the real importance of such innovations. "The methods seem very new without

perhaps really being so." Klee's

On

this point

judgment shows every

sign of

detailed examination of appearances".

"The

and the 'yo^'- "the artist and attempted to establish relationship by the optico-physical path through the layer of air which lies between the T and the 'you'." his

'!'

subject,

The

positive aspect of this

that

it

aspect

the discovery of new roads, but on the other hand the artist's knowledge of the past must prevent him from "frantically seeking novelty at the expense

optical

What

of

things.

day in its relationship to the natural world is that it is astudy, a "laboriously

MORE AND MORE

SIGNS.

"The

art

of

con-

templation, the art of revealing non-

out

made

and

impressions

neglected.

"One

by

images

was

must, therefore, with-

underestimating

phenomena,

characterizes the art of yester-

is

of the surface of objects", the negative

being seriously weighed: we must not minimize the joy we experience from

of the natural".

method

has given us "excellent pictures

increased

carry

it

the

advances

knowledge of further. "The

today is more than an official photographer trained to the pitch of perfection; he is more complicated,

artist of

1932. Klee-Stiftung. Berne.

119

*fer

CHURCH AND

CASTLE.

1929. Felix Klee Collection, Berne.

and greater in stature. He a creature living on the earth, a is creature living at the centre of the universe— that is to say a creature on

more

rich

among other Our knowledge

a star

stars."

of the individual scope and depth and does not stop at appearances. know that there is more to it than the external aspect. Man dissects the object

object grows

in

We

he cuts it open reveals its "Experiences of this kind, duly added together, permit the T

and

as

interior.

20

to deduce the interior of the object from its exterior; this it does intuitively in so far as the

'I'

is

encour-

aged by optico-physical means to draw from the exterior conclusions of an affective nature which can intensify the impression of the phenomenon to the point of functional interiorization." But there are other lines of approach which lead to a 'humanization' of the subject and bring the 'I' and the subject into a relationship which goes beyond optical foundations. "First of

OLD MAN CALCULATING.

there

the non-optical approach roots in the earth, which reaches the eye from below, and secondly, the non-optical approach of the cosmic community, which reaches us from above. If this type of all

is

of our comnnon

™

study is repeated and intensive it leads to a genuine experience." Klee adds that the lower approach

\

1929.

concept but he elaborates it as follows: "On the lower approach, which has its centre of gravity at the centre of the lie all the static problems which might be defined in the words: 'Stand up in spite of all the chances of falling.' One is led to the upper paths by

earth,

one's aspirations to liberate oneself, by swimming or flight, from the bonds

runs through the static zone and produces static forms, while the upper approach runs through the dynamic

of the earth and so to attain

zone.

from that

This

is

a

somewhat obscure

liberty

full liberty,

through movement.

"All these paths

meet

in

the eye and

point, being translated into

121

form, lead to a synthesis of external vision and internal contennplation.

.

.

.

"Through experiences acquired in different ways experiences

—

these

which he has transformed into creative work the artist gives proof of the degree of intimacy of his 'dialogue with

—

nature'.

"The further he progresses with

his

the creation of works which are images of the handiwork of God". In the Padagogisches Skizzenbuch (Pedagogical sketches), which appeared

in

in

Klee addresses himself

1924,

to his pupils.

It

is

more

a little scholastic

manual, which does not interest us particularly in this context. Klee was

undoubtedly

a

good teacher. But

it

is

were

vision of nature and with meditation,

doubtful whether

the freer he is to organize groups of abstract forms, which go beyond the

capable of understanding his doctrine.

schematic

and

the

achieve

new

natural

a

natural order of the

he creates a

arbitrary

work

work or he

order, of art.

Then

participates

CLOISONNE. 122

and the

In

all

his

pupils

number which the Swiss Du devoted to Klee in

the special

periodical

October

1948,

one of

his

ex-pupils

extraordinary knowledge of form, of the techniques

admits

that

"Klee's

1928. Siegfried Rosengart Collection. Lucerne.

1^1^^^ GENESIS OF THE PHYSIOGNOMY.

1929. Felix Klee Collection. Berne.

and colour and of their had allowed him in a very short tinne to connmunicate to his pupils that power of the symbol which unconsciously present in children is and "which in Klee was accurately controlled a system which has occupied creative artists ever since. Howthe most subtle and most ever subtly imagined formal elements, which in Klee's case were certainly products of his own mind, led his pupils to hollow, untidy imitations, Klee can scarcely have avoided seeing this. But he did not wish to admit that it happened with his pupils. Although

on

of drawing

ordinarily

possibilities,

point he was impatient and even angry.

—

.

.

.

.

.

.

FLIGHT FROM ONESELF. 124

a

tolerant

man,

Excellent teacher though he was

own

field,

Klee had

little

this

in his

capacity for

educot/ng others. He completely lacked the Socratic touch; indeed he hated it. His his

pupils'

own

work seems

creations.

ageless,

like

The true educator,

on the other hand, protects the germinating seed and brings it to maturity; but in the case of Klee's pupils the first shoots were already harvested to form the actual material for their pictures. His pupils had come to know their 'original state' but they lacked the long-studied ability,

1931. Klee-Stiftung. Berne.

DOWNWARDS.

1932. Private collection, U.S.A.

amounting almost to scientific objecwhich their master possessed and whichenabledhimtopassfrom intuition to knowledge. The pupils could extract material from the depths of their tivity,

.

.

.

subconscious or unconscious, but the/ lacked the ability to connect it with

— an

ability which Klee pospurest form. For Klee was not only a great innovator who strove to see behind things, he was also

reality

sessed

in its

an exceptionally gifted

observer and

realist.

"Another of

his

powers

him to use the means of

—

it

plastic

allowed expres-

sion as the actual content of a painting

—-Klee

could only put at

disposal

Here

his

to

a

very

his

limited

starting-point was a

pupils'

degree.

know-

he gave to

ledge of graphology;

his

written or painted symbols new and original overtones. In so doing he never lapsed into producing anything indefinite or ill-defined, because the

compositions was nature and to his own laws, which were not however transmissible. So his pupils went astray and lost their necessary link with the

execution

of

subject to his

his

own

world around them.

." .

.

125

"~1

MIXED WEATHER. 26

1929. fe//x Klee Collection, Berne.

GROUP INTERLACED. Line, Tonality, Colour

1930. Klee-Stiftung, Berne.

would have preferred to

deal

princi-

with those parts of the creative process which take place in the unconscious; but to do so would be to forget that the majority of his hearers were more familiar with the content of a work of art than with its formal aspect. He would therefore discuss questions of form. "I am going" he said "to give you a glimpse into the pally

"Pictures look at us", said Klee

famous

in

a

Jena in January 1928 on the occasion of an exhibition of his works. The theorist in him had a powerful antagonist the lecture

given

at

—

mystic.

To

them

a

death

in

his

reconcile them,

to unite

common effort, was until his most constant endeavour.

The Jena lecture is his 'discourse of method'. In it, like Kandinsky, he deals with the most abstract aspects of the problems of creation. When it was under the title aroused deep interest. Klee begins by explaining that he

published

in

On Modern

Art,

1945,

it

workshop." There must be some ground com-

painter's

mon to both artists and public where they can meet and the artist cease to appear to them as a strange phenomenon. In fact, the artist is a being who, like everyone else, has been 127

BETWEEN AUTUMN AND WINTER. 128

1932. Klee-Stiftung. Berne.

ATTACK BY THOSE COMING AFTER.

placed

being else,

in

complex world without and like everyone

a

consulted,

he must get along

He

in

it

as best

he

1933. Curt Valentin Collection,

this

New

York.

complex order, to the multiple

ramifications of the roots of a tree".

The

sap,

coming from below, pene-

from other people only in this that he solves his problems with his own special methods and that by so doing he is sometimes,

trates into the artist and reaches his

perhaps, happier than the non-creative

the world and in life to be able to arrange in an orderly way phenomena and experiences. should like to

what he has seen into his work; his work, like the crown of the tree, expands and is visible in time and space. No one would ever think of demanding that a tree should grow a crown exactly like its root. Different functions assume different forms. But people would like to forbid the artist

compare

to

can.

person,

differs

who

never succeeds

in

perform-

ing a truly creative, liberating action.

"Let us take an artist" he goes on,

"who

is

sufficiently well

'orientated'

in

I

this

orientation

among the

things of the natural world and of

life.

He is like the trunk of the tree. Under the pressure and urgency of

eye.

this

powerful

upsurge

he

transmits

depart from his model; if he does so, he is accused of incompetence 129

TABLE OF

COLOUR

(IN

GREY MAJOR).

1930 Klee-Stiftung. Berne.

or of deliberate falsification. But like the tree, he is merely collecting and transmitting forces which have come from the depths. He occupies a very modest position. He is not himself the beauty of the crown; it has merely passed through him.

Klee goes on to discuss the dimensions 130

FIGTREE.

In the world of art, born again but is of necessity deformed, since it must submit to the specific dimensions of the plastic work of art. These dimensions are, in the first place, more or less limited formal factors such as the line, light and shade, and colour. The line is the most simple

of a

picture.

nature

is

1929.

element

F.

C.

Schong Collection.

of

measurement

all;

New

York.

relates

only

to

Tone value

or, as

it is

it

also called, chiaroscuro, the numerous gradations between black and white is

somewhat

different. In this case

we

are dealing with weight. A tone is charged with a greater or less amount of white or black energy.

The

third

13

element is the colours. Their nature cannot be understood either in ternns of measurennent or weight. If one compares two surfaces, the one pure yellow and the other pure red, of the same area and of equal luminosity, there is

between them which we describe by the words 'yellow' and 'red'. Colours are 'qualities'. These still

a difference

and tions.

—

elements dimension, weight have certain interrelaquality

formal

—

Colour

is

secondly, weight,

primarily

because

it

quality,

has not

only a chromatic value but also a degree of luminosity, and thirdly, dimension, because it has its limits, its extension. Tone value is, first and foremost, weight, but it is also dimensional in its extension and limitation. The line is

purely dimensional. This leads us to the

first

type of

construction using the three categories

enumerated above. It here that the centre of gravity of

of elements

is

all

our conscious work lies. If one is a master of the use of the medium one

creates structures which havethe

power

of attaining other and vaster dimen-

But

sions. field

if

of form

one's orientation is

in

the

inadequate, then the

greatest and most important aspects of

content cannot be attained, and the most exquisite qualities of soul cannot prevent a

When

failure.

work in progress takes shape under our eyes we are tempted to give it, by association, a material interpretation. For any assemblage of forms in a complex structure may, with some imagination, be compared to things

the

we know from

associative qualities

in

nature. These

the

work

are

the origin of the heated misunderstandings between the artist and the public. Whereas the artist is entirely con-

cerned to group the formal elements precisely that each seems to fit inevitably into place, the uninstructed person looking over the painter's shoulder says the terrible words: so

'But that isn't a bit like Uncle.' artist,

if

his

The

nerves are strong, says to

r-./.

LATE.

32

1929.

F.

C.

Schang Collection.

New

York.

AU*

HEAVILY PREGNANT.

1934.

himself:

"Uncle or no uncle,

on with

my

construction.

.

.

I

.

must get This

new

—

perhaps a little too heavy it puts too much weight on the left. must put a counterweight on the right to redress the balance." To the dimensions corresponding to the elementary plastic modes line, tonality, colour there is added, through the constructive combination of these elements, the dimension of the organized form {Gestalt) or, if you like, the dimension of the object. To these dimensions yet another must be added; it is connected with 'content'. "Certain relationships in the dimenstone

is

I

—

sions of lines", Klee goes on to explain, '

'the juxtaposition of certain tonalities,

harmonies of colour, bring about certain well-defined and quite certain

individual types of expression." For example, sharp zigzag movements set against a more horizontal line produce the effect of emotional contrast. "In the realm of tone value, contrasting expressions are obtained by the very

extensive employment of all the tones (which exblack to white and inspiration presses force, full

from

expiration) or by the employment of the bright upper register of the scale of tones or the employment of the 133

^' -1-

ILLUMINATED LEAF.

1929. Klee-Stiftung. Berne.

lower register, which is deep and sombre." As for the possible variations of content produced by colour combinations, they are innumerable.

.

.

.

Each organization of form, each comown constructive its has bination expression,

own 134

face,

each

its

organized form

its

own physiognomy. That

i-W^^ggp^

THE TWINS' PLACE.

is why pictures look at us, joyfully or severely, intense or relaxed, in comforting or forbidding mood, in

sorrow or

smiling.

But that is not all. These organized forms have their special 'attitude' or 'pose', which is the result of the way in which the various groups of elements

1929. Klee-Stiftung, Berne.

have been set

in

motion.

has a tranquil, stable pose

If

a picture

and looks

at

because the aim has been to build not upwards but horizontally, or else, if we are dealing with its

ease, that

a construction

is

in

element systematic manner. vertical

height, to use the in

a

visible

and

35

which

completely terrestrial. These

is

animated, dynamic attitudes lead us on to the dimension of style. At this point

Romanticism emerges

in

a peculiarly

emotional form. This form of expression tries to soar higher and higher, to triumph more and more over the weight and bondage of terrestrial

Thus one arrives at a form of Romanticism which merges with the universe. The static and dynamic parts of the mechanism of forms, therefore,

things.

very

coincide

with

accurately

between

distinction

classical

the and

romantic.

By this time the form arranged by the artist has gone through so many different and important dimensions that one can no longer struction'.

We

call

can use a

overtones: 'a composition'. Klee then attempts to show artist

a 'con-

it

word

rich in

how

the

comes to produce apparently

deformations of natural first reason is that he does not attribute to these forms the decisive importance which the 'realists' give them. He does not see in these finished, completed forms the essence of the creative process of nature. He is perhaps, without being clearly aware

arbitrary

forms.

WARNING.

1935. Klee-Stiftung. Berne.

of

is

sometimes

less

rigid

and is transported into an intermediary world like water or the

atmosphere

— —where

(as

in

swimming

or gliding) there are no longer any

dominating

verticals.

It

unlike the world of the

136

is

a

world

first attitude.

a

The deeper

philosopher.

vision

penetrates

more

inevitably he

the This 'pose'

it,

His

image

into

things,

his

the

faced not with

is

nature but with creation's only essential image 'genesis'. Looking forward into the future as he had looked back into the past and attributing duration to the process of genesis, he conceives the daring idea that the process of creation can today hardly be complete. He goes

MONUMENT

of

perfected

IN FERTILE

COUNTRY.

1929.

Klee-Stiftung, Berne.

iw^aiwawiì,.

..

-Vi,;^jt;tì»

further.

He

says to himself that,

if

we

confine ourselves to the world below, then this world once looked quite

one day look But then he looks beyond this world, and thinks there are perhaps other quite different forms on other stars. This ability to move about on the paths of creation good training for the artist it is teaches him to be more mobile, more free to choose the paths traced by his and

different

will

again.

different

—

creative activity.

A mere

glance

show

suffices to

in

us

fantastic images did

the microscope

what would seem

we

not

know how

were revealed to us. Some people, coming across a reproduction

they like

that

in

an

would exclaim

in

avant-garde

anger:

review,

"Are these

natural forms? This is merely bad drawing." (This was a piece of malice on Klee's part, for some critics had employed exactly these terms when condemning his work.) To the question whether the artist must

ON AND 38

IN

THE LAKE.

1934. Klee-Stiftung, Berne.

DOUBLE

FACE.

1933. Felix Klee Collection, Berne.

139

"W'^'^mmm^mm^mm

ACROBAT. 140

1930. Felix Klee Collection. Berne.

-

-^'f^'^m^

AND

I

SHALL SAY.

1934. Klee Stiftung, Berne

therefore occupy himself with microscop/ and palaeontology, Klee replies: "Only for the sake of making comparisons, only in the sense of mobility, .

.

.

only

in

the sense of liberty."

must go from type to prototype.

The true

One .

.

.

those with a vocation, are the ones who strive to approach artists,

the secret depths where the prime law fosters development and meta-

morphoses. What artist would not wish to dwell where the central factor of all temporal and spatial movement what is known as the brain or determines all creation heart of functions ? in the very heart of nature,

—

—

141

GENTLE DRUMROLL.

at

the source of

secret key to

all

all is

creation

kept?

where the

—

But there is no one rule everyone must go where his heart leads him. Thus the Impressionists had the right to stick

142

closely

to the externals of

1938. Klee-Stiftung, Berne.

nature, of daily

life

—to stay

at

ground

so to speak. But as for us, our hearts force us into the depths. level,

But everything the artist brings back from his descents into these deep be called they waters whether

—

WORLD HARBOUR

1933. Felix Klee Collection, Berne.

143

dreams, ideas or fantasies, can only be taken seriously if, in the course of the organization of the work, they are completely and adequately fused, in terms of plastic art. Then these curiosities become realities, the realities of art, which add something to Klee stresses the phrase about life. 'adequacy in terms of plastic art'. That what permits us to decide whether

is

we not

are dealing with

and

permits

us

works of to

art or judge their

quality.

Ours is an agitated and confused age but one can see in the artists of today an effort to obtain purity in the modes of expression

rigour

in

in

the plastic

their handling.

arts,

and

Klee refers

to "the legend of the childishness of my drawings", which is due to his attempt to combine the representation of an object or a man with the application of the pure, linear element.

An

attempt at realist representation would have led to such a bewildering conit would have been impossible to speak of purity of modes

fusion of lines that

CLOUD ABOVE 144

TREES.

