Editing Paul Klee (section)

==Works==
{{main|List of works by Paul Klee}}

=== Early works ===
Some of Klee's early preserved children's drawings, which his grandmother encouraged, were listed on his [[catalogue raisonné]]. A total of 19 etchings were produced during the Bern years; ten of these were made between 1903 and 1905 in the cycle "Inventionen" (Inventions),<ref name="Rümelin12ff">Christian Rümelin: ''Paul Klee. Leben und Werk'', München 2004, pp.&nbsp;12 et seq. [https://books.google.com/books?id=z4BWKTr49PsC online]</ref> which were presented in June 1906 at the "Internationale Kunstausstellung des Vereins bildender Künstler Münchens '[[Münchner Secession|Secession]]'" (International Art Exhibition of the Association for Graphic Arts, Munich, Secession), his first appearance as a painter in the public.<ref name="Baumgartner203">Beate Ofczarek, Stefan Frey: ''Chronologie einer Freundschaft'', p.&nbsp;203</ref> Klee had removed the third Invention, ''Pessimistische Allegorie des Gebirges'' (Pessimistic Allegory of the Mountain), in February 1906 from his cycle.<ref>Gregor Wedekind: ''Paul Klee: Inventionen''. Reimer, Berlin 1996, p.&nbsp;62</ref> The [[Satire|satirical]] etchings, for example ''Jungfrau im Baum/Jungfrau (träumend)'' (Virgin on the tree/Virgin (dreaming)) from 1903 and ''Greiser Phoenix'' (Aged Phoenix) from 1905, were classified by Klee as "surrealistic outposts". ''Jungfrau im Baum'' ties on the motive ''[[Le cattive madri]]'' (1894) by [[Giovanni Segantini]]. The picture was influenced by grotesque lyric poetries of [[Alfred Jarry]], [[Max Jacob]] and [[Christian Morgenstern]].<ref>Giedion-Welcker: ''Klee'', pp.&nbsp;23&nbsp;et seqq</ref> It features a cultural pessimism, which can be found at the turn of the 20th century in works by [[Symbolism (arts)|Symbolists]]. The Invention Nr. 6, the 1903 etching ''Zwei Männer, einander in höherer Stellung vermutend'' (Two Men, Supposing the Other to be in a Higher Position), depicts two naked men, presumably emperor [[Wilhelm II, German Emperor|Wilhelm II]] and [[Franz Joseph I of Austria]], recognizable by their hairstyle and beards. As their clothes and insignia were bereft, "both of them have no clue if their conventional salute […] is in order or not. As they assume that their counterpart could have been higher rated", they [[bow and scrape]].<ref name="Rümelin15">Christian Rümelin: ''Paul Klee. Leben und Werk'', Munichn 2004, p.&nbsp;15</ref>

<gallery class="center" widths="200px" heights="200px">
File:Paul-Klee-Dame-mit-Sonnenschirm.jpg|''Dame mit Sonnenschirm'', 1883–1885, pencil on paper on cardboard, [[Zentrum Paul Klee]], Bern
File:GUGG Hilterfingen.jpg | ''Hilterfingen'', 1895, ink on paper, [[Solomon R. Guggenheim Museum]], New York
File:Paul Klee, Inventionen Nr. 3, Jungfrau im Baum (1903).jpg|Third Invention: ''Jungfrau im Baum'', 1903, etching, [[Museum of Modern Art]], New York
File:Begruessung.jpg|Sixth Invention: ''Zwei Männer, einander in höherer Stellung vermutend, begegnen sich'', 1903, etching, Zentrum Paul Klee, Bern
File:GUGG Aged Phoenix (Invention 9).jpg|''Aged Phoenix'', 1905, etching, [[Solomon R. Guggenheim Museum]], New York
</gallery>

Klee began to introduce a new technique in 1905: scratching on a blackened glass panel with a needle. In that manner he created about 57 Verre églomisé pictures, among those the 1905 ''Gartenszene'' (Scene on a Garden) and the 1906 ''Porträt des Vaters'' (Portrait of a Father), with which he tried to combine painting and scratching.<ref>Giedion-Welcker, ''Klee'', pp.&nbsp;22–25</ref> Klee's solitary early work ended in 1911, the year he met and was inspired by the graphic artist [[Alfred Kubin]], and became associated with the artists of the ''Blaue Reiter''.<ref>Temkin, Ann . "Klee, Paul." ''Grove Art Online. Oxford Art Online''. Oxford University Press. Web.</ref>

