Klee, Paul - Expressionismo
Full Moon, 1919
Oil on board
40,5x34,5
Stangel Gallery, Munich, Germany
The Bavarian Don Giovanni, 1919
Watercolor and ink on wove paper
8 7/8 x 8 3/8 inches
Guggenheim Museum, New York City
Black Columns in a Landscape, 1919
Watercolor, pen, and ink on paper
8 x 10 3/8 in. (20.4 x 26.3 cm)
The Berggruen Klee Collection
Southern Gardens - 1919
Watercolor and india ink on paper
The Metropolitan Museum of Art, New York City
Small Rhythmic Landscape, 1920
Oil and pencil on canvas bordered with adhesive paper strips and pen sketches mounted on cardboard
27.8 x 21.5 cm
Private collection
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Temple Gardens, 1920
Gouache and traces of ink on paper
H. 7-1/4, W. 10-1/4 in. (18.4 x 26.7 cm)
The Metropolitan Museum of Art, New York City
Miraculous Landing, or the "112!", 1920
Watercolor, transferred printing ink, pen, and ink on paper
9 3/8 x 12 1/2 in. (23.6 x 31.8 cm)
The Berggruen Klee Collection
Fairy Tales, ca. 1920
Watercolor and gouache on paper
8 1/2 in. x 10 1/4 in. (21.59 cm x 26.04 cm)
Art Gallery of the University of Rochester, New York
Three Flowers, 1920
Oil on priming on cardboard, oil on whole reverse surface
19.5 x 15 cm
Klee-museum, Bern
Dream City - 1921
Watercolor on paper
Private collection
Runner at the Goal, 1921
Watercolor and pencil on paper, bordered with gouache on the cardboard mount, Cardboard: 15 1/2 x 11 7/8 inches
Paper and Border: 12 7/8 x 9 3/8 inches
Paper: 12 1/16 x 8 15/16 inches
Guggenheim Museum, New York City
Adam and Little Eve, 1921
Watercolor and transferred printing ink on paper
12 3/8 x 8 5/8 in. (31.4 x 21.9 cm)
The Berggruen Klee Collection
Revolving House, 1921
Gouache
37,7 x 52,2 cm
Museo Thyssen-Bornemisza, Madrid
Crystal Gradation, 1921
Watercolour on paper, bordered in brush and pen, mounted on cardboard
24 x 31.3 cm
Offentliche Kunstsammlung Basel. Kupferstichkabinett
Red Balloon (Roter Ballon), 1922
Oil (and oil-transfer drawing?) on chalk-primed gauze, mounted on board
12 1/2 x 12 1/4 inches
Guggenheim Museum, New York City
Mauerpflanze (Wallflower), 1922
Watercolor and pen and brown ink on paper
25.8 x 30.2 cm (10 3/16 x 11 7/8 in.)