1934. Klee-Stiftung, Berne.

I

HOVERING (ABOUT TO TAKE

OFF). 1930. Klee-Stiftung, Berne.

145

of expression. Besides, Klee does not wish to show nnan as he is but as he might be. "Throughout the whole field of plastic techniques one must avoid contanninating the purity of technique even when dealing with

—

people are not yet on our

side.

are seeking a people and have

But

We

The

artist

is

among men,

isolated

—of indifference;

"Sometimes dream of a work on a vast scale which would embrace the whole field of the elements of art,

to face with nature, to which his

subject-matter, content and style", he

is

I

adds.

That

dream, but

will it

is

remain a good to imagine the certainly

worse

tied

lecture

his

in

objects,

Universe.

still

lack

supreme power;

MORE WILL 146

BE

for the

MARCHING SOON.

of

be

relation at

called

Rights

relation to

We

in

— or

Klee's view

true place only

might

Declaration

he concludes, "we must not precipitate anything but let it ripen. Finally,

in

when face work by numerous bonds. The Jena

he finds

not

possibility.

a

We

have beginning at the Bauhaus. begun with a community to which we can do no more." give all we have. the object sometimes of hostility

colours.

we

made

a

of the

human

sort

of

Artist,

society, but

to the society of natural

the

very

heart

1934. Klee-Stiftung. Berne

of

the

ROUGHHEWN

HEAD.

1935.

F.

C.

Schang

Collection.

New

York.

47

2^^5®3^ EXPRESSIVE LYRE. 148

1935. K/ee-St/ftung. Berne.

t

HALL OF SINGERS.

1930. Private Collection, Berne.

K. K. Gesellschaft

saw each other every

day, and in the together with their wives, met in Klee's house or at the theatre. Kandinsky frequently asked Klee to go to the cinema with him but only the name of Chaplin enticed Klee in. Apparently he was not greatly amused. At Weimar, Klee to begin with still wore the slight fringe of beard which, according to Leopold Zahn, the author of the first small monograph on the

evening,

When,

in

November

who was

1925,

Otto

Ralfs,

an enthusiastic admirer of

both Klee and Kandinsky, proposed the foundation of the K. K. Gesellschaft,

which set

itself

obtaining for

its

the modest aim of members, for a small

monthly payment, water-colours and paintings by the two artists, Klee was living in a villa in the upper part of Weimar while Kandinsky had a little furnished flat of two rooms and a kitchen in the old town. But their studios were next door to each other in the Bauhaus. As in Munich, where they had lived in the same street, they

made him look like a figure Burial of the Count d'Orgaz. The from Rolf BiJrgi, who visited him along with his mother, tells us that the flat was pleasant and airy, with antique furniture. Water-colours hung on the painter,

149

1 1^»

^mW»

CONFUSED

walls.

A

SIESTA. 1934. Klee-Stiftung, Berne.

black cat, which was the terror

Kandinsky, sat enthroned on the sofa. After dinner, Klee took his

of Frau

and, accompanied by his wife, began to play Bach and Mozart. Next day they went to visit his studio. As they passed the theatre where Goethe had played the part of Orestes in iphigenia, Klee amused them by mimicking some of Goethe's famous poses; this was one of his familiar jokes. The studio made a great impression on young Burgi, who describes it as follows: "It was like an alchemist's

violin

50

laboratory.

In

the middle of

it

there

were various easels and a chair. He was working simultaneously on several paintings.

He spoke

of his

paintings

had to do it with great simplicity: " like this so that the birds could sing.' in one of his water-colours In fact 'I

dated

1922,

Modern

now

Art,

in

New

the Museum of York, he had

invented a 'twittering machine', Die

Zwitschermoschine (Cat. 40). Although was not able to acquire the Zwitschermoschine, Frau Burgi insisted on acquiring The Bird Caller (page 69),

she

TOWARDS THE MOUNTAINS.

1934. Klee-Stiftung. Berne.

151

a

work,

delicious

tones.

all

in

beak it the art dealer, Flechtheim, a

well-known Berlin Dessau,

In

transparent

the bird with its long pointed was not difficult to recognize

In

nnoved

in

who owned

gallery.

where the Bauhaus two artists lived

1926, the

in the two wings of a small house built by Gropius. Klee had seven rooms; Kandinsky had only four, since he had

no children. His part of the house was was able to

finished first so that he offer

Klee hospitality for

some

time.

Dessau was certainly not a gracious residential city. When Gropius called a meeting of the professors of the Weimar Bauhaus to discuss with the Burgermeister of Dessau the conditions on which the new school would be built, their wives discovered a stretch of forest on the outskirts of the city and suggested to their husbands that they should advise the municipality, which did not know where to house the professors, to appropriate a piece of virgin land.

Kandinsky and Klee took a certain

amount for their own small gardens, which were not separated in any way. But

although

the

artists

and

their

were so closely united, the gardens seemed to be divided by an

families

invisible fence. Klee

never set foot in garden without being invited; Kandinsky never set foot in Klee's. When they were busy in the garden they behaved as if they were concealed from each other by the invisible fence a mode of behaviour which greatly surprised Nina Kandinsky who watched the scene from her balcony. Nina Kandinsky was a Russian Kandinsky's

—

52

FRUIT.

1930. Private Collection, Berne.

153

which for Kandinsky

of these years,

were the most and for

exciting

of

most

the

Klee

his

fertile.

life

She

remembered the parties in Klee's house and the lively evenings in her own when Klee was there with his wife and the other professors. One evening, when there was dancing, Klee turned up with a turban which brought out his Oriental looks. It seemed asif the all his life he had worn a turban head-dress most suited to wizards and

—

maharajas.

The more intimate musical evenings were all held at the Klees' and were very simple in the old German style. On these occasions Klee was purely a musician, intent on Bach, Beethoven, Handel, Haydn and Mozart. He played almost every evening after supper with his wife. Then in bed he read his French and Greek authors. But when he was possessed by music- it was impossible to talk to him about poetry or painting. His son, advantage of this fact.

The two

EMIGRATING.

1933. Klee-Stiftung, Berne.

from Moscow. She had

lived

through

the Revolution and this extraordinarily scrupulous sense of individual property disturbed her deeply. But in fact the two painters were behaving as if they were painting side by side, each intent

on

his own work. Nina Kandinsky has often spoken

154

families

Felix,

often

took

spent the

evening together. In good weather they saw each other rather less because the Kandinskys liked to go cycling in the shade of the trees. Klee himself preferred to walk; he said that on foot one could observe things better. In summerthetwo families separated for the holidays. In 1924 Klee was in Sicily;

in

1926

Elba,

Florence,

1927

and

Brittany

in

1928

and

1928 the K.

Italy

Pisa

he

was

Corsica. K.

again,

visiting

and Ravenna. In

in

In

France,

December

Gesellschaft provided

money to pay for a trip to Egypt where he stayed for a month.

the

^

BARK CULTURE.

'

V

^

1935. Felix Klee Collection, Berne.

155

—

Egypt the Egypt of he did not like. It did not correspond to what he had imagined. Egypt he found only in the pure geometric tracery of its monuments, in the flow of its sand and water, in the pale light of its sky It was to saturated with colour. remain one of the deep underlying

But the Spring the two painters celebrated together. They would go in an open carriage to Worlitzpark.

themes of Klee's sensibility one of which he had had a presentiment (6/ue Mountain, 1919). Later he was to

together with the men opposite them. Klee kept thinking of Goethe, who had so often driven this way. One of the great events of these years was in 1928, when Kandinsky,

Picturesque

mosques and suks

—

—

write to scape

Lily:

"I

[Monument

am in

1929] rather like the

painting a land-

a Fertile

Land,

view from the top

the Valley of the Kings looking towards the orchard lands." But he did not only skim over these with their network of flat fields vertical and horizontal parallels (Higiiway and Byways, 1929); through the mouths of the tombs, he slipped into a subterranean world peopled by spirits, by which he would be haunted to the of the

end of

cliffs

his

in

life.

It

was a long road

lined with lilacs; the

horses' pace was slow and the air mild

and scented. For Nina Kandinsky the whole poetry of life was in that drive, which perhaps reminded her of

Chekhov's

Russia.

assisted by Felix Klee,

experiment

staging

156

made

his first

opera

Hartmann. his friend of Kandinsky had designed the scenes, which were all abstract and geometric and thus went clean against the character of the music which was undeniably Impressionistic. But although pictures

^'=^Fv^

K.

ladies sat

with Mussorgsky's Pictures in on Exhibition, which Mussorgsky had composed in 1874, drawing his inspiration from the in

Y:^

HARBOUR AT

The two

1939. Klee-Stiftung. Berne.

••V'..

.'.!*••••*.•*'• •!*• *•••••••

^^^•:ì£

•!•••» ..V, *'*t*»»*»»»»*»»»vv."iWi;

• •••

*4«f !er

i ]

mummmmmff 1

.1

IjÌÌÉll(og (Cat. 46). In

the thirteen years which concern

us here, nature plays a great part in

Klee's

work.

He

stages

enchanted

—

impromptus or humoresques often both together. As we have seen he may choose the disguise of a Chinese decor as in View of a Mountain Sanctuary. From this time on however the artist more and more interested in the is problems of space and form which took him further and further away from the images of the external world. Yet both form and space are conceived poetically and sometimes symbolically

as

well.

177

OUTBURST OF

FEAR.

Reduplication of form gives us Hanging Dying Plants (Cat. 41),

Fruits (Cat. 34),

Dream

City, 1921, and so on. Other forms seemed to be directly generated by space flying forms like Extended Surfaces, flying and symbolical forms like Twins (Cat. 83) and Diane, 1931. Space also gives rise to a play with constructions sometimes purely in terms of perspective as in Perspective of a Roonn vv/'tfi Inmates (Cat. 33), sometimes with a metaphysical flavour as in Uncomposed Object in Space (Cat. 75).

—

—

178

1939. Klee-Stiftung, berne.

Space generates abstract rhythms as in the 'magic squares' and in the pictures painted after his trip to Egypt such as Individualistic Measurement of the Beds (Cat. 93), The Sun sweeps the Plain (Cat. 74), or in the masterpiece of the series Highway and Byways which beautifully sums up the artist's re-

searches into line and colour. Lastly, we must consider the graphic

and ideographic forms, the forms and characters which give a foretaste of the artist's last period, when he was

SUCCESSFUL INCANTATION.

1937. Rosengart Collea.on. Lucerne.

179

again

Islam

— partly

owing to

heredity,

his

partly because of a peculiar inclination

towards

work

Klee's

by

attracted

strongly

once

BARBARIAN CAPTAIN.

pi ritual

it.

by

astonishes

the

themes and techniques, revelation of a universe which

variety of

its

by its otherwise only poetry and music have touched, by its sensibility and fantasy. Klee's musical.

fantasy

But

beyond

is

it

is

qualities of Klee's

upon

themselves

modern

whom

artists,

work which

force

attention

large

drawn

have

resources.

doubt

the purely plastic the

a

all

of

number of

upon

its

rich

One need mention

only

two of the most genuine and original among them Wolds and de Stael, both of them dead before their time. The roots of their work lie in Klee's :

achievement.

ORGELBERG. 80

1932

Felix Klee Collection, Berne.

1934. Private Collection, Berne.

->

^y^ys^.^ì^K

-M

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—

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ARCHITECTURE 182

IN RUINS. 1938. Klee-Stiftung, Berne.

d'O

a 0^'

FALL. 1938.

Klee-Stiftung, Berne.

Return to Berne

ances

who were

painting.

One

could write ten books on Klee

with

and publish ten entirely different volumes

of

entirely

reproductions.

'Klee' its

is

texts

different

as vast as

The phenomenon it is complex and

"We

Grohmann

at

continues,

his

in

the

right

"for

I

wanted to see his drawings, a lot of his drawings which was a thing no one ever asked for. No one wanted to exhibit them and he did not want to

—

—

—

they as he said sell them, because formed part of his equipment. To him

Grohmann,

they were, so to speak, archives of

friend and biographer, Will

"to

just

can never claim", said his

ramifications are almost

able.

time,"

interested

came

"I

embrace

it

in

its

inextric-

totality

and

his plastic invention.

Grohmann got to know Klee in Weimar at a point when, having left

wrote an essay on these 'Fi rst of al drawings, followed by several articles and in 1929 by a book published in

his circle of friends in Munich, he was disposed to welcome new acquaint-

Paris by the 'Cahiers d'Art'. In 1933 published a volume on the drawings and

multiplicity."

'

I

I

I

183

]

Ì

DOCUMENT.

Y-

UÌ

1933. Angelo Rosengart Collection, Lucerne.

the biography, which appeared But always feel that did not sufficiently stress the inexhaustible richness of his work and personality that merely hinted at. "When think of Klee and of our later

in 1954.

I

I

I

184

i

work

common'

he wrote one modesty, the memory of hours passed together hours like rises up in my memory his paintings, full of sweetness, tranquil gaiety and spiritual intensity. One 'in

day with

his

as

habitual

—

could speak to him about anything even personal matters. But when the subject did not affect him, he listened with a kind of indifferent attention. "He spoke little and liked to be silent. When he did speak a few words he selected them and used them, like the lines in his pictures, only after due reflection. In his talk, as in his letters,

suggestive phrase and then waited for approval or criticism. "

'What

we were

a nightmare' he said

'How it soars' when the picture dealt with flying forms. In the case of the Ageing Venus, he merely gave a sidelong smile and said that it was his contribution to the chronique scandaleuse

he had certain key words which were pointers to the trend of his thought. When he was thinking of having his drawings published he wrote an oblique letter with a pun on the word

and only for

which was a hint that had to find him one. A publisher was at last discovered but only one out of three volumes was brought out

a great deal of

'publisher',

I

because in the meantime barbarism had broken out in Germany. It was these drawings which brought us

was fascinated by their They were exactly like his handwriting; later saw that in his manner, his gestures, his expressions and his language the man was in perfect harmony with his work. together.

I

construction.

I

"A

over both Klee and his work. He had become unused to the 'direct approach' although he had employed it in his youth. But this veil was not used to hide things— it was there to make people look more closely. For wl^at else is the meaning of the word 'schema', which have applied to the successive forms he invented? It means precisely that shrouding of the spiritual perspective which Klee renders directly visible. "When we looked at his work together, he would never attempt to lead me astray but helped me with a slight veil floated

when

faced by a confused scene, or

"It

is

initiates.

easier to understand the Kleeof

the hermetic works today than 1920.

in

New

aspects of his

it

was

work were

always emerging,

full of enigmas, and time had to pass before it became clear that Klee started from plastic formulae in order to arrive at the object and not vice versa. These formulae he found in play and in reality, in his relations with the universe, which for him, as for musicians, was to be found in relations and

functions.

'We understood each other from the moment we met. It seemed to both of us that we had known each '

first

other for a long time.

We had the same

—

Greco, for El example, whom he would have collected, he said, had he been a millionaire; Rembrandt's drawings and Islamic ornament. But here too Klee limited himself to one or two hints. One never preferences

got further than '

I

he

'When, felt

him

the

art

in

in

1

'allusions'.

940, the year of his death,

which was to carry months later, progressing,

illness

off some

he wrote to me after reading the 'I have just made the acquaintance of Tragedy; it is not by chance have set out along the Tragic that Oresteia:

I

Way.' 185

SCHOLAR.

186

1933. Private Collection. Berne.

SNAKE PATHS.

1924. Private Collection, Berne.

"Only work made him perfectly 'What happiness there could be in a couple of lines!' he wrote to

happy.

example of the kind of little animal breed.' Thus he belittled the impor-

me shortly

before the publication of his

tance of his present. "He was always concentrated

drawings.

He

liked best to be in his

studio.

"Once he wrote to me that he did not wish to be too easily understood. 'I shall shortly let you have some nuts worth cracking', he added. When something had written pleased him he would thank me by giving me one of his works. Thus one day he sent me a drawing with a note which ran: 'An I

I

in

measured movements, his slow pace and his considered speech. He seemed so indolent that revisiting him it was a surprise, on after three or four weeks, to see the number of paintings, drawings and sketches he had finish^ed. This was poissible, because, if he was not dishimself.

Hence

his

turbed, he could work very hard. The only interruption allowed was for 187

ALMOST A

FIGURE.

music, which he looked on as part of

saw

work, or at least as a preparation for his work. He enjoyed nnusic greatly but he also needed it as a stimulant. It went deeper than painting, he felt, had a more profound tradition and was an unendmg source of instruction. He

ters, saying that

his

188

1938. Kiee-Stiftung, Berne.

Bach and Mozart his true masthey had taught him more than any great master of painting. And the sequence of his 'schemas' which emerge from each other or are contrasted with each other, derive from his wide knowledge of the rules in

PATHOS.

1938. Felix Klee Collection, Berne.

189

YOUNG

TREE (CHLORANTHEMUM).

1932. Pnvote Collection. Beine.

of music.

In his

work we

find the tech-

ated. Will

Grohmann was

invited to

nique of the exposition of themes, of their succession, fusion and development. Thus Klee realized his youthful dream of being a musician in a strange way. In painting he was the musician

give the inhabitants of Berne an idea

he had dreamt of being." When Klee appeared in Berne and said to Rolf BiJrgi, son of the first am, collector of his works: "Here

expectedly. After his dismissal from the academy at Dusseldorf he had left

I

there's no place for

me

in

Germany

any more", there were few people in his native town who had heard of him, although he had exhibited in New York and Paris and his name was already famous. Frau Burgi set about making him better known and appreci-

AMATEUR DRUMMER.

of Klee's work; but the great retrospective exhibition was not held until 1935.