=== Mystical-abstract period, 1914–1919 ===
During his twelve-day educational trip to [[Tunis]] in April 1914 Klee produced with Macke and Moilliet [[watercolor]] paintings, which implement the strong light and color stimulus of the North African countryside in the fashion of [[Paul Cézanne]] and Robert Delaunay's [[Orphism (art)|cubistic]] form concepts. The aim was not to imitate nature, but to create compositions analogous to nature's formative principle, as in the works ''In den Häusern von Saint-Germain'' (In the Houses of Saint-Germain) and ''Straßencafé'' (Streetcafé). Klee conveyed the scenery in a grid, so that it dissolves into colored harmony. He also created abstract works in that period such as ''Abstract'' and ''Farbige Kreise durch Farbbänder verbunden'' (Colored Circles Tied Through Inked Ribbons).<ref>{{cite web|publisher=Meisterwerke der Kunst, Isis Verlag|url=http://www.drklaas.de/German/Kunst/klee/klee_info.html|title=Paul Klee|access-date=25 September 2008|url-status=dead|archive-url=https://web.archive.org/web/20090109074533/http://www.drklaas.de/German/Kunst/klee/klee_info.html|archive-date=9 January 2009}}</ref> He never abandoned the object; a permanent segregation never took place. It took over ten years that Klee worked on experiments and analysis of the color, resulting to an independent artificial work, whereby his design ideas were based on the colorful oriental world.

<gallery class="center" widths="200px" heights="200px">
File:Fenster u. Palmen, 1914.jpg|''Fenster und Palmen'', 1914, watercolor on grounding on paper on cardboard, [[Kunsthaus Zürich]], Zurich
File:Paul Klee, In den Häusern von St. Germain.jpg|''In den Häusern von St. Germain'', 1914, watercolor on paper on cardboard, [[Zentrum Paul Klee]], Bern
File:Paul Klee, Föhn im Marc'schen Garten, 1915.jpg|''Föhn im Marc’schen Garten'', 1915, watercolor on paper on cardboard, [[Städtische Galerie im Lenbachhaus|Lenbachhaus]], Munich
File:GUGG Acrobats.jpg| ''Acrobats'', 1915, watercolor, pastel and ink on paper, [[Solomon R. Guggenheim Museum]], New York 
</gallery>

''Föhn im Marc'schen Garten'' (Foehn at Marc's Garden) was made after the Turin trip. It indicates the relations between color and the stimulus of Macke and Delaunay. Although elements of the garden are clearly visible, a further steering towards abstraction is noticeable. In his diary Klee wrote the following note at that time:

<blockquote>In the large molding pit are lying ruins, on which one partially hangs. They provide the material for the abstraction. […] The terrible the world, the abstract the art, while a happy world produces secularistic art.<ref>Göttler: ''Der Blaue Reiter''. pp. 118&nbsp;et seq</ref></blockquote>

Under the impression of his military service he created the painting ''Trauerblumen'' (Velvetbells) in 1917, which, with its graphical signs, vegetal and phantastic shapes, is a forerunner of his future works, harmonically combining graphic, color and object. For the first time birds appear in the pictures, such as in ''Blumenmythos'' (Flower Myth) from 1918, mirroring the flying and falling planes he saw in Gersthofen, and the photographed plane crashes.

In the 1918 watercolor painting ''Einst dem Grau der Nacht enttaucht'', a compositional implemented poem, possibly written by Klee, he incorporated letters in small, in terms of color separated squares, cutting off the first verse from the second one with silver paper. At the top of the cardboard, which carries the picture, the verses are inscribed in manuscript form. Here, Klee did not lean on Delaunay's colors, but on Marc's, although the picture content of both painters does not correspond with each other. [[Herwarth Walden]], Klee's art dealer, saw in them a "Wachablösung" (changing of the guard) of his art.<ref>Partsch: ''Klee'', p.&nbsp;41</ref> Since 1919 he often used oil colors, with which he combined watercolors and colored pencil. The ''Villa R'' (Kunstmuseum Basel) from 1919 unites visible realities such as sun, moon, mountains, trees and architectures, as well as surreal pledges and sentiment readings.<ref>{{cite web|publisher=augen.de|url=http://www.drklaas.de/German/Kunst/klee/klee_info.html|title=Kunst öffnet Augen|access-date=26 October 2008|url-status=dead|archive-url=https://web.archive.org/web/20090109074533/http://www.drklaas.de/German/Kunst/klee/klee_info.html|archive-date=9 January 2009}}</ref>

