Jump to navigation Jump to search „Klee“ redirects here. Archiv für Naturgeschichte, 1910, Vol. 1 PDF highly individual style was influenced by movements in art that included Expressionism, Cubism, and Surrealism. From 1886 to 1890, Klee visited primary school and received, at the age of 7, violin classes at the Municipal Music School.
Författare: W. Weltner.
He was so talented on violin that, aged 11, he received an invitation to play as an extraordinary member of the Bern Music Association. He stated, „I didn’t find the idea of going in for music creatively particularly attractive in view of the decline in the history of musical achievement. Around 1897, Klee started his diary, which he kept until 1918, and which has provided scholars with valuable insight into his life and thinking. During his school years, he avidly drew in his school books, in particular drawing caricatures, and already demonstrating skill with line and volume. With his parents‘ reluctant permission, in 1898 Klee began studying art at the Academy of Fine Arts in Munich with Heinrich Knirr and Franz von Stuck. He excelled at drawing but seemed to lack any natural color sense.
After receiving his Fine Arts degree, Klee went to Italy from October 1901 to May 1902 with friend Hermann Haller. They stayed in Rome, Florence, and Naples, and studied the master painters of past centuries. Klee married Bavarian pianist Lily Stumpf in 1906 and they had one son named Felix Paul in the following year. They lived in a suburb of Munich, and while she gave piano lessons and occasional performances, he kept house and tended to his art work. His attempt to be a magazine illustrator failed. In January 1911 Alfred Kubin met Klee in Munich and encouraged him to illustrate Voltaire’s Candide.
His resultant drawings were published later in a 1920 version of the book edited by Kurt Wolff. Around this time, Klee’s graphic work increased. The release of the almanac was delayed for the benefit of an exhibition. The first Blaue Reiter exhibition took place from 18 December 1911 to 1 January 1912 in the Moderne Galerie Heinrich Thannhauser in Munich. Klee did not attend it, but in the second exhibition, which occurred from 12 February to 18 March 1912 in the Galerie Goltz, 17 of his graphic works were shown.
The association opened Klee’s mind to modern theories of color. His travels to Paris in 1912 also exposed him to the ferment of Cubism and the pioneering examples of „pure painting“, an early term for abstract art. Klee’s artistic breakthrough came in 1914 when he briefly visited Tunisia with August Macke and Louis Moilliet and was impressed by the quality of the light there. I have to chase after it, I know that it has hold of me forever Color and I are one. The colored rectangle became his basic building block, what some scholars associate with a musical note, which Klee combined with other colored blocks to create a color harmony analogous to a musical composition. A few weeks later, World War I began.
At first, Klee was somewhat detached from it, as he wrote ironically, „I have long had this war in me. That is why, inwardly, it is none of my concern. He continued to paint during the entire war and managed to exhibit in several shows. By 1917, Klee’s work was selling well and art critics acclaimed him as the best of the new German artists. Red Balloon, 1922, oil on muslin primed with chalk, 31.
In 1919, Klee applied for a teaching post at the Academy of Art in Stuttgart. Hans Goltz, whose influential gallery gave Klee major exposure, and some commercial success. A retrospective of over 300 works in 1920 was also notable. Klee taught at the Bauhaus from January 1921 to April 1931. He was a „Form“ master in the bookbinding, stained glass, and mural painting workshops and was provided with two studios.
In 1922, Kandinsky joined the staff and resumed his friendship with Klee. Tropical Gardening, 1923 watercolor and oil transfer drawing on paper, The Solomon R. 1923, they lectured and exhibited together in the USA in 1925. Nocturnal Festivity, 1921, The Solomon R. Klee also taught at the Düsseldorf Academy from 1931 to 1933, and was singled out by a Nazi newspaper, „Then that great fellow Klee comes onto the scene, already famed as a Bauhaus teacher in Dessau.
He tells everyone he’s a thoroughbred Arab, but he’s a typical Galician Jew. His home was searched by the Gestapo and he was fired from his job. Klee was at the peak of his creative output. He produced nearly 500 works in 1933 during his last year in Germany. Klee suffered from a wasting disease, scleroderma, toward the end of his life, enduring pain that seems to be reflected in his last works of art.