Klee

had

arrived

in

Berne

un-

everything behind him in fear of his life. Yet up to the last he had resisted Lily's insistence that he must not have any illusions about the Nazis. But he had,

after

Diary:

all,

once written

"What would

I

be

in

his

without

Germany?" Rolf BiJrgi went north to remove the works which had been left in the

1940. Private Collection.

191

BLACK

SIGNS.

1938. Felix Klee Collection, Bi

in Dusseldorf and returned to Berne with Frau Klee, who was no

and

world-wide fame.

Studio

artist

longer the authoritarian

The generosity of Frau Burgi succeeded Klee. in interesting some people in

Lily

of old

in

his

She was a firm believer in her husband's genius and was full of adnniration and attention; now she

She

lived only for him.

"I am not saying that he has no talent," the old man had muttered in his beard, "but he doesn't take enough care over what he does." The municipal

days.

money the artist had earned and banked in Germany was lost. Klee was back once more in the state he had been in when he left Berne All

the

Then he had been illusions: now he was

thirty years before.

poor but rich in poor but rich 192

in

experience

as

an

had been the first person in Switzerland to believe in his genius at a time when his own father had doubts.

authorities different

however

to the

remained ineloquence of Will

Grohmann. Convinced that he would never be

>

POISON.

1932 Klee-Sti flung, Berne.

'93

È?^^^^^

^.^

'

,-òrsencourie.r. In Leyden, Theo van Doesburg founds DeStijI, the review of Neo-Plasticism, along with Piet Mondrian, Vilmos Huszar, Georges Vantongerloo and

others.

1918

1919

Klee remains at Gersthofen until after the armistice. Towards Christmas he is demobilized and returns to his family in Munich. In Berlin, Walden publishes the Sturm-Bilderbuch made up of drawings from Der Sturm, including fifteen drawings by Klee. Kandinsky becomes professor at the Academy of Art in Moscow. In Munich Klee rents a large studio in the Suresnes Palace. Two painters, Willi Baumeister and Oskar Schlemmer, try to have him taken on as professor at the Stuttgart Academy; but he is turned down. He signs a contract with the picture dealer Goltz. Kahnweiler begins to buy his pictures. The Kestnerbuch, which appears in Hanover and to which Thomas Mann, Daubler, Doblin, Worringer, Heckel, Schwitters and Feininger contribute,

publishes a lithograph by Klee.

The

architect,

Lyonel

1920

Walter Gropius (born 883) founds the Bauhaus

Feininger (born

1

1871) and Johannes

in

Weimar.

(born 1888), both painters, and the sculptor Gerhard Marcks (born 1889) and other representatives of advanced art and architecture become professors there. Klee has a big exhibition in Munich at Goltz's gallery with 362 works. The Berlin review Tribune der Kunst und Zeit, edited by Kasimir Edschmid Itten

publishes Creative Confession, which Klee began to write

in

1918.

His illustrations to Candide, which date from 1911, are published by Kurt

Wolff in Munich. Another work illustrated by him Curt Corrinth's Potsdamer Platz published by Georg Mùller in Munich.

—

252

—

is

Hans von Wedderkop and Leopold Zahn each devote

a monograph to him. 25th November he is invited to become a professor at the Bauhaus. Klee leaves Munich for Weimar. At the Bauhaus he begins v\^ith Formmeister (master of form) in a glass workshop then in the v\/eaving school. Later he also teaches painting. Wilhelm Hausenstein publishes his monograph Kairuan, or The History of the Painter Klee and the Art of our Time.

On

1921

Death of K lee's mother.

Theo von Doesburg

lectures at the Bauhaus and spreads the ideas of

Neo-Plasticism.

Oskar Schlemmer becomes a professor

at

the Bauhaus.

Moscova KandinskyfoundstheAII-Russian Academy of Arts and Sciences. Klee takes part in exhibitions at Wiesbaden and Berlin. Kandinsky, who returned to Germany towards the end of 1921, also

In

1922

becomes

1923

a professor at the Bauhaus. Klee publishes Ways of Studying Nature Bauhaus in Weimar 1919-1923.

1925

the publication Staatliches

summer on the

island of Baltrum in the North Sea. In Kurt Schwitters and El Lissitsky. He exhibits in the Kronprinzenpalast in Berlin. Itten leaves the Bauhaus. He is replaced by Moholy-Nagy. First Klee exhibition in the United States, in New York. Foundation in Weimar of the 6/ouen Vier group: Kandinsky, Klee, Feininger and Javlensky. Leon-Paul Fargue visits Klee in Weimar. Voyage to Sicily ^Taormina, Mazzaro, Syracuse, Gela. Klee gives a lecture in iena On Modern Art; it is not published until 1945. On 26th December the Bauhaus is compelled to shut down in Weimar. In Paris André Breton publishes the first Surrealist manifesto. In April the teachers and pupils of the Bauhaus settle in Dessau. Klee publishes his Pedagogical Sketches in the series Bauhaus-Bucher. He has a second large exhibition of 214 works in Goltz's gallery. He takes part in the first exhibition of Surrealist painters, which is held in

Klee passes the

Hanover he

1924

in

visits

Paris in the Galerie Pierre, along with Arp,

de Chirico, Max Ernst, Mirò,

Picasso and others.

He

also has his first

one man exhibition

in

Paris in the Galerie Vavin-

Raspail.

Mondrian and Oskar Schlemmer publish books in the Bauhaus-Bucher first The New Composition and the second on The Stage and the Bauhaus. Klee goes to Italy— Elba, Pisa, Florence and Ravenna. Kandinsky publishes Point, Line and Surface in the Bauhaus. The new Bauhaus building by Gropius in Dessau is opened. Piet

—the 1926

253

Publication of the

first

number

of the Bauhaus review, which continues

until 1932.

1927

1928

Klee stays on Porquerolles and in Corsica. On his way back he visits Avignon. Casi mi r Malevitch, the originator of Suprématisme, publishes The World of Non-Representation in the Bauhaus-Bucher. Klee visits Brittany and Belle-Isle. The Kleegesellschoft founded by the collector, Otto Rahlfs, of Brunswick, offers him a trip to Egypt. He leaves on 17th December and does not return until 17th January 1929. Itinerary Genoa, Alexandria, Cairo, Gizeh, Luxor, Karnak, the Valley of the Kings, Thebes, Aswan, Elephant

—

Island, Syracuse,

Dessau. the Bauhaus review he publishes Exact Experiments in the Reainn of Art. Gropius and Moholy-Nagy leave the Bauhaus. The Swiss architect, Hannes Meyer, becomes the new director. Klee makes a journey to the South of France Carcassonne, Bayonne, the Gulf of Gascony with an excursion to San Sebastian and Pamplona. For his fiftieth birthday the Flechtheim Gallery in Berlin organizes a large exhibition of his works. Exhibition in the Galerie Bernheim Jeune in Paris. Will Grohmann publishes a monograph in the Cahiers d'Art in Paris. Oskar Schlemmer leaves the Bauhaus. Klee spends some time in the Engadine and at Viareggio. Another exhibition in Flechtheim 's gallery. Exhibition in the Museum of Modern Art, New York. He becomes a member of the committee and jury of the Deutcher KunstlerIn

1929

1930

—

—

bund.

The

architect Mies van de Rohe, succeeds

Hannes Meyer

as

director of

the Bauhaus. 1931

On

1st

April Klee terminates his contract with the Bauhaus and accepts

him by the Dusseldorf Academy. He finds Campendonck the other professors there is Matisse's former pupil, Oskar Moll, as well as the sculptors Alexander Zschokke and Ewald Mataré. Klee makes a second journey to Sicily Syracuse, Ragusa, Agrigento, Palermo and Monreale. Journey to Switzerland and ftaly (Venice). Klee sees an exhibition of Picasso at the Kunsthaus, Zurich. Under pressure a chair offered to

there.

Among

—

1932

from the Nazis the Bauhaus leaves Dessau and

settles in Berlin (Freies

Bauhaus). 1933

254

Journey to the Midi— Saint Raphael, Hyères, Port-Cros. Klee is violently attacked by the Nazis and is finally dismissed. About Christmas time he leaves Germany and settles permanently

m

HE GOES PAST— SUSPICIOUSLY.

1939. Klee-Stiftung, Berne.

255

Switzerland. sister are

He once more

still

installs

himself

in

Berne where

his father

and

living.

Kandinsky also leaves Germany. Henceforth he

will live at Neuilly-sur-

Seine near Paris.

1934

1935

Klee exhibition in England at the Mayor Gallery, London. Kahnweiler becomes Klee's dealer. Grohmann publishes a collection of his drawings in Germany; the book is confiscated by the Nazis. Large retrospective exhibition in the Kunsthalle, Berne. First symptom of the illness sclerodermia which will lead to his death First

—

five years later.

1936

1937

His illness depresses. him and he works little. He takes treatment at Tarasp and Montana without appreciable results. Feininger leaves Germany and returns to the United States. Klee resumes his work. Stay at Ancona where he visits the widow of Franz Marc. Ernst Ludwig Kirchner, who lives near Davos, comes to see him as do Picasso and Braque. He sees Kandinsky for the last time on the occasion of an exhibition of Kandinsky 's work in the Kunsthalle, Berne. The Nazis include seventeen works by Klee in the exhibition of "degenerate art" at first in Munich and later in other German cities. They confiscate 102 of them from public collections and auction them. Klee is represented at the Bauhaus exhibition organized by the Museum of Modern Art, New York. He exhibits in New York at the Buchholtz and Nierendorf Galleries and in Paris at Kahnweiler's and Carre's. Klee rests by a lake near Berne. He visits the exhibition of masterpieces from the Prado at Geneva and greatly admires El Greco, Goya, Bosch and Breughel. German troops invade Poland on 1st September. Felix Klee is called up. Large Klee exhibition in the Kunsthaus, Berne, of works dated 1935-1940. Death of Klee's father. On 0th May, Klee enters the Sanatorium at Orsolina near Locarno. On 8th June, he is moved to the Sant' Agnese Clinic at Muralto-Locarno. On 28th June he dies there of paralysis of the heart. On 1st July he is cremated at Lugano. On 4th July afuneral service is held in the Hopital des Bourgeois, Berne. In September the urn containing Klee's ashes is interred in the Schloss-

—

1938

1939

1940

1

1942

halde cemetery

256

in

Berne.

Catalogue of Principal Worli,Ai>*

Perspektive mit offener Ture. 1923.

!

M

:t*:

m\

51.

Eros.

54.

1923.

52.

Sonnen-und

49. 51.

Mondblumen.

17 (IRR) (Note: irr

Eros.

52. Ttie 54.

Sun and

Lomolarm.

1923.

=

lost.

55.

mad).

50.

Weeping Man.

Moon

Flowers.

At

ttie

Tideland

Berg des Stieres. 1923.

Wattenmeer (Baltrum).

Perspective witti open

53. 55.

Am

53.

1923.

Mountain of

1923.

Door.

ttie

Bull.

at Baltrum.

266

i

HP! ^H

yf^-^^-^:::^r---^

K?^M

B

i.

^^H

M

,.:;:?g3jj:;t|^^J

57. Wasserpflanzenschriftbild.

1924.

mSHMHHHI

56.

58.

Schauspielermaske. 1924.

Kleine

Winterlandschaft Skildufer.

60.

Felsen

am

dem

59.

Meer. 1924.

56. Actor's 58.

mit

Zeichensammlung.

1924.

Gebirge im Winter.

1925.

1924.

Little

Mask.

61.

57. Script Picture

Winter Landscape with

60. Cliffs

by the Sea.

Skier. 61.

-

Water

Plants.

59. Collection

Mountains

in

of Signs.

Winter.

267

62. Mystisch

-

Keramisch

der Art eines Stillebens). 925.

(in

1

63.

64.

Urn den

Fisch.

Kopfprofil.

1925.

1926. 65.

Hetare auf ihrem Lager. 1926.

:^.»

66.

Abfahrt der

Schiffe.

1927.

67.

62. Mystic 64.

66.

268

Around

ttie

-

Fish.

The Ships depart.

Ceramic. 65.

Variationen

(progressives

63. Profile.

Hetaera on her Couch.

67. Variations

-

Progressive Motif.

Mofiv).

1927.

>o.

1927.

^.veihùgel-Stadt.

69.

Zeiten der Pflanzen. 1927.

/|#|#|«# «•%

f9,t

r -

70. Pastorale

73.

(Rhythmen).

Italienische Stadt.

71.

1927.

74.

1928.

68. City 70.

73.

Italian

Pastorale

Town.

-

Die Sonne

on two

Rhythms. 74.

Auserwdhlte

streift

69.

75.

1929.

Times of

ttie

1928.

Nichtkomponiertes im Raum. 1929.

Plants.

Panorama.

Site.

72.

Old Town

the Plain.

75.

Uncomposed Objects

Chosen

The Sun sweeps

72. Alte Stadt Ueberblick.

1927.

die Ebene.

Hills.

71.

Sfatte.

-

in

Space.

269

76.

Ein

Kreuzfahrer.

77.

1929.

79.

Irrende Seele.

Hauptweg und Nebenwege.

80.

1929.

78.

1929.

Vor dem Schnee.

Clown.

1929.

1929.

\ZSA

M

'^^^i^m

81.

Nekropolis. 1929.

82.

76.

A

Crusader. 79.

81.

270

Gewagt wagend.

77.

Wandering

Necropolis.

P^'^^^'^' ^^^^ 83.

1930.

Highway and Byways.

Soul. 82.

80.

78.

Clown.

Before the Snow.

Calmly daring.

83.

Twins.

Zwillinge.

1930.

84.

86.

Urn

sieben

Pop und Lok im Kampf.

Ciber

Ddchern.

1930.

1930.

87.

85.

Physiognomien von Querschnitten. 1930.

Haus, aussen und innen. 1930.

Rhythmisches.

1930.

mm:

89. Winterbild.

84. 86.

Seven

o'clock

1930.

90.

Pop and Lok

above

the

89.

85.

fighting.

Roofs.

Winter

87.

inside

Picture.

Sechs Arten. 1930.

Physiognomies of Cross-sections.

and Outside of a House.

88

Rhythmical.

90. Six Types.

271

91.

Segelnde

Stadt.

1930.

Nekropolis.

92.

1930.

93.

Individualisierte

Hohenmessung

der Lagen. 1930.

94.

Bdume im Oktober.

1931.

95. Ein Stich.

1931

T-^

96. Schach.

91

.

Floating

Town.

1931.

97.

92.

Necropolis.

94.

Trees

96.

272

in

Check

93.

October. !

97.

Individualised 95.

A

Ao

i

932.

Measurement of

Stitcti.

Ad Parnassum.

Fuf tiubbum.

the Beds

-r-

98. Tdnzerin.

101.

103.

1932.

Pflanzen

-

analytisches.

Pflanzen Schriftbild. 1932.

Kleiner blauer Teufel. 1933.

98. 101. 103.

99.

Little

Dancer.

104.

99.

Plant Script Picture.

blue Devil.

104.

1932.

102.

Der

Plants

KiJnftige.

-

The Man

Small

105.

100.

1932.

Frauenmaske.

1933.

Arab Song.

Town among

of the Future.

Arabischcs Lied.

Kleine Felsenstadt. 1932.

1933.

analytic.

102.

100.

the Rocks. 105.

Female Mask.

273

106.

108.

Dame und

Tier.

1933.

107.

Botanisches Theater. 1934.

Angst. 1934.

109.

Blùhendes. 1934.

NI. W-geweihtes Kind. 1935. I

IO.

Trouernd. 1934. I

106.

I

274

IO.

Mourning.

Lady and Animai.

108.

Botanical

III.

Child

107.

Theatre.

consecrated

109. to

W

12.

Dame

Dtìmon. 1935.

Fear.

Blossom.

(Woe).

112.

Dame Demon.

113.

16.

Zeichen auf

dem

Feld.

Labiler Wegweiser.

119.

114.

1935.

1937.

I

17.

Ueberschach.

Gedanken an Nachkonnnnenschaft.

I

1

16.

13.

Signs

in

119.

1936.

1

1

17.

14.

I

1937.

I

120.

1937.

the Field.

Unstable Signpost.

Betroffene Stadt.

Stricken

Super-check

Thoughts on our Descendants.

1

1

120.

18.

Zeichen

18.

A

15.

in

Gelb.

1937.

Ein Blick aus Aegypten. 1937.

Harmonisierter Kampf.

Town. !

15.

1937.

Yellow Signs.

Glance from Egypt.

Harmonised Struggle.

275

121.

122.

Garten im Orient. 1937.

124.

\ r 126.

123.

1937.

125.

Sextett der Genien. 1937.

Revolution

BiJtinenlandschaft.

des

Viaduktes.

1937.

1937.

^^ 1

Bilderbogen.

V 1937.

121. Oriental

127.

Garden. 124.

126.

276

Beginnende Kuhle.

Picture Page.

122.

Coelin-Frucht.

Early Chill.

Sextet of Spirits. 127.

Azure

125. Fruit.

128.

1938.

123.

Park

Revolution of the Viaduct.

Stage Landscape. 128.

Park near

L

(-ucerne).

bei L (-uzern).

1938.

129.

Rote Weste.

132.

1938.

Timider Brutaler.

130.

Zerbrochener

Schlùssel.

1938.

1938.

133.

I3i.

Vorhaben

Mach

(EntwurQ.

rechts nach links. 1938.

1938.

^ %

i

À

m

4

1

'

134.