Museum of Fine Arts, Boston
Gespenst eines Genies [Ghost of a Genius], 1922
Oil transfer and watercolour on paper laid on card
50.00 x 35.40 cm (framed: 61.90 x 80.30 x 3.80 cm)
National Galleries of Scotland, Edinburgh
A Young Lady's Adventure, 1922
Watercolour on paper
625 x 480 mm frame: 686 x 510 x 20 mm
Tate Gallery, London
Senecio, 1922
Oil on canvas on wood
40.5 x 38 cm
Öffentliche Kunstsammlung Basel Kuntmuseun, Basilea
Landscape with Yellow Birds, 1923
Watercolor on blackened ground
Private collection
Abstract Trio, 1923
Watercolor and transferred printing ink on paper, bordered with gouache and ink
12 1/2 x 19 3/4 in. (32.1 x 50.2 cm)
The Berggruen Klee Collection
17 Astray, 1923
Watercolor and India ink on paper mounted on cardboard
Kunstmuseum Öffentliche Kunstsammlung, Basel
Static-Dynamic Gradation, 1923
Oil and gouache on paper, bordered with gouache, watercolor, and ink
15 x 10 1/4 in. (38.1 x 26.1 cm)
The Berggruen Klee Collection
Harmony in Blue = Orange, 1923
Oil on black priming on paper, bordered in watercolour and pen, strip on the botton in watercolour and pen, mounted on cardboard
37.3 x 26.4 cm
Rosengart Collection. Lucerne
Ventriloquist and Crier in the Moor, 1923
Watercolor and transferred printing ink on paper, bordered with ink
15 1/4 x 11 in. (38.7 x 27.9 cm)
The Berggruen Klee Collection
Portrait of Mrs. P. in the South (Bildnis der Frau P. im Süden), 1924
Watercolor and oil transfer drawing on paper, bordered with grey gouache on the pulpboard mount
Pulpboard: 16 3/4 x 12 1/4 inches
Paper: 14 3/4 x 10 3/4 inches
Guggenheim Museum, New York City
The Mask with the Little Flag, 1925
Watercolor on paper mounted on cardboard
Staatsgalerie, Munich
The Goldfish, 1925
Oil and watercolor on paper, mounted on cardboard
19 1/8 x 27 in.
Kunsthalle, Hamburg
Ancient Sound, 1925
Oil on cardboard
Kunstsammlung, Basel
Wintery Mask, 1925
Watercolour on wove paper, laid down on cardboard
53.5 x 34.6 cm
National Gallery of Canada, Ottawa
Fish Image, 1925
Oil tracing, pen and watercolour on plaster priming on gauze mounted on blue primed cardboard
60.5 x 40 cm
Rosengart Collection, Lucerne
Around the Fish, 1926
Oil on canvas
46.7 x 63.8 cm
Abby Aldrich Rockefeller Fund.
The Museum of Modern Art, New York City
Magic Garden (Zaubergarten), March 1926
Oil on gypsum plaster-filled wire mesh, mounted in artist's wood frame
With Frame: 20 7/8 x 17 3/4 inches
Plaster: 20 1/2 x 16 5/8 inches
Guggenheim Museum, New York City
Drohender Schneesturn, no. 291 [Threatening Snowstorm], 1927
Pen and coloured inks and watercolour on paper laid on card
49.90 x 31.60 cm
National Galleries of Scotland, Edinburgh
Omega 5 (Attrappen), 1927
Oil and watercolor on board
57 x 43 cm
Museo Thyssen-Bornemisza, Madrid
Monument on the Border of the Fertile Country, 1928
Watercolour and pen on paper mounted on cardboard
45.8 x 30.7 cm
Rosengart Collection, Lucerne
Howling Dog, 1928
Oil on canvas
17 1/2 x 22 3/8 in. (44.45 x 56.83 cm)
Minneapolis Institute of Arts, Minnesota
Highways and Byways - 1929
Oil on canvas
Ludwig Museum, Cologn
In the Current Six Thresholds (In der Strömung sechs Schwellen), 1929
Oil and tempera on canvas
17 1/8 x 17 1/8 inches
Guggenheim Museum, New York City
Burdened Children, 1930
Pencil, crayon and pen and ink on paper on board
650 x 458 mm
Tate Gallery, London
Childhood of the Chosen One, 1930
Coloured paste and watercolour strips on top and bottom in a watercolour and pen mounted on cardboard
23.9 x 30.5 cm
Rosengart Collection, Lucerne
Rythmisches aka Rythmical, 1930
Oil on canvas
Height: 68.9 cm (27.12 in.), Width: 50.48 cm (19.88 in.)
Private collection
Dampfer und Segelbote, 1931
Watercolor
Image: 43.5 x 64 cm (17 1/8 x 25 1/8 in.)
Support: 48.5 x 67.3 cm (19 1/16 x 26 7/16 in.)
The National Gallery of Art, Washington D.C.
