Klee. Donald Wigal
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Название: Klee
Автор: Donald Wigal
Издательство: Parkstone International Publishing
Жанр: Иностранные языки
Серия: Mega Square
isbn: 978-1-78160-977-4, 978-1-78042-228-2
isbn:
K 20 Kunstsammlung Nordrhein Westfalen, Düsseldorf.
The group took its name from one of the works in the 1911 series of canvases, “Three Red Horses” by Franz Marc (1880–1916). In the same year as Klee’s one-man show, Franz Marc presented his famous coloured horses series. In these and other works, Marc used pure complementary colours (red-green, blue-orange, yellow-violet). The name of the group indicates that its focus was on the use of colour for expressive purposes. Kandinsky and Marc, and then later Klee and his friend Macke, the true colourist in the group, headed the group.
Transparent and Perspective
1921
Watercolour, ink on paper on paper, on cardboard 23.4 × 25.9 cm.
Private collection.
Choir and Landscape
1921
Gouache and pencil on oil on paper on cardboard, 35 × 31 cm.
Long term loan of a private collection, Zentrum Paul Klee, Bern.
Also in 1911, Klee created his illustrations for a German edition of Candide, the classic novel by the French author Voltaire (1694–1778). Klee rendered Voltaire’s characters as insect-like beings, giving them human postures and expressions. The illustrations seemed as if a child artist had tried to read the sophisticated work, but fancied his own story line. In the fantasy world of Klee the surreal was typical, and at its most horrific, retained sensitivity and wit. See for example Luftschloss (1922), a title that means “castle in the air” or “chateau en Espagne.” In it Klee built a vertical structure that is somehow transparent and light. Depth is implied, but gravity seems ineffective. Like Klee’s beloved myths and fantasies in general, its beauty is partly built on its freedom from a fixed foundation.
Bird Islands
1921
Oil transfer and watercolour on paper on cardboard, 28 × 43.8 cm.
Zentrum Paul Klee, Bern.
In 1912, Klee wrote an article for the journal Die Alpen about the move to reform art. The often-quoted passage from the article is surely hyperbole: “The works of mental patients are to be taken more seriously than all the world’s galleries.” However, when comparing the art of mental patients to the art of children he adds, “Children also have artistic ability, and there is wisdom in their having it. The more helpless they are, the more instructive are the examples they furnish us, and they must be preserved free of corruption from an early age.” Elsewhere he noted, “Take a look at those religious pictures (done by mental patients): a depth and a force of depression I shall never achieve. A truly sublime art!”
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