Tànze vor Angst.

129.

134.

1938.

135.

Das Fràulein vom

132.

Broken Key.

Red Waistcoat.

Dancing

Cj^df

130.

for Fear.

Sport. 1938.

Brutal but timid.

135.

Miss Sport.

133.

136.

131.

Werbeblatt-der Komiker. 1938.

To. Right and

Left.

Intention. 136.

Poster for Comedians.

277

^ 138.

"7

Die Vase.

1938.

Per Graue und

142.

Rausch.

die

Kuste.

141.

The grey Man and

Insula

Dulcamara.

The Vase.

the Coast.

138. 140.

Intoxication.

Rich

Insu'a

Daemonie.

1939.

Harbour

Dulcamara.

143.

1938.

Fruchte cuf Blau. 1938.

143.

142.

278

1938

1939.

137. 139.

1938.

/

*i

140.

139.

Hafen.

^^

u 137.

Reicher

Possessed.

141.

Fruits

on blue.

144.

Ernste Miene.

*ILll|Mipj,l|L|JI

147.

La

M.

1939.

145.

1939.

150. Assel

Kerzen-Flammen.

148.

im Gehege. 1940.

144. Stern Visage.

La

146.

Wachsamer

Engel. 1939.

fs^

Belle Jardiniere.

147.

Unterwassergarten. 1939.

145.

Belle Jardiniere. 150.

Woodlouse

151. Stilleben

Underyvater Garden.

148. in

149.

1939.

Candle and Flames.

Enclosure.

151. Still-life

146.

am

Heilige aus einem

Schalttog.

Fenster.

1940.

Guardian Angel.

149.

Stained-glass Saint.

on Leap Day.

279

1940.

Maske.

158.

152.

155.

Woman

in

Alea

1940.

jacta.

National Costume. 158.

280

Mask.

159.

153.

Captive. |56. 159.

Tod und Feuer.

154.

Flora of the

Death and

1940.

Drummer. Rocks.

Fire.

157.

Sailor.

Klee's Writings At

In 1923, another of Klee's essays, V^ays of Studying Nature (Wage des

a very early age Klee felt the

down

note

need to

the reflections inspired by

experiments and by his artistic At first he confided them to his Diary, which he began in 1898 and in which amongst other matters, he his

creations.

j

i

I

narrates the events of his

life,

tells of

j

his

love affairs, of his friendships, of

his

efforts to

impress people, of

enthusiasms and of

his

his

drinking bouts.

This Diary, which allows us to trace his intellectual,

tion

up to

moral and

been pubson Felix (Europa Verlag,

interesting

It

an

is

exceptionally

document.

From November

1911

Two years

Decem-

Albert Langen, Munich, the Bauhausbucher (No. 2) (Bauhaus Books), the Padagogische Skizzenbuch, an extract from lectures which Klee was giving at the Bauhaus.

An

and musical

capital

to the review Die Aipen, pub-

life in

the Bavarian

lished in Berne. In

German

an

by Robert Delaunay on Light

(Uber das Licht), which the review Der Sturm published in Berlin in 1913, in its January number (No. 144/145, Vol. 3). In 1918 he began to write Creative Confession {Scliòpferische Konfession), the first of a series of five essays; they are mostly very brief but full of happy, stimulating formulations and, apart

from Klee's own art, explain a great deal of Modern Art generally. Creative Confession appeared in 1920 in the Tribune der Kunst und Zeit (Tribune of the Times), Vol.

in

edition was

New York under the

Gallery,

XIII,

edited by Kasimir

Edschmid (publisher, Erich Reiss, Berlin). Part of it was translated into English under the title Paul Klee, 2nd edit., Museum of Modern Art, New York, 1945.^

published

in

by the Nierendorf title

Pedagogical

Sketch Book (translation by Sibyl Peech). In

1

928, the Bauhaus review (No. 2/3)

published

Precise

Experiments

the

in

Realm of Art, parts of which were reproduced in English under the title Pou/ in

the Baushaus 1919-1928,

of Modern Art, New York, 938. lecture Uber die Moderne Kunst (On

Museum

A

1

Modern Art) which Klee gave at

the Jena

Museum and which

cularly important,

1912, he translated into

article

in

English

1944

ber 1912, Klee contributed articles on artistic

in Staat-

1919-1923.

later,

published

Klee Speaks until

Weimar,

Bauhaus,

liches

artistic evolu-

1918, has recently

by his Zurich, 1957). lished

Natur-Studiums), was published

in

1924

in is

parti-

was published only

1945 by Benteli, Berne-Bumpliz.

English

translation

by

entitled

On Modern

Art,

Paul

The

Findlay,

with an intro-

duction by Herbert Read, was published in 1937 by Faber and Faber, London, whilst a "French adaptation" by Pierre

Algaux was published in Brussels 1948 (Editions de la Connaissance).

in

Like the four preceding essays, the Jena Lecture has just been reproduced in the book Das bildnerische Denken (The Thought of the Plastic Artist), which also contains the complete text of the lectures delivered by Klee at the

Bauhaus from

1921 to 1922. This pro-

fusely illustrated

work

(edited

byJurg

Spillerand published by Benno Schwabe

&

Co.,

Basle Stuttgart,

1956)

strates in the clearest possible

demonway the 281

carefully

thought

out,

circumspect

nature of Klee's creative process and with what discrimination he employed the different means the artist uses to express himself. Klee also wrote:

A

2,

An

(On the value of Criticism)

the review Der Ararat Publisher Goltz, Munich, 1921.

published

Principal Exhibitions

in

article

catalogue

zum

engraving or reproductions of drawings or etchings.

reply to an enquiry Uber den Wert

der Kritik

No.

The Novices of Sais with 60 drawings. Curt Valentin, New York, 1949. A number of other works contain either a lithograph or an original edition

on W. Kandinsky

in

the

of the Jubilaumsausstellung

Ceburstag von W. Kandinsky (Jubilee Exhibition for the 60th birth60.

day of W. Kandinsky), Arnold Gallery, Dresden, 1926. An article on Emil Nolde in Festschrift zum 60. Ceburstag von E. Nolde, Neue Kunst Fides, Dresden, 1927. Eight of his poems have been reproduced by Carola Giedion-Welcker in Poetesa I'ecart, Benteli, Berne-Bumpliz, 1946.

Up

experienced some works accepted and galleries. The

Klee

1912

to

difficulty in getting his

exhibitions

in

Munich Sezession exhibited etchings

in

1

the intervention of his former teacher Franz Stuck, but it rejected all his sousverres

1907 and accepted only three

in

of the six which he submitted Berlin Sezession

Salon

in

1

908 and 1909.

one-man exhibition of 56 works from the years 1907-1910 was His

held

first

Switzerland

in

in

Candide by Voltaire (26 drawings executed in 1911), Kurt Wolff, Munich 1920. English edition: Pantheon Books, New York, 1944. Potsdamer Platz, oder die Naciite des neuen Messias (Potsdamer Platz, or the Nights of the New Messiah) by Curt lithographs), Corrinth Georg (10 Mùller, Munich, 1920. Fifty-one of his drawings have been chosen as illustrations for Die Lehrlinge zuSais (The Novices of Sais) by Novalis, Benteli, Berne-Bumpliz, 1949, English

282

1910-191 in

I.

It

the Kunst-

halle in Berne, the Kunsthous, Zurich, a

gallery

Klee provided illustrations for:

1908.

in

was more accommodating, and he was admitted to its

The

was successively housed

Books illustrated by Klee

six of his

906, probably as a result of

in

V/interthur and the Kunst-

halie, Basle. In 191 I, the Thannhauser Gallery in Munich, which in the same year organized thefirst publicshowingofthe

Blaue Reiter, exhibited a collection of his

drawings. In

1912, he

took part

in

the Second

Exhibition of the 6/oue Reiter at the

Munich; in 1913, he Sturm Callery in 1917, at the dada Callery in

Goltz Gallery

in

exhibited

the

Berlin;

in

at

Zurich.

From l9l9onwards and upto advent to power

in

Hitler's

1933, there

were

numerous Klee exhibitions

in

Germany.

1919-1920, the Kestner Gesellschoft

In

(Kestner Society) in Hanover organized one which included 122 of his works. A few months later, the Goltz Gallery in Munich which had just concluded a contract with the to

tations

show

more important

even

an

sent out invi-

artist,

of his paintings, with a catalogue

In 1925, the same gallery presented a newcollection of more than 200 works. Then Alfred Flechtheim became Paul Klee's dealer. He had

of 356 works.

shown

already in

1920 and

him

160

works

same

year,

1930; 40

in

the

Dusseldorf

in

Now, he showed

1927.

Berlin: 56

in

1929;

works

his

in

in

in

1928; 150

in

1931. In the

Kunstverein

fur

die

the Callery Le Centaure welcomed him to Brussels. In 1929 he had another exhibition

in

Jeune). In

shown in

at

New

Paris

{Callery Bernheim

1930, 63 of his

the

Museum

York.

exhibition of Degenerate Art, which

wards,

Klee exhibited in London {Mayor Callery 1934 and 1935; London

Gallery 1939);

in

managed by the

Paris {Calerle Simon,

D. H. Kahnweiler

in

Dussel-

exhibited

also

at

1919 and

{Zinglers Kabinett

Frankfurt 1921), at

Cologne {Kunstverein 1921), at Wiesbaden {Nassauisclier Kunstverein 1922), Berlin

{Coierie Fritz Gurlitt

1919);

Goldschmidt & Wallerstein 1922 and" 1926; Kronprinzenpalais 1923; Nationalgolerie

him

at

at

1924),

Fides 1924, In

Brunswick {LandesDresden {Coierie 1926 and 1929), etc.

1930,

museunn

1921, the Wurthle Callery

Vienna.

in

1924, the

In

showed

Anonymous

Society of Nev^ York organized his first

exhibition his first in

in

the United States, while in France took place

exhibition

1925

at

the

Vavin-Rospoil

(Berger and Daber). he was represented Pierre

in

Paris,

in

Surrealist painters.

Callery

the same year at the Callery

In

the

first

group of

Three years

later.

Berne {Kunst-

in

935) at San Francisco (Museum of 1937); in New York {Buchhoitz 1

;

Callery,

Klee

in

Art

dealer,

1934-1938; Calerle

Ballay et Carre 1938);

works

new

artist's

halle

his

in

1937 they began to circulate in a number of German towns.) From then on-

Rheinlande und Westfalen (Art Associa-

dorf.

works were Modern Art

From 1933 to 1940 he was no longer given an opportunity of showing his works in Germany. (However, the Nazis hung 17 of his works in the

tion for the Rhineland and Westphalia)

exhibited 252 of

of

Curt Valentin 1938; Nierebdorf

Caller ies 1938 and cities

1940) and

in

other

of the United States, finally

in

Zurich {Kunsthaus 1940). The war slowed down the rhythm of exhibitions. In Europe, under the German occupation, there was no questions of exhibitions of works by Klee. After the artist's death, however, retrospective exhibitions were organ-

—

in Berne {KunstZurich {Kunsthaus 1940-

ized in Switzerland halle 1940), in

drawings and etchings only), {Kunsthalle

1941).

some of them between

Other

and

1945

{Leicester Calleries 1914), in

&

{Bucholz

Museum Callery,

Basle

retrospective, took place

1940

Nierendorf

in

exhibitions,

Willard Callery

in

London

New York

Callery

1940,

and

1942,

1941

of Modern Art 1941, Bucholz in 1943). Curt Valentin

283

Chicago

Club

{Arts

Francisco

1941),

{Museum of Art

San

in

1941),

Philadelphia {Art Alliance 1944), etc.

With the return

of

exhibitions increased

1945

nunnber. They

in

at

Lucerne

and

1948),

were organized Rosengart

Klee

peace,

{Calerle Basle

in

Moderne 1945 and 1949), Berne {Kunstmuseum 1947), Zurich

{Calerle d'Art in

{Kunsthaus d'Art

1948),

Paris

in

Allendy

1948,

Moderne

1948;

Colette

{Calerle

Musee National Calerle

Jeanne

Bucher 1950; Caller le Berggruen 1953, 1955; Calerle

1952,

Simone Heller 1956).

There were Klee exhibitions in Munich {Coierie StangI 1948; Haus der Kunst 1949 and 1950)

Museum

1948);

in

Kunsthalle 1949),

Otto Ralfs

Dusseldorf {Hetjens

in

Mannheim

1949),

{Stadtische

Brunswick {Calerle

in

in

Hanover {Kestner

Cesellschaft 1952 and

and else-

1954),

where. Retrospective exhibitions were also

the Palais des Beaux-Arts in Brussels and at the Amsterdam Muni-

held

in

cipal

Museum

1948 and

National Callery

in

1957,

London

Venice Biennale 1948, and 1953, as well as in a

at

the

1945, at the in

Sao Paulo

number

of Ameri-

can cities {Beverly Hills 1948;

Bibliography

in

Museum

The

first

books devoted to Klee were:

the Sturm

(Sturm-Picture

Bilderbuch

1918 (15 drawings). Soon afterwards, there appeared Paul Klee

Book) No.

3,

by Hans von Wedderkop (Klinkhardt & Biermann, Leipzig, 1920, vol. 13 of the collection junge Kunst (Young Art) (16 pages and 33 illustrations); Paul

Werk, Ceist (Paul Klee: Spirit) by Leopold Zahn (Kiepenheurer, Potsdam, 1920, 87 pages, 69 illustrations); Koiruan, Oder eine Ceschlchte von Maler Klee und Klee: Leben,

Life,

Works and

von der Kunst dieses Zeitalters (Kairuan, or a Tale of Klee, the Painter, and the Art of Today) by Wilhelm Hausenstein (Kurt Wolff, Munich, 1921, 134 pages, 42 illustrations). At a time when admirers of Klee were rare, these works enthusiastically stressed the

importance of Klee's work and brought out the original traits in his personality. see no one

"I

Germany", wrote has so many new

in

Wedderkop "who things to say." In

1929, Will

Grohmann

published

Paul Klee, a collection of appreciations

by Louis Aragon,

Paul

Eluard,

René

of Modern Art, New York 1949-1950; etc.). Finally the Kunstmuseum in Berne

Tristan Tzara, Roger Vitrac (Editions

showed

des

Klee's

in

1956 the biggest selection of

works ever shown together:

756 paintings, water-colours, pastels, drawings, etchings and sculptures.

Crevel, Jean Lur^at, Philippe Soupault,

91

Cahiers

d'Art,

Paris,

27

pages,

illustrations).

After Klee's death, Benteli, Berne, made by Hans

published the speeches Bloesch

and

Georg Schmidt

at

his

Reden zu seinem 1940 (Paul Klee, Todestag, 29 Juni Speeches on the Day of his Death, 29th June 1940) (18 pages, 5 illustrations). In 1950, Five Essays on Klee, by Merle

funeral,

284

Paul

Klee,

How-

Armitage, Clement Greenberg, Devree, Nancy Wilson ard

Ross

which we are faced when confronted with

his art;

in

New York

reproductions

In

the

(18 pages, 5 illustrations).

the same year there was published first book which attempted to

retrace the painter's evolution and to

demonstrate Paul

art:

importance

the

Klee,

Wege

of

his

bildnerischen

a subtle,

book

interprets his paintings

it

and James Johnson Sweeney, were published by Duell, Sloan & Pearce,

convincing manner. The

also includes a large

Klee's

some

painting

position with

of

bring

eloquent juxta-

into

works

number

of which

of Picasso, Braque,

Kandinsky, Mirò and others. Will Grohamm, who knew the artist personally for

some twenty

years, and

whom

Denkens (The Plastic Artist's Modes of Thought), by Werner Haftmann (Preste! Verlag, Munich, 178 pages, 36 illustrations). This study was succeeded in 1952 by the English edition Klee of Paul by Carola GiedionWelcker (The Viking Press, New York, 156 pages illustrated). In 1954, the same work was published in German (its original text) by Gerd

to

Hatje, Stuttgart (204 pages,

Kohlhammer,

he discusses Klee's work as a teacher and summarizes both his theoretical discourses and his lectures. The work is abundantly illustrated. The French

illustrations;

edition contains (in addition to Groh-

trations). Will

graph

was

German

Grohmann's

also

published

W.

Edition:

Stuttgart, 447 pages,

French

486

edition:

486

Flinker,

172

large

illus-

mono1954:

in

454

pages,

illustrations; English edition.

Haftmann 's book

is

in

the nature of

an introduction to Klee's method.

He

with great penetration the artist's concepts of the artist, his creative processes and the broad outanalyses

1

Klee himself suggested, in 935 that he should write a monograph,

produced a monumental work divided into three parts. Making use of Klee's Diary and Letters as well as of his own memories, he begins with a detailed biography of the artist. He then makes a lengthy and penetrating study of the different aspects of his art, describes

genesis and explains

its

its

scope. Finally,

mann's text) a preface by Henri Michaux {Aventures de Lignes (Adventures with Line)) and a graphological portrait by Ania Teillard. For some years there have been available a large number of books offering a choice of black and white or

Klee's writings and his lecture notes as

coloured reproductions with introductions of varying lengths. They are

well as on his works.

given below

lines of his evolution, basing

himself on

Carola Giedion-Welcker's book is at once more brief, more concise and more solidly based on historical information. Full of intelligence and authority, it highlights all the essentials. It sets out the principal problems which preoccupied the painter or with

in

chronological order. Klee,

Gallimard,

Peintres

Nouveaux

René Crevel, Paul Paris,

1930, Coll.