Clarification, 1932
Oil on canvas
27 3/4 x 37 7/8 in. (70.5 x 96.2 cm)
The Berggruen Klee Collection
Ad Parnassum, 1932
Oil on canvas
39 x 49 in. (100 x 126 cm.)
Kunstmuseum, Bern
Fire at Full Moon, 1933
Watercolor wax-coated on canvas
Museo Folkwang, Essen, Germany
The One Who Understands, 1934
Oil and gypsum on canvas
21 1/4 x 16 in. (54 x 40.6 cm)
The Metropolitan Museum of Art, New York City
Hardy Plants, 1934
Oil on pulpboard
16 1/8 x 21 5/8 in. (40.96 x 54.93 cm)
Minneapolis Institute of Arts, Minnesota
Aviatic Evolution, 1934
Oil on canvas mounted on masonite
16 3/8 x 19 1/2 in. (41.6 x 49.5 cm)
Saint Louis Art Museum, Missouri
Angst, 1934
Gouache and wax on burlap
49.9 x 60 cm
National Gallery of Canada, Ottawa
The Invention, 1934
Watercolour, partly, sprayed, on cotton, mounted on plywood
50.5 x 50.5 cm
Private collection
Around the Core (Um den Kern), 1935
Oil and mixed media on burlap mounted on board
18 5/8 x 23 5/8 in. (47.308 x 60.008 cm)
Dallas Museum of Art, Texas
Souther Garden - 1936
Oil on paper, mounted on cardboard
Sprengel Museum, Hannover
New Harmony, 1936
Oil on canvas
36 7/8 x 26 1/8 inches
Guggenheim Museum, New York City
Arches of the Bridge Break Ranks, 1937
Charcoal on cloth, mounted on paper
Cloth: 16 3/4 x 16 1/2 inches
Paper: 19 5/8 x 18 3/8 inches
Guggenheim Museum, New York City
Oriental garden, 1937
Pastel
36,1 x 28,2 cm
Private collection
Comedians' Handbill, 1938
Gouache on newsprint
19 1/8 x 12 5/8 in. (48.6 x 32.1 cm)
The Berggruen Klee Collection
Angel Applicant, 1939
Gouache, ink, and pencil on paper
19 1/4 x 13 3/8 in. (48.9 x 34 cm)
The Berggruen Klee Collection
The Man of Confusion, 1939
Oil on canvas
26 1/4 x 19 7/8 in. (66.7 x 50.5 cm)
Saint Louis Art Museum, Missouri
Embrace, 1939
Paste color, watercolor, and oil on paper
9 1/2 x 12 1/4 in
Private collection
Love Song by the New Moon, 1939
Watercolor on lined burlap
Klee Foundation, Bern, Switzerland
Nomad Mother (Nomaden Mutter), 1940
Black crayon and opaque watercolor on paper
29.4 x 20.6cm (11 9/16 x 8 1/8in.)
Museum of Fine Arts, Boston
Captive, 1940
Oil on burlap
18 7/8 x 17 3/8 in
Private collection
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Na tela "Senecio, 1922", o rosto humano surge esquematizado, dividido, através do uso da cor, em rectângulos. Por outro lado, vários quadrados estão contidos num círculo representando a face com máscara e mostrando o treje multicolorido de um arlequim. O retrato do artista Senecio pode ser considerado como um símbolo da mudança da relação entre a arte, ilusão e o mundo do drama. «Levar uma linha a passear» era como Paul Klee descrevia o seu estilo hieroglífico, inspirado por uma paixão pela música e um interesse pelos sonhos e as incongruências do subconsciente. O estilo único de Klee, que muitos artistas posteriores procuraram perfilhar, combina inocência com sofisticação. Inicialmente, especializou-se em gravura, virando-se para a aguarela depois de uma viagem à Tunísia ter despertado a sua consciência da cor. Em 1911, associou-se a Kandinsky, Jawlwnsky e Feininger, com quem formou o grupo expressionista avant-garde Der Blaue Reiter (O Cavaleiro Azul), em Munique. Leccionou arte na Bauhaus, em Weimar, mas foi obrigado a bandonar a Alemanha devido às suas tendências artísticas radicais. Pau klee nasceu em Münchenbuchsee (SUI) em 1879 e morreu em Muralto (SUI) em 1940
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Paul Klee was born on December 18, 1879, in Münchenbuchsee, Switzerland, into a family of musicians. His childhood love of music was always to remain profoundly important in his life and work. From 1898 to 1901 Klee studied in Munich, first with Heinrich Knirr, then at the Kunstakademie under Franz von Stuck. Upon completing his schooling, he traveled to Italy. It was the first in a series of trips abroad that nourished his visual sensibilities. He settled in Bern in 1902. A series of his satirical etchings was exhibited at the Munich Secession in 1906. That same year Klee married Lily Stumpf, a pianist, and moved to Munich. There he gained exposure to Modern art. Klee’s work was shown at the Kunstmuseum Bern in 1910 and at Moderne Galerie, Munich, in 1911.