=== Works in the Bauhaus period and in Düsseldorf ===
His works during this time include ''[[Camel (in rhythmic landscape with trees)]]'' as well as other paintings with abstract graphical elements such as ''betroffener Ort'' (Affected Place) (1922). From that period he created ''[[Twittering Machine|Die Zwitscher-Maschine]]'' (The Twittering Machine), which was later removed from the [[National Gallery (Berlin)|National Gallery]]. After being named defamatory in the Munich exhibition "[[Entartete Kunst]]", the painting was later bought by the Buchholz Gallery, New York, and then transferred in 1939 to the [[Museum of Modern Art]]. The "twittering" in the title refers to the open-beaked birds, while the "machine" is illustrated by the crank.<ref>[http://www.moma.org/collection/provenance/provenance_object.php?object_id=37347 ''The Twittering-Machine''], moma.org, retrieved on 10 January 2011.</ref> [[File:GUGG_In_Angel%27s_Care.jpg|thumb|''In Engelshut,'' 1931, watercolor and colored inks on paper, mounted on paper, [[Solomon R. Guggenheim Museum]]]]The watercolor painting appears at a first glance childish, but it allows more interpretations. The picture can be interpreted as a critic by Klee, who shows through denaturation of the birds, that the world technization heist the creatures' self-determination.<ref>Siglind Bruhn: [https://books.google.com/books?id=E2CEqASxLSQC ''Das tönende Museum''], Gorz Verlag 2004, pp.&nbsp;34&nbsp; et seq</ref>

Other examples from that period are ''der Goldfisch'' (The Goldfish) from 1925, ''Katze und Vogel'' (Cat and Bird), from 1928, and ''Hauptweg und Nebenwege'' (Main Road and Byways) from 1929. Through variations of the canvas ground and his combined painting techniques Klee created new color effects and picture impressions.

From 1916 to 1925, Klee created 50 hand puppets for his son Felix. The puppets are not mentioned in the Bauhaus catalog of works, since they were intended as private toys from the beginning.<ref name="berlin">{{cite web|title=Paul Klee hinterließ kunstvolle Handpuppen. Berliner Spieler bringen sie auf die Bühne in einem Stück über das Malerleben|periodical=Berliner-zeitung.de|publisher=DuMont.next GmbH & Co. KG|url=https://www.berliner-zeitung.de/paul-klee-hinterliess-kunstvolle-handpuppen--berliner-spieler-bringen-sie-auf-die-buehne-in-einem-stueck-ueber-das-malerleben-das-rinderknochengesicht-und-der-kleine-tod-15726956|last=Ingeborg Ruthe|date=30 September 2008}}</ref> Nevertheless, they are an impressive example of Klee's imagery. He not only dealt with puppet shows privately, but also in his artistic work at the Bauhaus.<ref name="tabula">{{cite web|title=Über den Klee oder Der Knochen in meinem Kopf|periodical=Tabula Rasa Magazin – Zeitung für Gesellschaft und Kultur|publisher=Dr. Dr. Stefan Groß, M.A.|url=https://www.tabularasamagazin.de/ber-den-klee-oder-der-knochen-in-meinem-kopf-puppenspiel-ber-den-bauhaus-meister-paul-klee-wird-im-e-werk-aufgefhrt/|date=28 April 2009}}</ref>

In 1931, Klee transferred to Düsseldorf to teach at the Akademie; the Nazis shut down the Bauhaus soon after.<ref>{{Cite web |url=http://www.guggenheim.org/new-york/collections/collection-online/artists/bios/1302 |title=Collection Online &#124; Paul Klee – Guggenheim Museum |access-date=19 May 2015 |archive-url=https://web.archive.org/web/20150429042408/http://www.guggenheim.org/new-york/collections/collection-online/artists/bios/1302 |archive-date=29 April 2015 |url-status=dead}}</ref> During this time, Klee illustrated a series of guardian angels. Among these figurations is "In Engelshut" (In the Angel's Care). Its overlaying technique evinces the polyphonic character of his drawing method between 1920 and 1932.<ref>Andrew Kagan, ''Paul Klee at the Guggenheim Museum,'' New York: Guggenheim Museum Library, 2003, 41.</ref>

The 1932 painting ''Ad Parnassum'' was also created in the Düsseldorf period. {{convert|100|×|126|cm|in|abbr=on}} This is one of his largest paintings, as he usually worked with small formats. In this mosaic-like work in the style of [[pointillism]] he combined different techniques and compositional principles. Influenced by his trip to Egypt from 1928 to 1929, Klee built a color field from individually stamped dots, surrounded by similarly stamped lines, which results in a pyramid. Above the roof of the "[[Parnassus]]" there is a sun. The title identifies the picture as the home of [[Apollo]] and the [[Muse]]s.<ref>Partsch: ''Klee'', p.&nbsp;67</ref> During his 1929 travels through Egypt, Klee developed a sense of connection to the land, described by art historian [[Olivier Berggruen]] as a mystical feeling: "In the desert, the sun's intense rays seemed to envelop all living things, and at night, the movement of the stars felt even more palpable. In the architecture of the ancient funerary moments Klee discovered a sense of proportion and measure in which human beings appeared to establish a convincing relationship with the immensity of the landscape; furthermore, he was drawn to the esoteric numerology that governed the way in which these monuments had been built."<ref>Berggruen, "Paul Klee – In Search of Natural Signs" in ''The Writing of Art'' (London: Pushkin Press, 2011), 63.</ref> In 1933, his last year in Germany, he created a range of paintings and drawings; the catalogue raisonné comprised 482 works. The self-portrait in the same year—with the programmatic title ''von der Liste gestrichen'' (removed from the list)—provides information about his feeling after losing his professorship. The abstract portrait was painted in dark colors and shows closed eyes and compressed lips, while on the back of his head there is a large "X", symbolizing that his art was no longer valued in Germany.<ref>Partsch: ''Klee'', p.&nbsp;75</ref>