37 illustrations); Will pages, (63 Grohmann, Handzeichnungen (DrawKiepenings) 1921-1930, Muller & I.

heuer,

Berlin,

illustrations),

1934 English

(30

pages.

Edition:

74

The 285

Drawings of Paul Klee, Curt Valentin,

New

York, 1944 (20 pages, 73

tions),

New German

illustra-

edition, Mijiler

&

Kiepenheuer, Bergen, 1948; Karl NiePaul Klee, Paintings, Water-

rendorf,

Oxford University York, 1941. Curt Valentin,

colours, 1913 to 1939,

New

Press,

New

Kahnweiler, E.

S.

1950 (32 pages, 24

Palettes).

Grohmann.

Will

tions);

Handzeichnungen,

and

Paris,

New York

(Coll. illustra-

Paul

Klee,

Wies-

Insel-Verlag,

baden, 1951 (13 pages, 40 illustrations); Pierre Courthion, Klee, Fernand Hazan,

2nd edition Museum of Modern

Paris, 1953, Bibliotèque Aldine des Arts (6 pages, 20 illustrations); Will

New

York, 1947; Georg Schmidt,

Ten Reproductions

Grohmann,

ings

dessins

in Facsimile of Pointby Paul Klee, V^ittenborn, New

York, 1946 (10 pages, 10 illustrations); German edition Holbein-Verlag, Basle, Ten Facsimile 1946; Georg Schmidt, :

Reproductions of Works

Watercolour

in

and Tempera, Holbein Verlag, Basle, 1948(14 pages, 10 illustrations), Bruno Alfieri, Paul Klee, Instituto

Editoriale,

Venice,

illustrations);

1948

Hans

pages,

Tipografico

(25 pages, 6

Friedrich

Paul Klee, Hauswedell, (46

Braun,

Klee,

Harmann,

illustra-

York, 1945 (26 pages, 45

tions), Art,

pages, 32 illustrations); Daniel-Henry

Geist,

Hamburg, 1948

illustrated);

Felix

Klee,

Paul

Klee,

aquarelles

et

watercolours and drawings), Bergguen, Paris, 1953 (21 pages,

(Paul

Klee,

Georg Schmidt,

illustrated);

bringt

Angel

makes the Wish come

Woldemar

das

(An

Cev/unschte

Engel

true),

Baden-Baden, 1953 with commentary); A. Forge, Paul Klee, Faber & Faber, London. 1954 (24 pages, 72 illustra(12

Klein,

illustrations

Marcel

tions);

Somogy,

Brion.

1955

Paris.

illustrations);

Magic

Klee,

(23

Aimery

pages,

Joseph-Emile

72

Muller,

Paul Klee,22 Zeichnungen (22 drawings),

Klee,

Eidos Presse, Stuttgart, 1948 (4 pages, 22 illustrations); Herbert Read, Klee

Georg Schmidt, Klee. 10 Farbenlichtdrucke nach Werben der Sommlung Doetsch-Benziger, Basel (Klee. IO coloured prints of works in the

(1879-1940), Faber 1948

(24

pages,

& II

Faber,

London,

illustrations);

Douglas Cooper, Paul Klee, Penguin Books, Harmondsworth, 1949 (16

286

Squares

(10

pages,

20

illustrations);

Doetsch-Benziger

Collection.

Phoebus-Verlag. Basle, 1956.

Basle),

Index of Works Reproduced Entries are listed under the year in whicin they were produced. The numbers in brackets following the titles are those given by the artist in the inventory of his work. The figures in italic following the collection sources refer to the pages on which the reproductions appear; the bold figures are the numbers of the illustrations in the Catalogue of Principal Works. Colour plates are indicated thus*.

1896

Arco Arco

— — South

SiJdtirol

1906

(Uncatalogued).

Tyrol. colour: 3|"x3f".

F.

Bildnis Lily Klee.

Drawing

and

water-

K. Collectiori, Berne.

Portrait of Lily Klee. colour: 4|"x3|". F. K. Collection, Berne. Bildnis

1897 Elfenau,

6i"

X

Berne (Uncatalogued).

meines Vaters. (23)

Portrait of Pencil;

12^x1

9". F,

Drawing and water-

my

Father. Sous-verre, Chinese ink:

li".

6

K. Collection, Berne.

Klee-Stiftung, Berne.

1908 1898 (circa) Skizzenbuchblatt. Landscape from

—

Stilleben, Still

a

Sketch-book.

Crayon

Blumenstocke und Vasen. (49) Flower pots and Vases. Pencil:

Iirx7|".

:

6^x9^".

Life,

5

Klee-Stiftung, Berne.

Klee-Stiftung, Berne.

2 Vogelkafig auf der Saule. (60) Bird-cage on the Column. Crayon: 8|"x6".

1903

Zwei Manner, einander vermutend, begegnen

10

Klee-Stiftung, Berne. in

hoherer Stellung

(Invention 6). Two Men meet: Each supposing the other to be of Higher Rank. Etching: ^"x7^". 2 sich.

Jungfrau im Baum (Invention 2). Virgin in a Tree. Etching: 91" x If". I

1909 Selbstzeichnung zu einem Holzschnitt. (39)

—

Drawing for Self-portrait Chinese ink: 5J"x5f". F. K. Collection, Berne.

4

a

Woodcut. I

— —

Die Schwester des Kijnstlers (Uncatalogued). The Artist's Sister. Oil on canvas: If'x 12^". Klee-Stiftung, Berne. 3

Bern der industrielle Teil der Matte darijber der Munsterturm. (50) Berne Industrial Quarter with Cathedral Tower. Chinese ink: 8J"x 10". Klee-Stiftung, Berne. 8

1904

Junge Frau im Liegestuhl. (52)

I

Komiker (Invention 4). Comedian Etching: 5|"x6J". I.

I.

4

Young Woman 2rx4|".

in a

Deck

Klee-Stiftung, Berne.

1905

Drohendes Haupt. (Invention 10). (37) Menacing Head. Etching: /^"xS^". 5 Lily Klee. (32). Pencil and water-colour:

iirxsr. F.

K. Collection, Berne.

6

Gartenszene mit der Giesskanne. (24) Garden Scene with Watering-can. Watercolour sous verre: SJ" x 7^". F.

K. Collection, Berne.

7

chair.

Ink-drawing: 12

Blumenmadchen mit kleinen Farbflecken. (13) Young Flower-girl with stippling. Watercolour: 6^"x4f". F.

K. Collection, Berne.

8

1910 Mannlicher Kopf, jugendlich, mit blauen Augen. (96) Youthful Male Head with blue Eyes. Ink and water-colour: 5|"x3i". F.

K. Collection, Berne.

9

287

Hannah. C.

F.

(66).

Wash: 7i"x4i".

Schong Collection,

New

1911 Voltaire: 'Make way, nnake end Colonel' {Candide, Chinese ink: 4|"x9". Klee-Stiftung, Berne.

York.

way

Motiv aus Hannannnnet. (48) Motif from Hamannnnet. Water-colour paper: 7|"x6i".

on

Richard Doetsch-Benz/ger Collection. Basle.

13

for the Rever-

Chapter

15).

(80)

Hommage

Picasso.

à

(192).

Oil

on canvas:

5" X II Ì"Private Collection, Basle. 1

15

Munich. Bahnhof. (I 10) Munich the Station. Drawing

—

1

in

Chinese ink: 14

3^"x7i".

14

1915 Stadtische Darsteiiung. (117) Representation of a City.

Water-colour:

8^x41". 1912 Skizze einer stadtischen Strasse. (25) Sketch of a Street in a Town. Chinese ink:

9rxl2r. Klee-Stiftung, Berne.

16

1913

Mutter und Kind. (66) Mother and Child. Water-colour: 3|"x4f". F. C. Schang Collection, New York. 10 Kopfe. (128) Heads. Chinese ink.

F.

Der Niesen, (250) The Niesen. Water-colour, paper on board: 7^x91". Hermann Rupf Collection, Berne.

18

A

C.

Schang Collection,

New

i^^x^^". 19

York.

Menschliche Ohnmacht. (35) Human Weakness. Chinese ink. 7"x3|".

23

Anatomy

(48)

Aphrodite. chalk: 9"x7i". of

Water-colour

on 17

K. Collection, Berne.

Katzen. (27) Cats. Chinese ink: 4|"x6". Klee-Stiftung, Berne.

13

Kakendaemonisch.

26

Water-colour on mounted on cardboard

(73).

canvas, plaster base,

Im Steinbruch. (135) the Quarry. Water-colour

ink:

1916

Klee-Stiftung, Berne.

In

16

Klee-Stiftung, Berne.

F.

Ein Stuckchen Eden. (161) Fragment of Eden. Chinese ink:

card-

Die Blume als Liebesrequisit. (89) The Flower as Object of Love. Chinese 41" X 9i".

Anatomie der Aphrodite.

Klee-Stiftung, Berne.

F.

15

K. Collection, Berne.

7rx9r. on

paper:

Klee-Stiftung, Berne.

17,

8rx9r. Klee-Stiftung, Berne.

1917 Farbenwinkel. (50) Colour Corner. Water-colour: 7^"x5^".

1914 Kleiner Hafen. (146) Little Port. Water-colour: 6f'x5i". F.

K. Collection, Berne.

F.

Ansicht von Saint-Germain. (41) View of Saint-Germain. Water-colour paper: 8|"x I". F. C. Schang Collection, New York.

20

on

18

K. Collection, Berne.

Composition mit Symbolen. (140) Composition with Symbols. Pen and watercolour: 5"x5|". F.

C.

Schang

Collection,

New

York.

19

I

\ |

Mit

dem

gelben Halbmond und blauen Stern.

(51)

Teppich der Erinnerung. (193) Carpet of Memory. Oil on canvas: I5''x Klee-Stiftung, Berne.

288

half Moon and blue Water-colour: 6i"x8§". C. Schang Collection, New York.

With the yellow I9|".

12

F.

Star.

20

Ab

ovo. (130). Water-colour on paper on chalk, set on gauze backed with cardboard:

Sr'x

F.

dem Wasser. on

Lithograph

the

30

21

Klee-Stiftung, Berne.

Festival

—

lorxzr.

lOi".

Fest auf

Versunkenheit. (I 13) Meditation Self-portrait.

Villa R. (153). Oil on Kunstmuseunrt, Basle.

(136)

Water-colour

Water.

paper: J^^xT. C. Schang Collection,

New

Turm am Meer. (160) Tower by the Sea. Chinese

cardboard:

I0rx8r. 26

on 22

York.

Composition mit dem Composition with the 19^x151'.

B.

(156)

letter B. Oil

on canvas:

27

Klee-Stiftung, Berne.

ink: 3|''x5§''.

22

Klee-Stiftung, Berne.

1918

Abstrakt mit Vollmond. (48) Abstract with full Moon. Gouache: 3|"x5i". F. C. Schang Collection, New York. 28

Einsiedelei. (61)

Water-colour and gouache on backed with cardboard:

Hermitage.

canvas on chalk,

/fxlOi". 23

Klee-Stiftung, Berne.

Mit

dem

23

Private Collection, Berne.

Adler. (85)

With the

Water-colour on chalk on paper, backed with cardboard: 6f"xlOi". Klee-Stiftung, Berne. 24 Eagle.

Tiergarten. (42)

*Zoo. Water-colour, plaster base, paper on cardboard: 6|"x9". Klee-Stiftung, Berne. 24 Kleine Vignette an Aegypten. (33) Vignette for Egypt. Water-colour:

Little

6rx3r. F.

1920 Traumlandschaft mit Koniferen. (1 10) Dream Landscape with Conifers. Watercolour, paper on cardboard: 5J"x8i''.

K. Collection, Berne.

21

Unter schwarzem Stern. (116) Under a black Star. Oil on muslin

:

9^ x 6^*.

Richard Doetsch-Benziger Collection, Basle. Phantastische Architektur mit (146)

Architecture Crayon: 6i"x8".

Fantastic

22

dem

Reiter.

the

Rider.

Ankunft der Gaukler.

29

Arrival of the Ballad Singers.

Bob. (33). Water-colour and oil-drawing on paper, chalk base, backed with cardboard:

I5"x9r. 30

Private Collection, Milan.

Schulhaus. (23) School. Oil on cardboard: I4|"x Leigh B. Block Collection, Chicago.

I

If"

31

Rhythmische Baumlandschaft. (41) Rhythmical Landscape with Trees.

Oil

cardboard. Edgar Horstniann Collection, Hamburg.

on 32

Vogeldrama. (93) Bird Drama. Coloured drawing: ZJ'x T. The Solomon Guggenheim Museum, New York. 75 I

with

35

Klee-Stiftung, Berne.

Kind. (70) Child. Indelible pencil: ^l''x^". Klee-Stiftung, Berne.

Wunderbare Landung.

(192)

Miraculous Landing. Chinese ink: Zfxlli''. 38 Klee-Stiftung, Berne. 2

Zeichnung zu

'Pflanzen, Erd

und

Luftreich'.

(205) 'Plants, Earth and Kingdom of the Air*. Chinese ink: 81" x7^". 39 Klee-Stiftung, Berne.

Drawing for

1919 Dreitakt, mit der Drei. (68)

Three-part Time. Water-colour: ITxS^".

25

Private Collection, Italy.

Schieiertanz. (34)

Kunstlerbildnis (Selbstportrat). (260) Portrait of the Artist. Pen-wash 9' x SJ"The Pasadena Art Institute, California.

Dance of the

Veil.

Water-colour drawing:

7rxlOJ'.

:

31

Ibach Collection, Barmen.

42

289

Zeichnung zur Salome. (1 1-224) Drawing for Salome. Pen-drawing 1

in

ink:

7rx7k".

(53)

29

Siegfried Rosengart Collection, Lucerne.

Antritt der Seereise. (193)

Departure

1922 Ausschnitt aus einem Ballett zur Aeolsharfe.

for

Voyage.

the

Chinese

Ink:

"Senecio. (181). Oil

/rxiirPrivate Collection, Berne.

34

Room with Inmates. of a Water-colour and oil drawing, paper on cardboard: I9j"x 12^".

Perspective

Klee-Stiftung, Berne.

33

Tanz des trauernden Kindes. (186) Dance of the sad Child. Pen-drawing 7f" x :

Konzert auf dem Zweig. (188) Concert on the Twig. Chinese

ink:

I

Klee-Stiftung, Berne.

Hangende Fruchte.

on

I^"x8|". 54

Hanging

Fruits. Water-colour, paper on cardboard: lOfxZ'. 34 Clifford Odets Collection, New York.

—

Keramisch Erotisch Religios (Die Gefasse der Aphrodite). (97) Ceramic Erotic Religious (The Vessels of Aphrodite). Water-colour and oil, paper on cardboard: I8|" x 12". Klee-Stiftung, Berne. 35

—

Gedenkblatt fur Lieschen. (98) Souvenir for Lieschen. Water-colour and ink, paper on cardboard: I2i''x9''. F. C. Schang Collection, New York. 36

Hoffmanneske Marchenszene. (123) Scene from a Hoffman-like Tale. lithograph: I2i"x9'.

Colour 37

Die Heilige. (107)

The

Saint. Water-colour and oil paper on cardboard: IZfx 12^". Pasadena Art Institute, California.

45

1

81"

Ph;7/p

X

121".

Goodwin

Collection.

drawing,

York.

41

Mystische Miniature. (156) Mystical Miniature. Water-colour: 6|^"x7". Siegfried Rosengart Collection, Lucerne. 43 Blutenantlitze. (57). Faces of Flowers. Water-colour

on

paper:

Edgar Kaufmann,

New

39

York.

Die Zwitschermaschine. (151) The Twittering Machine. Water-colour and oil drawing, paper on cardboard: I6|"x 12".

Museum

of Modern Art,

New

40

York.

Schwankendes Gleichgewicht. (159) Unstable Equilibrium. Water-colour, on cardboard: I3f"x7".

paper

44

Klee-Stiftung, Berne.

Theater der Exoten. (120) Exotics' Theatre. Drawing touched with 81" X

I

I

oil:

i".

37

Klee-Stiftung, Berne.

1923 Architektur

(Gelb-violett

gestufte

Kuben).

(62)

Architecture (piled yellow and violet Cubes). Oil on canvas: 22^" x I4|". 45 Hermann Rupf Collection, Berne.

Bauchredner (Rufer im Moor). (103) 38

Mundes Kuss

(aus

Ventriloquist

— Man

shouting

Douglas Cooper

I

in

a

Bog.

If".

Collection, Argilliers (Card).

46

(142)

the Kiss of his

Mouth

(from The Song of Songs). Water-colour and Chinese ink: 6^" x9''. Angela Rosengart Collection, Lucerne.

290

New

Drei Hauser. (59) Three Houses. Water-colour, paper on cardboard: 8i"x I2i". F. C. Schang Collection, New York. 42

Water-colour: I5|"x

dem 'Hohen Lied'). Let him kiss me with

15".

I3rx8r.

(70)

Er kijsse mich mit seines

I6"x

linen:

Basle.

8f".

48

Klee-Stiftung, Berne.

Kunstmuseum,

Sterbende Pflanzen. (82) Dying Plants. Pen and water-colour on paper:

1921

Zimmerperspektive mit Einwohnern. (24)

— —

"Fragment from a Ballet for the Aeolian Harp. Water-colour: 9J"x 8". Angela Rosengart Collection, Lucerne. 49

36

Assyrisches Spiel. (79) Assyrian Game. Oil on cardboard,

on wood:

14^"

mounted

xlO^.