Klee met Alexej Jawlensky, Vasily Kandinsky, August Macke, Franz Marc, and other avant-garde figures in 1911; he participated in important shows of advanced art, including the second Blaue Reiter (Blue Rider) exhibition at Galerie Hans Goltz, Munich, in 1912, and the Erste deutsche Herbstsalon at the Der Sturm Gallery, Berlin, in 1913. In 1912 he visited Paris for the second time, where he saw the work of Georges Braque and Pablo Picasso, and met Robert Delaunay. Klee helped found the Neue Münchner Secession in 1914. Color became central to his art only after a revelatory trip to Tunisia in 1914.
In 1920 a major Klee retrospective was held at the Galerie Hans Goltz, Munich; his Schöpferische Konfession was published; he was also appointed to the faculty of the Bauhaus [more]. Klee taught at the Bauhaus in Weimar from 1921 to 1926 and in Dessau from 1926 to 1931. During his tenure, he was in close contact with other Bauhaus masters such as Kandinsky and Lyonel Feininger. In 1924 the Blaue Vier (the Blue Four), consisting of Lyonel Feininger, Jawlensky, Kandinsky, and Klee, was founded. Among his notable exhibitions of this period were his first in the United States at the Société Anonyme, New York, in 1924; his first major show in Paris the following year at the Galerie Vavin-Raspail; and an exhibition at the Museum of Modern Art, New York, in 1930. Klee went to Düsseldorf to teach at the Akademie in 1931, shortly before the Nazis closed the Bauhaus. Forced by the Nazis to leave his position in Düsseldorf in 1933, Klee settled in Bern the following year. Seventeen of his works were included in the Nazi exhibition of “degenerate art,” Entartete Kunst, in 1937. Major Klee exhibitions took place in Bern and Basel in 1935 and in Zurich in 1940. Klee died on June 29, 1940, in Muralto-Locarno, Switzerland.
Guggenheim Collection - Klee Biography
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on Terça-feira, Agosto 21, 2007 at 7:38 PM.
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1:26 PMAh meu caro, se daquele bom sul-americano, eu só escolhi um ou dois, com ''o Paulo''...é ao contrário. Nasci a amá-lo. E não passa. Porque não deve passar.
Destaque-destaque-destaque para o grande e nobre Klee
...Talvez com esforço eu encontre uns dois ou três (trabalhos dele) que não goste...
...
E só o colocou aqui hoje na sua enciclopédia??? Oh!... eu quase que teria começado por ele... :)
Muitos cumprimentos desta admiradora
7:49 PM
Ahhh... Klee é divino.
OBRIGADO por compartilhar suas lindas imagens.
6:41 AM
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7:48 AM
I was very pleased to find this site.I wanted to thank you for this great read!!
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5:04 PM
Thanks for that great Klee selection - plenty of images I'd not seen before. My favourite 20th century artist.
8:15 AM
Unbelievable and magnificent effort. really fabulous. Keep it up.
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