<gallery class="center" widths="200px" heights="200px">
File:Red Green Architecture yellow violet gradation by Paul Klee.jpeg|''Red/Green Architecture (yellow/violet gradation)'', 1922, oil on canvas on cardboard mat, [[Yale University Art Gallery]], Yale University, New Haven, Connecticut
File:Paul Klee, 1922, Senecio, oil on gauze, 40.3 × 37.4 cm, Kunstmuseum Basel.jpg|''[[Senecio (Klee)|Senecio]]'', 1922, oil on gauze, [[Kunstmuseum Basel]], Basel
File:GUGG Fright of a Girl.jpg| ''Fright of a Girl'', 1922, Watercolor, India ink and oil transfer drawing on paper, with India ink on paper mount, [[Solomon R. Guggenheim Museum]], New York
File:Paul Klee Puppe Ohne Titel (Selbstportrait).jpg|Puppet without title (self-portrait), 1922, Zentrum Paul Klee, Bern
</gallery>

=== Last works in Switzerland ===
In this period Klee mainly worked on large-sized pictures. After the onset of illness, there were about 25 works in the 1936 catalogue, but his productivity increased in 1937 to 264 pictures, 1938 to 489, and 1939—his most productive year—to 1254. They dealt with [[Ambivalence|ambivalent]] themes, expressing his personal fate, the political situation and his wit. Examples are the watercolor painting ''Musiker'' (musician), a stick-man face with partially serious, partially smiling mouth; and the ''Revolution des Viadukts'' (Revolution of the Viadukt), an [[Anti-fascism|anti-fascist]] art. In ''Viadukt'' (1937) the bridge arches split from the bank as they refuse to be linked to a chain and are therefore rioting.<ref>Partsch: ''Klee'', p.&nbsp;92</ref>
Since 1938, Klee worked more intensively with hieroglyphic-like elements. The painting ''[[Insula dulcamara]]'' from the same year, which is one of his largest ({{convert|88|×|176|cm|in|abbr=on}}), shows a white face in the middle of the elements, symbolizing death with its black-circled eye sockets. Bitterness and sorrow are not rare in much of his works during this time.

<gallery class="center" widths="200px" heights="200px">
File:Paul Klee - Signs In Yellow - Google Art Project.jpg|''Zeichen in Gelb'', 1937, pastel on cotton on colored paste on jute on stretcher frame, [[Beyeler Foundation]], Riehen, near Basel
File:Paul Klee - After The Flood - Google Art Project.jpg|''Nach der Überschwemmung'', 1936, wallpaper glue and watercolors on Ingres paper on cardboard
File:Paul Klee, Revolution des Viadukts, 1937.jpg|''Revolution des Viadukts'', 1937, oil on oil grounding on cotton on stretcher frame, [[Kunsthalle Hamburg|Hamburger Kunsthalle]]
File:Paul Klee - The Vase - Google Art Project.jpg|''Die Vase'', 1938, oil on jute, Fondation Beyeler, Riehen near Basel
File:Heroic Roses.JPG|''Heroische Rosen'' (Heroic Roses), 1938, oil on canvas, [[Kunstsammlung Nordrhein-Westfalen]], Düsseldorf
File:Paul Klee, Insula dulcamara.jpg|''[[Insula dulcamara]]'', 1938, oil color and colored paste on newsprint on jute on stretcher frame, [[Zentrum Paul Klee]], Bern
File:Paul Klee, Ohne Titel (Der Todesengel).jpg|''Ohne Titel (Letztes Stillleben)'', 1940, oil on canvas on stretcher frame, Zentrum Paul Klee, Bern
File:Death and Fire (1940) - Paul Klee (Zentrum Paul Klee).jpg|''[[Death and Fire|Tod und Feuer]]'' (Death and Fire), 1940, oil on distemper on jute, Zentrum Paul Klee, Bern
</gallery>

Klee created in 1940 a picture which strongly differs from the previous works, leaving it unsigned on the scaffold. The comparatively realistic [[still life]], ''Ohne Titel'', later named as ''Der Todesengel'' (Angel of Death), depicts flowers, a green pot, sculpture and an angel. The moon on black ground is separated from these groups. During his 60th birthday Klee was photographed in front of this picture.<ref>Partsch: ''Klee'', pp.&nbsp;76–83</ref>