Private Collection, Berne.

47

Kampfszene aus der komisch-phantastischen

Zeichnung zur

Oper 'Der

Seefahrer'. (123) Battle Scene from the comic-fantastic Opera 'The Seafarer'. Water-colour and oil

drawing on paper: I5"x20g".

Madame Der

Kampfszene des Seefahrers.

(208)

Drawing for the Crayon: 9i" x

Battle Scene in 'The Seafarer". I3|".

53

Klee-Stiftung, Berne.

Trix Durst-Haass Collection, Basle.

48 Strasse im Lager. (146)

Seiltanzer. (121)

*Camp

*The

Tightrope-walker. paper: 9rx 121".

on

Water-colour

Klee-Stiftung, Berne.

Water-colour

on

cardboard:

57

32

Nordsee-Bild. (246)

paper on

Water-colour, board: I2"x ISf".

•"North

Road.

I0"xl2r. Rosengart Gallery, Lucerne.

1

Sea.

card-

Kind an der Freitreppe. (65) Steps. Oil on paper: Bf" x

Child on the

I

I".

65

Private Collection, Berne.

52

Klee-Stiftung, Berne.

Landschaft mit gelben Vogeln. (32) Materialisierte Gespenster.

(I

I

Landscape with yellow

1-24)

Materialised Ghosts. Water-colour: I4|"x Siegfried Rosengort Collection, Lucerne.

68

on

paper:

IRR.

17

(136).

Water-colour

Srxlli". Richard Doetsch-Benziger Collection, Basle.

Strenge der Wolken. (217) Severity of the Clouds. Crayon. F.

56

K. Collection, Berne.

Perspektive mit offener Ture. (143) Perspective with open Door. Water-colour and oil drawing, paper on cardboard:

IOi"x Of". Hans Meyer Collection. Berne. I

50

Eros. (115). Water-colour: 9J"x 13^" Siegfried Rosengart Collection, Lucerne.

51

I7|".

Richard Doetsch-Benziger Collection, Basle. Fiordiligi.

Sf 49

Water-colour

Birds.

and gouache on paper: I4"x

10".

>,

I

I

(95).

Chinese

ink

and

41

chalk:

i".

43

Angela Rosengart Collection, Lucerne.

1924 Baumblute. (56) Blossom.* Pen-drawing: 9^"x

I

4".

58

Klee-Stiftung, Berne.

Aquarium mit Blausilberfischen. (211) Aquarium with silvery-blue Fishes. Chineseink and wash: 7f"x8f". Private Collection, Berne.

51

Das Kind. (63) Child. Crayon: 9i"x 8i". F. C. Schang Collection, New York.

47

The Lomolarm. (172) The weeping Man (L'Homme aux iarmes). Water-colour on paper, wax base: I3"x9". F.

C.

Schang Collection,

New

52

York.

Ann Berg des Stieres. (152) At the Mountain of the Bui Water-colour and oil drawing, paper on cardboard:

Reiher. (155)

Heron. Water-colour drawing: IT x5i F, C. Schang Collection, New York.

50

.

11^x131". Private Collection, Berlin.

Sonnen- und Mondblumen. (231) Sun and Moon Flowers. Gouache: 41" x F. C. Schang Collection, New York.

53

I

if".

54

Schlangenwege. (U.I 7) "Snake Paths. Water-colour linen: I8i"x25".

and

wax on 187

Private Collection, Berne.

Schauspielermaske. (252) Actor's Mask. Oil on canvas: I4^"x 12^". Sidney Janis Collection,

New

York.

56

Wattenmeer

(Baltrum). (263) Tideland at Baltrum. Water-colour on paper:

6i"x8r. Mrs. Marian Willard-Johnson Collection, Locust Valley. U.S.A.

55

Bei

Taormina

(Scirocco). (220)

^Near Taormina (Sirocco). Water-colour on paper: 5r'x9i". 60 Klee-Stiftung, Berne.

29

i

Karneval im Gebirge. (I 14) •Carnival in the Mountains. Water-colour on paper: iO^'x 13". 77 Klee-Stiftung, Berne. Wasserpflanzenschriftbild. (132) Script-picture Water Plants. Water-colour on paper: 9^" x llf"-

—

Lyonel Feininger Collection,

New

Afrikanische Dorfszene. (F.7) African Village Scene. Pen-drawing:

Skilaufer.

(85)

Winter Landscape with Skier. Wateron cardboard: S^xSI".

colour, paper F.

C.

New

Schang Collection,

64

Kleines Wurfelbild. (D.4) Picture of Dice.

on

Oil

''Little

muslin:

I4i"xl2r. Urvater Collection, Brussels.

81

C im Hafen. (K.5) C in Harbour. Oil

and distemper on

Schiff

Little

Tx

57

York.

dem

Kleine Winterlandschaft mit

I

Private Collection, U.S.A.

58

York.

*Ship

II

II

chalk, on paper: I3j''x9i-''. Private Collection, Berne.

Dorf mit dem steigenden Drachen. (Qu.5) with

•Village

7rx

Zeichensannmlung. (189)

72

rising

Kite.

Water-colour:

Ili"-

Angela Rosengart Collection, Lucerne.

90

Kleines Madchenbildnis in Gelb. (E.9) Portrait of Girl in yellow. Oil canvas: 9i"x8|-''.

on

Collection of Signs. Water-colour and pen:

9^x111"Private Collection, U.S.A.

Felsen Cliffs

59

am Meer. (230) by the Sea. Water-colour: 7^"x7|''.

Siegfried Rosengart Collection, Lucerne.

Little

F.

60

C.

New

Schang Collection,

Einsiedelei. (S.2)

Hermitage. Water-colour: 10^' x F.

1925

and water-colour on

paper: 12^" x I5|". Private Collection, Berne.

69

Gebirge im Winter. (3) Mountains in Winter. Vapourized watercolour and brush, on cardboard: T'x I4f". Hermann Rupf Collection, Berne. 6B

— Keramisch Mystic — Ceramic. Oil

(in

der

Art

on

cardboard:

eines

Stillebens). (B.8)

I2rxl8r.

Kopfprofil. (C.9) on plaster: ìì^" F. K. Collection, Berne. Profile. Oil

BildnisbiJsten

Schang Collection,

x

(74)

59

Klee-Stiftung. Berne.

1926 Barbarisch-Klassisch-Festlich. (P.9) •Barbaric, Classical, Solemn. Ink and gouache

on paper: IIJ"x

14^".

99

Eric Estori ck, London.

Beschriebene Statte. (V.8) Water-colour •Description of Place.

Chinese ink: 8''x

and

12".

New

F.

63

York.

Schang Collection,

ink:

New

I

I|"x5f".

66

York.

Frau vor der Geburt. (54)

Pregnant

Woman.

Chinese ink: IO|"x

Klee-Stiftung, Berne.

I6|'

61

Drachen-Kampf.

(S.5)

Fight with the Dragon. Chinese ink: 9''x 12^". F.

Mrs. Charlotte Purcell, Chicago.

C.

ink

46

Crayon

110

62

lOJ".

Haus der Opera buffa. (M.6) Theatre of the Opera-Bouffe. coloured paper: 8g"x lOJ".

292

— Skizze.

Kopf LJber Kopf. (V.O) Head over Head. Chinese

Grotesken aus dem Circus V. (N.8) Grotesques from the Circus. Chinese wash: 5^" X lOJ". C.

55

Angela Rosengart Collection, Lucerne.

Richard Doetsch-Benziger Collection, Basle.

F.

li*.

Sketch for a Portrait. Crayon: 6" xli".

I

Mystisch

I

K. Collection, Berne.

Vogel Pep. (T.7) ''The Bird called Pep. Oil

96

York.

C.

Schang

Collection,

New

York.

63

on

Botanischer Garten. Botanical Garden. Pen-drawing: 9|"xl5|".

44

Klee-Stiftung, Berne.

71

Ausgang der Menagerie. (R.3)

Mondlied. (Q.3)

The Menagerie parades. Ink-drawing: 7"x

12".

74

Private Collection. Berne.

Song to the Moon. Crayon:

Abfahrt der

Idyllisch-nachbarlich. (E.4)

Neighbourly Idyll. Chinese ink: 5^" x F. C. Schang Collection, New York.

10"

62

I

l|"x ISy. 93

Klee-Stiftung, Berne. Schiffe.

(D.IO)

The Ships depart. Oil on wood: I9rx23|".

canvas,

mounted on 66

Private Collection, Berne.

Urn den

Fisch. (C.4)

Around the Fish. Tempera and I8r'x25r. Museunn of Modern

Art,

New

oil

on canvas: 64

York.

Variationen (progressives Motiv). (Om.9) Variations Progressive Motif. Oil and watercolour on canvas. 67

—

Hetare auf ihrem Lager. (0.7) Hetaera on her Couch. Pen-drawing with water-colour: IO|"xl2J". Richard Doetsch-Benziger Collection, Basle. 65

Max

1927 Tiere bei Vollmond. (V.8)

Times of the

Zweihugel— Stadt. (Y.4) City on two Hills. Pen-drawing and watercolour on cardboard: IO^"x I4|".

68

Fischer Collection, Stuttgart.

79

Zeiten der Pflanzen. (Om.6) Plants. Oil and water-colour on canvas: I5|"x20i". David Thompson Collectior], Pittsburg. 69

a Rose. Chinese ink: I2"x4^''." Rosengart Gallery, Lucerne. 82

Pastorale (Rhythmen). (K.IO) Pastorale— Rhythms. Oi on canvas 27^" x 20^". 70 A^useum of Modern Art, New York.

Orientierter Mensch (B.6) Orientated Man. Chinese ink: I2j"x9i".

Auserwahlte

Animals at full Moon. Pencil: Sf^xZ*. C. Schang Collection, New York.

F.

Rosenzwerg. (G.

I)

Dwarf with

Private Collection, U.S.A.

Regen. (0.9) Rain. Chinese ink:

II

fx

83

18^".

Klee-Stiftung, Berne.

87

:

I

Statte. (X.8)

Pen and water-colour: I8j"x Theodor Werner Collection, Berlin.

Chosen

Site.

Klang der SiJdlichen Flora. (W.7) of the southern Flora. colour on paper: 9" x J".

Cote de Provence

6.

71

Water-

Resonance

I

12".

118

I

(X.4)

Coast of Provence. Water-colour C. Schang Collection, New York.

X

I

If 88

F.

Vollmond. *Full I

Beride (Wasserstadt). (O. ) Beride (Aquatic Town). Chinese

Moon.

or X

(L.3)

Oil and

gouache on plaster base:

13".

85

Privale Collection, Berne.

I

ink:

Die grosse Kuppel. (43)

6^ X 81". Klee-Stiftung, Berne.

80

The great Dome. Chinese

ink: \0^"

x

I

l|".

67

Klee-Stiftung, Berne.

Segelschiffe leicht bewegt. (E.9) Sailing Ships moving gently. Pen

drawing:

Private Collection, Berne.

Geringer Ausserordentlicher,

An

Mrxl8i". 245

Bildnis. (F.9)

but out of the ordinary Portrait. Pen and ink: I2f"x I8|". 70 Rosengart Gallery, Lucerne. insignificant

—

Fellow,

Beflaggte Stadt. (2)

*Flagged Town. Water-colour on paper, black

background: llf'xSJ" Private Collection, Berne.

103

Semitische Schonheit (Praecision). (T.I) Semitic Beauty (Precision). Chinese I7|"xl6".

76

Klee-Stiftung, Berne.

Architektur aus Variationen. (307) Construction based on Variations. Chinese ink: 1

3è"

X

20|".

Klee-Stiftung, Berne.

104

Porto Ferraio— Insel Elba. (Q.9) Porto Ferraio Elba. Chinese ink:

—

Phil Hart, U.S.A.

ink:

I

l|"x

18^".

78

293

1928 Alte Stadt Ueberblick. (Qu.8)

Town

— Panorama.

Water-colour

on

paper: I|"x8f". Richard Doetsch-Benziger Collection. Basle.

72

Old

Nichtkomponiertes im Raum. (C.4) in Space. Pen-drawing and water-colour: I2f"x9|". Private Collection, Berne. 75

Uncomposed Objects

Italienische Stadt. (P.6)

Town. Water-colour, paper on card-

board: I3rx9i". F.

74

Klee-Stiftung, Berne.

I

Italian

Die Sonne streift die Ebene. (M.4) The Sun sweeps the Plain. Water-colour, paper on cardboard: I4|"x9j".

K. Collection, Berne.

73 Ein Kreuzfahrer, (T.2)

A

Grosser Circus. (L.2) Big Circus. Chinese ink. Private Collection, Berne.

91

Obertone. (K.9) Overtones. Chinese ink: I6rxl0i". Private Collection, Berne.

//

F.

Crusader. Water-colour on paper I7i"xll". C. Schang Collection, New York.

Hauptweg und Nebenwege. (R. Highway and Byways. Oil on 321" X 261".

Madame Werner

10)

canvas:

Vowinckel Collection, Munich.

77

Kleine Seenot. (L.3). Slight

Danger

at Sea.

Chinese ink: i8"x

Klee-Stiftung, Berne.

I2|".

84

Alte Stadt und Brucke. (F.IO) *Old Town and Bridge. Distennper on sacking:

4^x161".

Clown.

(D.3).

Oil

on canvas with Meuden

white: 26|"xl9r. Curt Valentin Collection,

New

Water-colour

Soul.

drawing: 9^" X

122-23

paper on wood: I6|"x Kunstmuseum, Basle.

on

chalk,

I2f".

lOó

Vor dem Schnee.

wood and

8|"x W^'.

Siegfried Rosengart Collection, Lucerne.

122

1929

Angst hinter Fenster. (3 H.28) *Fear behind the Curtain. Water-colour: 91" X 121". Rosengart Gallery, Lucerne.

107

(3 h.l9)

Before the Snow. Water-colour, cardboard: I3:^"x I5|".

Die Stelle der Zwillinge. (3 H.2I) Place. Water-colour, paper on cardboard: IOi"x 12". Klee-Stiftung, Berne.

135

Rechnender Greis. (S.9) Old Man calculating. Etching.

121

Belichtetes Blatt. (OE.4) *lllunninated Leaf. Water-colour

F.

80

2.94

120

K. Collection, Berne.

Nekropolis. (S.I) Necropolis. Gouache: I5"x9|''. D. H. Kahnweiler, Paris.

Monument im in

81

Fruchtland. (N.I) fertile Land. Water-colour,

paper on cardboard: I8^"x

12".

Klee-Stiftung, Berne.

137

Gemischtes Wetter. (3 h.43) *Mixed Weather. Oil and water-colour on muslin: \9^"x I6i". F.

K. Collection, Berne.

126

Physiognom,ische Genesis. (C.5)

and

pen,

Genesis of the Physiognomy. Water-colour:

paper on cardboard: I2"x9". Klee-Stiftung, Berne.

paper on

Kirche und Schloss. (M.7) Church and Castle, ^'en-drawing.

Monument *The Twins'

pen-

79

Private Collection, Berne.

Eingezàuntes. (Qu.4) Cloisonné. Oil on paper, stuck on

and

14^".

Private Collection, Berne.

Ein Blatt aus dem Stadtebuch. (N.6) *A Leaf fronn the Town Records. Oil

78

York.

Irrende Seele. (3 h.ll)

Wandering

Richard Doetsch-Benziger Collection, Basle.

plaster:

76

I2rx9r. 134

F.

K. Collection, Berne.

123

Feigenbaum. (X.IO) Water-colour on paper: F. C. Schong Collection, New York.

*Figtree.

rx8J".

I

131

Langes Haar und Seelisches (Omega 9) Long Hair Soulful. Chinese ink: M"x8J". 98 F. C. Schang Collection, New York.

—

Steli dich ein.

Schang Collection,

Um sieben ijber Dachern. (S.I) Seven o'clock above the Roofs. Varnished water-colour on canvas: 2l|"x I9|". 86

Louise Leiris Gallery, Paris.

(AE.5)

x\r

The Rendezvous. Water-colour: F. C.

Physiognomien von Querschnitten. (W.3) Physiognomies of Cross-sections. Watercolour, paper on cardboard: I8i"x24j". 85 Rosengart Gallery, Lucerne.

New

95

York.

Madchen mit Puppe. (H.8) Girl with Doll. Chinese ink: I8j"x IfChris Schang, Westport, Conn., U.S.A. I

Furcht vor Verdoppelung. (E.3) Fear of becoming double. Chinese I8"x If". Rosengart Gallery, Lucerne.

ink:

I

Ein Tier geht spazieren.

(J. 5)

An

walk.

101

Animal

having

a

Chinese

108

ink:

i4rx8r. Angela Rosengart Collection, Lucerne.

109

Fluten. (UE. 7)

Waves. Drawing: 4|"x F.

I

If 94

K. Collection, Berne.

I3i"x8r. Hermann Rupf

Ordensburg. (O.I) Castle of the Order. Ink-drawing:

I

86

Wùstengebirge. (K.I3) Desert Mountains. Crayon; Iirxi

C.

or X

Water-colour

on

149

Springer. (C.3)

wood

Reed-drawing: F.

/

/3

:

20i" x 20|". 140

K. Collection, Berne.

Fruchte. (X.2) *Fruit. Water-colour on cloth: Private Collection, Berne.

Chinese ink: IJ"x3i". Schang Collection, New York.

I

or xi6r. 152-53

I

132

Kind und Hund. (A.5) Child and Dog. Chinese ink: 8J"x8". Mrs. Robert Gage, Milford, Conn., U.S.A.

