Editing Paul Klee (section)

=== 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>