Zur Gruppe geschlungen. (J. 7) Group interlaced. Ink-drawing:

I

l"x

IS

127

Klee-Stiftung, Berne.

97

Familienspaziergang. (J. 10) Family Walk. Pen-drawing

in

colour:

3|"xlOr.

1930

Gewagt Wagend.

(Y.4)

Calmly

Water-colour

daring.

too

Klee-Stiftung, Berne.

on

paper:

12^x91". 82

Klee-Stiftung, Berne.

Farbtafel (Auf mairoem Grau). (R.3) *Table of colour (in grey major). Pastel with glue, paper on cardboard: I5j"x J". 130 Klee-Stiftung, Berne. 1

Zwillinge. (W.8) Twins. Oil and 23-1"

chalk:

181".

*Acrobat. Varnished water-colour, canvas on

(i.l)

Verspatetes. (UE.8) F.

176

Private Collection, Berne.

92

Klee-Stiftung, Berne.

Late.

Sangerhalle. (C.9) *Hall of Singers. I

Klee-Stiftung, Berne.

Stadt mit Wachttijrmen.

Collection, Berne.

Ig"x9|".

Klee-Stiftung, berne.

Town with Watchtowers. IZrx 11^".

Blumenvase. (B.9) *Model of a Flower Vase. Oil on paper, pochoir: Plastik einer

water-colour

on

canvas:

X 9r.

hienry T. Kneeland Collection, Hartford, Conn., U.S.A. 83

Pop und Lok im Kampf. (77) Pop and Lok fighting. Gouache, cardboard: 7^" x 13^'. Klee-Stiftung, Berne.

Freies, streng gefasst. (Y.3) but securely held.

*Free,

1

paper on

F.

paper: 24" x 18". C. Schang Collection,

New

1

Water-colour on York.

172

Schwebendes (vor dem Anstieg). (S. 10) *Hovering (about to take off). Oil on canvas:

33rx33r. 84

Klee-Stiftung, Berne.

145

295

Haus, aussen und innen. (Y.I) Inside and Outside of a House. Water-colour:

iirx9r. Rosengan

Stammtischler. (X.20) Habitué. Chalk-drawing: QJ'xS^".

An

116

Klee-Stiftung, Berne.

87

Gallery, Lucerne.

Studie. (Qu.l9)

Rhythmisches. (E.3) Rhythmical. Oil on sacking: 27i"x I9|*.

Study. Crayon:

8i"x

13".

102

Klee-Stiftung, Berne.

Private Collection, Berne.

88 1932

Zwischen Herbst und Winter, (Z.I 6) Between Autumn and Winter. Brush-drawing

Winterbild. (D.6) Picture. Gouache Private Collection, Paris.

Winter

on cardboard.

128

Klee-Stiftung, Berne.

Sechs Arten. (X.4) Six Types. Water-colour, linen on cardboard:

lifx F.

181".

90

K. Collection, Berne.

Segelnde Stadt. (T.IO) Floating

Town.

Water-colour

on

paper:

Extra-Ture.

19".

112

Zeichen verdichten sich. (Qu.l) More and more Signs. Brush-drawing:

Measurement of with gum: I8i"x I3f".

119

Klee-Stiftung, Berne. Gift. (13-VIII)

on

Poison. Water-colour, I

92

Hohenmessung der Lagen.

Individualized

l|"x

paper on cardboard:

19".

193

Klee-Stiftung, Berne.

Ad

Parnassum.

(X.I 4).

Oil

on

Beds.

93

from

oneself. Pen-drawing with wash and ink: I6^"x22|".

Klee-Stiftung, Berne.

97

Kunstmuseum, Berne. Tanzerin. (X.I

I)

Dancer. Oil: 22i"x loj". F. C. Schang Collection, New York.

1931 Flucht vor sich. (K.5)

124

98

Pflanzen—analytisches. (V.9) Plants— analytic. Oil on sacking: 20|"x7i". Richard Doetsch-Benziger Collection, Basle.

Baume im Oktober. (87) Trees in October. Oil, paper on cardboard: I4i"x I8rKlee-Stiftung, Berne. 94

Arabisches Lied. (Y.3) Arab Song. Oil on canvas: 351" xlS^". The Phillips Gallery, Washington.

Ein Stich. (M.2)

Pflanzen Schriftbild. (61) Plant Script-Picture. Gouache,

A

Stitch. 1

21"

X

Pen-drawing, ink and water-colour:

cardboard:

19".

Rosengart Gallery, Lucerne.

95

K. Collection, Berne.

I

canvas

Klee-Stiftung, Berne.

117

Schach. (Y.3) Check! Oil on plaster.

296

100

on

Of x 201"-

1

7r'x

101

22".

Klee-Stiftung, Berne.

David Thompson Collection. Pittsburg.

99

Kleine Felsenstadt. (X.I 6) Small Town among the Rocks. Oil on canvas:

Uppiges Land. (X.9) Rich Land. Crayon. F.

canvas:

391" x 491".

the

Klee-Stiftung, Berne.

Flight

I3i"x

I2rx7". 91

Nekropolis. (0.7) Necropolis. Colours mixed with glue paper: 32t"x26|". David Thompson Collection, Pittsburg.

Pastel

(S.I I)

Special Door. Reed-drawing: Klee-Stiftung, Berne.

24^x18^. Hernnann Rupf Collection, Berne.

Individualisierte (R.2)

:

20rxl4r.

89

102

*Emacht. (M.8). Oil on canvas: I9|"x25i". 96

F.

K. Collection. Berne.

157

Lagunenstadt. (M.3)

Gelehrter. (Z.6)

*Lagoon City. Water-colour on paper; I9"x iir.

Scholar. Gouache on plaster: I3j"x

Private Collection, Berne.

186

Park-bild. (X.I4) Picture of a Park. Water-colour: I3"xi F. K. Collection, Berne.

203

173

Polyphonie. (X.I 3)

Polyphony. Tempera on linen: 26J"x4lf". Emanuel Kunstmuseunn, Hoffmann-Stiftung, 168

Basle.

Kleiner blauer Teufel. Blue Devil. Oil-painting:

Little

Garten-Rhythmus. Garden Rhythm.

7^x1 F.

10^*.

Private Collection, Berne.

I

Ii"x9f^

Private Collection, Berne.

(t.5)

on

Oil-tempera

linen:

li".

K. Collection, Berne.

165

103

Der KiJnftige. (Y.5) The Man of the Future. Water-colour on paper, applied with knife: 24f"x 18^". 104

Klee-Stiftung, Berne.

Gartentor M. (M.I 5) M. Oil and gouache on muslin: lir'x 13".

Garden Gate

Richard Doetsch-Benziger Collection, Basle.

161

Frauenmaske. (4E.2) Female Mask. Oil on canvas: 22" x F. C. Schang Collection, New York.

Tier. (M.I8) Lady and Animal. Water-colour on paper:

Daring! Ink-drawing; I3|"xl2|". Klee-Stiftung, Berne.

1

64

1

F.

Abwarts. (M.20)

Downwards! Ink-drawing: 9^"x

I3f"

125

X 24i".

Schang

Collection,

New

106

York.

Double

Face.

Water-colour drawing:

I2rx8r. F.

139

K. Collection, Berne.

(I)

Captain.

Oil-tempera on

papier

màché: 22"x4f". F.

8|"

C.

Doppelgesicht. (E.3)

Private Collection, U.S.A.

Barbarian

105

Dame und

Gewagtes. (N.6)

Barbaren-Feldherr.

18^".

K. Collection, Berne.

181

Welthafen. World Harbour. Colour mixed with gum, paper on cardboard: IZfx If". I

Junger Baum (Chloranthemum). (P. 13) Young Tree (Chloranthemum). Water-colour on paper: I8i"x I4J". Private Collection, Berne.

}90

F.

K. Collection, Berne.

143

1934

Zu

Berg. (M.5)

Towards the Mountain. Crayon: I2^"x8i". Klee-Stiftung, Berne.

1933 Angriff der Nachstfolgenden. (V. 18) Attack by those coming after. Brush-drawing:

I8r'x24r.

ich I

werde

shall say

sagen. (T.7) .

.

.

Crayon: 6|"x

I2|".

Klee-Stiftung, Berne.

Curt Valentin Collection,

New

Diana im Herbstwind. (R.2) in the Autumn Wind. Water-colour, paper on cardboard: 24f"x6f",

'Diana

Klee-Stiftung, Berne.

154

Urkunde. (Z.3) Document. Oi and plaster on gauze 8|" x I

:

Angela Rosengart Collection, Lucerne.

7^'

184

Geoffnet. (A.6)

Open. Water-colour wood: 16" x 2 If". K. Collection, Berne.

and

wax,

141

129

York.

Auswandern. (U.I) Emigrating. Crayon: I3"x8i".

F.

Und And

151

muslin

on 177

Klee-Stiftung, Berne.

194

Zerbrochene Maske. (S.I 6) ^Broken Mask. Water-colour: ()\"x7l". F.

K. Collection, Berne.

195

Wildwasser. (16) Waters. Water-colour and pen on paper: Ilf"xl9i".

Untamed

Private Collection, Berne.

198

297

Wolke uber Bàumen.

Tor zum verlassenen Garten.

(N.I5)

Cloud above the Trees. Crayon: 8|"x25". Klee-Stiftung, Berne.

*Gate 144

Schwerbefruchtet. (Qu.lO) Heavily pregnant. Crayon.

133

Ann und im See. (N.I6) On and in the Lake. Crayon: 9^"x24i". Klee-Stiftung. Berne.

Siesta.

the

(L.I 8)

Gouache:

Garden.

deserted

12rx

\7i". Private Collection, Berne.

206

Der gefundene Ausweg. (N.I 8) *The Way-out at last. Water-colour on paper:

I2rxl8r. F.

202

K. Collection, Berne.

138

Gennischte Siesta. (N.20)

Confused

of

Zwei-Frucht-Landschaft Fruit Landscape 9i"xl3".

*Two

Crayon: 6|"x25y.

Klee-Stiftung, Berne.

150

Bald nnarschieren nnehr. (R..I3) More will be marching soon. Crayon: I2|"x7". Klee-Stiftung, Berne. 146

F.

II.

(L.9)

Water-colour:

II.

209

K. Collection, Berne.

Moblierte Arktis. (M.I)

Furnished

Arctic.

Gouache:

I

\^"x

18^".

216

Rosengart Gallery, Lucerne.

Angst. (U.2)

and water-colour, covered with wax, on canvas: I9f"x2lf".

Fear. Oil

Nelson A. Rockefeller Collection,

New

York.

107

Botanisches Theater. (U.I9) Botanical Theatre. Oil and water-colour on canvas: I9|"x26f". Private Collection, Berne. 108

W-geweihtes Kind.

(K.I

Child consecrated to

I)

W (Woe). Gouache and

9".

oil: 51" X Albright Art Gallery, Buffalo.

1 1

Dame Damon. (P. 15) Dame Demon. Distemper and 59r X 39i".

oil

on canvas: ill

Klee-Stiftung, Berne.

Bluhendes. (T.I9) Blossom. Oil on canvas: 3l|"x3li'' Dr. £. Friedrich Collection, Zurich.

Zeichen auf 109

Trauernd. (8) Mourning. Water-colour, paper on cardboard

:

19^x121". Klee-Stiftung, Berne.

1

10

1935 Spiel auf

Game on

dem Wasser.

*Caligula.

Klee-Stiftung, Berne.

113

(4).

Water-colour on paper:

I9i"x9r. F.

147

221

K. Collection, Berne.

I

1937 Schwanenteich. (V.I) Pond with Swans. Colour mixed with black gum: I8|"x 16^". Mrs. John Rockefeller Collection,

Gartenfigur 'zur Warnung". (12)

New

York.

170

\''x7".

Klee-Stiftung, Berne.

135

Ausdrucks-Leier. (14) Expressive Lyre. Crayon: IOJ"x7". Klee-Svftung, Berne.

Ach. aber ach. (U.I)

Oh! But Oh! Colour mixed with gum and black water-colour: 7^" x l|". I

K. Collection. Berne.

163

Private Collection, Berne.

148

Neu Rindenkultur. (P.5) Bark Culture. Sous-verre:

298

Feld. (M.I 7)

199

Grobgeschnittener Kopf. (K.12) Roughhewn Head. Wash: I3"x8i''. F. C. Schang Collection, New York.

F.

dem

the Field. Water-colour.

in

1936 Betroffene Stadt. Stricken Town. Oil on plaster: I7|''x I3|". 114 Dr. W. Loeffler Collection. Zurich.

(3)

the Water. Crayon: 7"x I0|".

Warning. Crayon:

Signs

angelegter Garten. (K.7)

*Newly I

I"x7^".

9i":-

155

laid-out Garden.

Gouache on

plaster:

I2r.

Private Collection. Berne.

212

Zeichen in Gelb. (U.IO) Yellow Signs. Pastel on canvas: 32|"x

115

Private Collection, Berne.

Labiler

Wegweiser.

Szene mit Vogeln. (6) Scene with Birds. Charcoal

I9j

(L.5)

Unstable Signpost. Water-colour on blottingpaper: I7f' xZI". F.

Zeichnung zur "Pierette". (13) Drawing for "Pierette". Crayon: 7|"x6^".

Kunsthaus, Zurich.

117

Pastel,

paper on card-

Klee-Stiftung, Berne.

Erfolg.

(W.

17)

Incantation. Brush-drawing, gouache: \\^" x I6g". Siegfried Rosengart Collection, Lucerne.

Successful

Ein Blick aus Aegypten. (S.I 5)

1

18

black 179

Kinderspielplatz. (T.8)

Children's Playground. Pastel and red chalk. 162

1938 Pathos. (D.I). Pink paper: I9i"x I3J". F. K. Collection. Berne.

Zeichnung zum Wandercircus. (L.I) Itinerant Circus. Crayon: I8^"x ISf"

189

^59

Private Collection, U.S.A.

Gedanken an Nachkonnnnenschaft.

Schwarze Zeichen. (H.I4) Black Signs. Pastel: 51" x9Y'

(P. 14)

Thoughts on our Descendants. Charcoal and water-colour, based on chalk and gum. paper on cardboard: Ifx/^*. I

F.

158

Klee-Stiftung, Berne.

Beschworung mit

Glance from Egypt. board: I0|"x6|".

167

116

K. Collection, berne.

Ueberschach. (R.I) Super-check! Oil on canvas: 47^^x43^'

A

7"xll".

Klee-Stiftung, Berne.

119

K. Collection. Berne.

F.

K. Collection, Berne.

Tiere

Gehege.

irn

Animals

in

192

(8)

Paddock.

the

Brush-drawing.

9"xlir. Harmonisierter Kampf. (206)

Harmonised

Struggle.

Pastel

F. C.

on

Schang Collection,

22rv33r. 120

Klee-Stiftung, Berne.

Kunsthalle,

171

\"

x7".

227

Mi". 121

Der The

kleine Preusse. (R.7) Little Prussian.

Water-colour: lOf 160

Klee-Stiftung, Berne.

York.

Revolution des Viaduktes, (R.I 3) Revolution of the Viaduct. Oil on 231" X I9|".

I

Klee-Stiftung, Berne.

Beginnende Kuhle. (Q.I6) Early Chill. Oil on canvas: 28J"x20r.

New

York.

Eigenwille einer Brille. (F.9) Spectacles in a Tantrum. Paint mixed with

gum: Garten im Orient. (S.7) Oriental Garden. Pastel on paper: I4J" F. C. Schang Collection, New York.

Bernard H. Friedman Collection,

New

canvas:

122

canvas:

Hamburg.

123

Sextett der Genien. (T.9) Sextet of Spirits. Pastel on paper: I3j"x 18^". John S. Newberry Collection, Grosse Pointe, Michigan, U.S.A. 124

Buhnenlandschaft. (U.I 2) Stage Landscape. Pastel on canvas: 22|" x33|". Hermann Rupf Collection, Berne. 125

Coelin-Frucht. (D.8)

Azure Fruit. Paint mixed with gum on paper: I4i"xl0r.

Park bei L(-uzern). (J.9) Park near L(ucerne). Oil on canvas: 39|"x28". 128

Klee-Stiftung, Berne.

Rote Weste. (K.3) Red Waistcoat. Paint mixed with gum, with wax on canvas: 25|"x 17". F.

C.

Schang

Collection,

Timider Brutaler. Bilderbogen. (Q.I3) Picture Page. Oil on canvas: 23J"x20". The Phillips Gallery, Washington.

127

Kl&e-Stiftung, Berne.

New

York.

129

(1.38)

Brutal but timid. Oil on jute: 29i"x34''. Mr. and Mrs. H. Arnhold Collection, New York.

126

130

299

Nach rechts nach links. (E.I I) To right and left. Paint mixed with gum on F.

paper: ISI'x 13^". C. Schang Collection,

Der Figur nahe. (R.I5) Almost a Figure. Crayon: lOf^xB^".

131

York.

Skylla.

Zerbrochener SchliJssel. (J. 6) Broken Key. Oil on canvas: 2lf'x26''. 1

Scylla.

(W.3) Drawing

Shipwrecked. Crayon:

1

134

Klee-Stiftung, berne.

vom

gum on

paper:

33^x121".

175

I

1^"-

183

Klee-Stiftung, Berne.

Verfall einer Architektur. (C.3)

Architecture

135

K. Collection, berne.

in

Ruins, Chinese ink:

I

If'xB". 182

Akrobaten uben. (Z.8) Acrobats exercising. Pencil: F.

Werbeblatt der Komiker. (E.2) Poster for Comedians. Paint mixed with gum on paper: I8|"x 13^". 136

Louise Leiris Gallery, Paris.

I

If'xB^". 174

K. Collection, Berne.

Mit den beiden Verirrten. (D. 16)

With the two

lost Ones. Water-colour on newspaper: I2|"xl9". Richard Doetsch-Benziger Collection, Basle. 232

(J.2)

Paint

mixed with gum on canvas:

34|"x2li".

GriJn

New

York. 137

on

Der Graue und die Kuste. (J. 5) The Grey Man and the Coast. Paint mixed with

on

linen:

220

Hans Meyer-Benteli, Berne.

Schlucht

138

Distemper

green.

i4"xi3r. Dr.

jute:

in grijn. (S.5)

*Green

Gertrude Lenart Collection,

Reicher Hafen. (K.7) Rich Harbour. Oil on canvas: 29i^"x65" Kunstmuseun), Basle.

F.

in

Precfpice

den Alpen. (R.4) the Alps. Water-colour:

in

lOf'xSr. F.

251

K. Collection, Berne.

4r'x27|". 139

K. Collection, Berne.

Pomona.

(J. 14).

Oil

on canvas: 26f"x20J". 242

Klee-Stiftung, Berne.

Insula

Dulcamara.

{C,\

on

canvas:

22rx68r'.

1939 140

Klee-Stiftung, Berne.

Frijchte auf Blau. (J. 10) Fruits on Blue. Paint

canvas:

Gedicht

Poem mixed with gum on

2l|"x 53 i".

Klee-Stiftung, Berne.

141

Leichter Paukenwirbel. (U.I2) Gentle Drum-roll. Crayon: I0f"x8|' Klee-Stiftung, Berne.

F.

300

Bilderschrift. (P. 10)

Picture Script. Drawing: K. Collection, Berne.

Der Park zu Abien

3|"x

18^".

247

(aus der Gemuseabteilung).

(D.20) The Park F.

at Abien (from the Vegetable Department). Water-colour: I4|"x J". 246 K. Collection, Berne.

Baum *Tree

in in

I

der Stadt. (X.I 8) the Town. Water-colour on paper:

8rx!3r.

iir'^'Si". K. Collection. Berne.

in

in

I

142

Monolog des Katzchens Monologue of a Kitten. Pen-drawing: F.

1

IfxB'.

Klee-Stiftung, Berne.

Sport. (D.9)

Miss Sport. Paint mixed with

gum on

I

Chinese ink: 8"x

Fall. (B.9).

A^rs.

2

133

Tànze vor Angst. (G. 10) Dancing for Fear. Water-colour, paper on cardboard: IBJ^x 2 J".

Die Vase.

lOf.

Klee-Stiftung, Berne.

Klee-Stiftung, berne.

The Vase.

Sf x

SchiffbriJchige. (Z.7)

mixed with gum on canvas:

29rx44i\

F.

Chinese ink:

132

Vorhaben.

Das Fraulein

in

Klee-Stiftung, Berne.

Private Collection, Berne. (J. 6) Intention. Paint

188

Klee-Stiftung, Berne.

New

166

F.

K. Collection. Berne.

224

Ein Kinderspiel. (A. 5) f^AChild's Game. Oil-tempera on papier màché:

Intoxication. Oil and water-colour

I6rxl2r. F.

25r X 3 228

K. Collection, Berne.

Engelsam. (BE. 13) How like an Angel. Crayons:

Ii"x8".

F.

on canvas:

i".

Hans A^eyer

142

Collection, Berne.

(WW.

1

8)

Possessed. Distemper and water-colour, paper

200

Rosinantes Enkel. (RR.20) Rosinante's Grandson. Pencil:

1

Daemonie. I

Klee-Stiftung, Berne.

i,

I

Rausch. (Y.l)

on cardboard: 8|"x

I2|".

143

Klee-Stiftung, Berne. I

If'x

I6|'

'208

K. Collection, Berne.

Vergesslicher Engel. (VV.20) Forgetful Angel. Pencil: l^xSi".

Ernste Miene. (UU.I7) Stern Visage. Water-colour and distemper on paper: I3"x8|:". Klee-Stiftung, Berne. 144

I

!

201

Klee-Stiftung, Berne.

Unterwassergarten. (NN.6) Underwater Garden. Oil on

Bruderschaft. (ZZ.I2) Fraternity. Pencil: 8i"x Klee-Stiftung, Berne.

I

215

Angstausbruch. (G.7) Outburst of Fear. Pen-drawing: I0|"x8|

Engel. (UU.I9) Guardian Angel. Drawing in pen and distemper:

'l78

I8rxl2r.

205

La Belle Jardiniere. (OP. 17) Oil and distemper

on canvas: 37|"x27|".

Gruppe zu sieben, (Hi. 3) Group of Seven. Crayon:

I

214

Argwohn im Vorbeigehen. (AB. 8) He goes past, suspiciously. Crayon: 1

I

Klee-Stiftung, Berne.

I|"x8". 255

Kerzen-Flammen. (6) Candles and Flames. Black chalk and paint mixed with gum on paper: I9f''x 13". 148 Will zu

und doch Gesetzlich. Neu-Gesetzliches (HH.9) A new Order but Order. Crayon: 8"x 1^". 222 Klee-Stiftung, Berne. .

.

—

I

pleased. Crayon: Klee-Stiftung, Berne.

I

Of"

x 81". 196

Barockes Korbchen. (W.8)

Baroque Basket. Crayon: 8" x

I

1^".

197

Klee-Stiftung, Berne.

Harbour

Pen-drawing: 4|"x

I

If".

156

Klee-Stiftung, Berne.

Navigatio mala. (DD.3) Crayon: 8" x

I

Island.

X

14".

229

K. Collection, Berne.

Crayon:

Engel. (UU.I4) Poor Angel. Water-colour and tempera on paper: 7^"x I2J". 236 Private Collection, Berne.

Mit grijnen StriJmpfen. (CD. 9) green Stockings. Water-colour blotting-paper: I3|"x8i".

and

*With

213

K. Collection, Berne.

Nackt auf dem Bett. (A. 3) Naked on the Bed. Water-colour: 8f'x 1

F.

1^".

K. Collection, Berne.

I

If".

240

Exotisches Madchen vom Tempel. (VV.5) Exotic Temple Girl. Pen and distemper on black paper: I2f x8".

Doppelinsel. (FF.I7) Klee-Stiftung, Berne.

91"

Schiffs. (X.I 7)

to go aboard. Water-colour:

210

Klee-Stiftung, Berne.

Double

1

F.

F.

K. (G.I2)

at K.

Wants

Armer

Missmutig. (R.I 5)

Hafen von

147

Klee-Stiftung, Berne.

I^"x8''.

Klee-Stiftung, Berne.

Little

146

Private Collection, Berne.

Geige und Bogen. (W.I I) Violin and Bow. Crayon.

Not

145

Private Collection, Berne.

Wachsamer

Klee-Stiftung, Berne.

.

canvas:

39rx3ir.

l|".

i"

X 8^ 204

Klee-Stiftung. Berne.

218

301

Und noch

ein Kamuff.

(UU.3)

Alea

Another Camel! Pen-drawing: Ili'x8|^'. f.

C.

New

Schang Collection,

219

York.

1940

mixed with gum:

Paint

I).

F.

C.

Schang

New

Collection,

152

York.

Gefangen. (Uncatalogued)

Durch Poseidon. (P. 9) Through Poseidon. Ink-drawing: S^'x

Captive. Oil on canvas: I8j"x IZf.

1

Curt Valentin Collection,

New

1",

Frederick

1

Zimmermann

Collection,

New

York.

230

York.

Aegypterin. (X.I 5)

Egyptian Woman. Water-colour: F.

(L.I

jacta.

I3rx8r.

153 Paukenspieler. (L.IO)

IfxSI;''.

I

K. Collection, Berne.

Drummer.

207

Paint

mixed with gum on paper:

I3rx8r. 154

Klee-Stiftung, Berne.

Vorstandt—Abend. (R.7) Evening in the Suburbs. Oil-tempera on

jute:

5rxi3r. F.

Frau inTracht. (M.I4) in National Costume.

Woman

K. Collection, Berne.

225

I8rx

with gum:

1

3

mixed

Paint

J".

155

Klee-Stiftung. Berne.

Amateur-Pauker. (H.4)

Amateur Drummer. Wash: 8^"x

I3£'

Private Collection.

191

Gruppe mit dem fliehenden Schimpfer. (Y.I 6) Group with Man running away and hurling Insults.

Ink-drawing: IIJ"x8Ì".

Klee-Stiftung, Berne.

237

I

and

paint

Mexico, 157

mixed with gum:

231 (L.I 2).

158

Klee-Stiftung, Berne.

i^'xS^".

Water-colour:

Il"x8r. F.

Maske. Mask. Pastel

New

iirxi3r.

Klee-Stiftung, Berne.

Biedermeier-Fraulein.

Water-colour: I8i"x 12^-

U.S.A.

235

K. Collection, Berne.

Abtike Figurine. (W. 10) Antique Figure. Crayon:

156

Matrose. (M.I3) Sailor.

Water-colour:

despairingly.

srxiir. F.

35rx27r. Kunstnriuseum, Berne.

Victor Babin Collection, Santa Fe,

Verzweifelt Rudern. (F.7)

He rows

Flora am Felsen. (F.3) Flora of the Rocks. Oil and distemper on jute:

K. Collection, Berne.

Tod und

Feuer. (G.I 2) Fire. Oil on canvas: L Klee-Stiftung, Berne.

Death and

xIZI". 159

234 Walkijre. (T.I4)

Heilige aus einem Fenster. (X.I 6) Stained-glass Saint. Water-colour,

cardboard:

I

paper on

Valkyrie. Crayon: Il|"x8^". Klee-Stiftung, Berne.

223

1^x81".

KleK^-Stiftung, Berne.

Asse! im Gehege. (F.I 3) in Enclosure.

Woodlouse

149

Die Schlangengottin und ihr Feind. (H.I

7)

The Snake Goddess and her Enemy. Gouachedrawing: li"x 16^". I

Pastel,

cotton on

226

Private Collection, Berne.

cardboard: \l^"x\6l". Klee-Stiftung, Berne.

150

Blick.

Glance. Brush-drawing: 7f" x Stilleben

am

on Leap Day. Colour mixed with on canvas: 29J"x43^".

Still-life

Klee-Stiftung, Berne.

302

10".

Kiee-Stiftung. Berne.

Schalttag. (N.I 3)

241

gum Ecce. (T.I8). 151

F.

Drawing: Wy'xSi".

K. Collection, Berne.

239

Index of Persons Albert-Lazar, Lou, 93

Amiet, 38 Arp. Hans,

77.

Bach,

102,

J. S..

206,212

195,

150,

154,

188, 201,

207

Balladine, Lou, 93

Beardsley, Aubrey, 35

Beckmann, Max, 105 Beethoven, 154 Benn, 105 Blake, William, 35 Bloesch. 40, 62 Boccioni,

Giedion-Welcker, Carola, 225 Goethe, 30, 150, 156, 197 Gogol, Nicolas, 34 Goltz. 95 Goya. 42. 215 Greco, El. 185

Grohmann.

209.

215,

Will. 167, 183, 191, 192,238,241

Grunewald. 217 Gulbransson. Irygve. 215

Umberto, 78

Haller.

Herman.

23. 70

Handel. 154

Bonnard, 55, 83

Hartmann, E.. 156 Haydn. 154

Botticelli, 31

Braque, Georges. 70, 97, 206 Burckhardt, Carl. 23 BiJrgi, Frau Hanni. 62, 150, 157, 191. 192 150.

149,

87.

Gropius, Walter, 117, 152

Boecklin, Arnold, 25

BiJrgi, Rolf,

59,

191.205,225

Campendone, Heinrich, 63

Hebbel. C. P., 38 Heilbut. 38 Hindemith, Paul, 102 Hodler, Ferdinand, 42 Ibsen, H., 38

Carrà. Carlo. 78

44 Cezanne. Paul. 42. 51. Chaplin, Charles, 49 Chekhov, Anton, 56 Cocteau, Jean, 100 Corot. J-B. 42 Cranach, Lucas, 31

Jacob. Max. 217

Casals. Pablo.

57,

80

Jawlensky, Alexej von, 63. 89. 94 Joyce, James. 211

Kahnweiler. David Henri. 70 Kandinsky. Nina. 150. 152. 154. 156. 159 Kandinsky, Wassily, 15. 51, 62, 63, 64, 74, 89, 117,

De

Chirico, Giorgio, 74, 78, 97, 100

149,

152,

156,

157,

159,

162,

Delacroix. Eugene. 78. 97

Klee. Felix. 4, 46, 47. 55. 70, 80, 241

Delaunay. Robert. 63. 67. 69. 70. 73. 74. 87. 97, 112, 215. 217

Klee. Hans. 3, 4

Delaunay, Sonia, 69, 82 Derain, André, 70

Klee, Lily, 15,

Diaghilev, Serge, 100

Klee, Mathilde, 3

Disteli, Martin,

59

164. 206.

208. 217. 235

Klee, Ida Maria, 2

51.62,67,

16.

18.

70, 191,

19. 29, 30, 38, 40, 44, 47,

192,225,242

Knirr, Professor, 14

Kreydolf, 62

Donatello, 31

Durand-Ruel. Paul, 70 Dijrer, Albrecht, 217 Duse. Eleonora. 29

Kubin, Alfred, 78

Leonardo, da Vinci, 25, 42 Lessing, G., 108

Einstein. Albert.

236

Ensor, James. 51. 57. 58. 215

Macke, Augustus, Manet, 42

Feininger, Lyonel,

Marc, Franz, 63. 64, 78, 89, 94, 105, 215

I

17

Flake, Otto, 75

Marcks, Gerhard,

Forain, J-L, 30

Matisse, 74, 165

62, 79, 89,

I

215

17

303

Merode, Cléo

de, 30

Sinner, Frau von, 47

Meier-Graefe, 55 Michaux, Henri, 202

42 Sonderegger, Ernst,

Michelangelo, 25

Spiller, Jurg,

Moholy-Nagy.

Sisley. A.,

117

L.,

57,

70

105

Stendhal, 22, 29 Strasser, Professor, 42

Moilliet, Louis, 40, 62. 63, 79, 89

Mondrian, Piet. 235 Monet, 42 Morgenstern, Christian, 215, 217

Sudermann,

Mozart, 102. 150, 154, 157. 188, 201, 202, 208

Tacitus. 30

Muche. George. 17 Mijller, Joseph Ennile, 100

Thomann, 62

Stuck. Franz von,

14, 23,

34

H., 38

I

Tintoretto, 23, 78 Titian. 31

MiJnter. Gabrielle, 63

Mussorgsky,

156,

Toller. Ernst, 105

208

L.. 16. 30 Toulouse-Lautrec. 51

Tolstoy.

Otero, La

Belle,

30

Pechstein, Max, 105 Picasso, 6, 25, 48, 57, 70, 73, 74, 78,

165, 206,

Uhde. Wilhelm. 70 Unruh, F., 105

217 Vallotton,

Pinturicchio, 23, 31 Pissarro, Plato,

L.,

Van Gogh,

42

Veronese,

30

F..

57

38, 51, 57, 58. 59 31

Puvis de Chavannes, 42

Velasquez, 42

Otto. 149 Raphael. 23. 25. 31 Réjane. 29

Vlaminck. 70 Volboudt, Pierre, 160 Vollard, A., 57 Voltaire, 44

Rembrandt, 185

Vuillard,

Ralfs,

E.,

55

Reni. Guido, 25

Walden, Herwarth, 78, 95 Walter, Bruno, 48 Warmoes, Jean, 93 Welti. 62 Werefkin, Marianne von, 63, 89 Wilde, Oscar, 42, 241

Renoir. 42 Rilke, R. M., 93

Rodin, 30

Rousseau. Henri, 70 Rupf, Hernnann. 225 Scheffer. Karl. 55

Wolff. Kurt. 78

Schlemmer. Oskar. 17 Schnnidt, Georg, 167, 225

Wright Brothers, 35

Schònberg, A.,

Zahn, Leopold, 149 Zola. E.. 30

I

102,

Beverini, Gino. 78

304

105

—

—

Art

PRAEGER PAPERBACKS

Klee

STUDY OF HIS

A

by

AND WORK SAN LAZZARO

LIFE

GUALTIERI DI

*A succinct, sympathetic chronicle of the artist's life, with pertinent observations about the music and books and travel that were influences, and about his friendships with Kandinsky, Franz Marc, and others. Synchronized with this fabric of events is an understanding recital of the stages of development in

accompanied by reproductions of paintings and drawings, which enable the reader to follow the text without difficulty. San Lazzaro writes simply, feelingly and with authority. The many reproductions have been chosen not only to clarify Klee's development but also with a canny eye for bringing out all phases of his prodigious, many sided work. The volume combines a scholarly approach to modern art with popular appeal. Many of the reproductions have not previously been reproduced and, taken in connection with San Lazzaro's very pertinent text, they add considerably to our knowledge and appreciation of one of the most individual and influential artists of our time.' the Klee's

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profusely illustrated in black-and-white

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THE NATION *The quality of the color reproductions is really outstanding. We subscribe to the notion that this is ofie of the "books that matter".'

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the outstanding international review of

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editor of

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XX^

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