Paul Klee: Artwork Analysis

PAUL KLEE

Paul Klee, a German national Swiss painter, was born on 18th December 1879 in a place called Münchenbuchsee bei Bern in Switzerland. He was raised in a music family and was himself a violinist. After many years, he chooses to study artwork, not music, and he attended the Munich Academy in 1900. He joined up with Der Blaue Reiter, an expressionist group that added much to the introduction of skill abstract. After World Warfare 1 he educated at the Bauhaus School. In 1931 he started educating at Dusseldorf Academy.

He was an all natural draftsman who experimented and investigated most of the time in obtaining new color mixtures and the majority of them in natural and glowing forms. He learned color theoryand published greatly in his writings. He worked in German Bauhaus College of fine art, design and structures, where he used his skills thoroughly. His paintings reflect his thinking, mood, beliefs and humor.

Paul Klee has an extremely certain style. His pictures are little difficult to classify. He had wide selection of painting styles such as petrol paint, watercolor, printer ink, pastel, and etching. He also used canvas, burlap, muslin, linen, gauze, cardboard, material foils, textile, wallpaper, and newsprint. He did not satisfy with the above so he also attempted using spray coloring, knife software, stamping, glazing, and impasto. He is well associated with emotions of manifestation, cubism, and futurism etc. He also used blended media essential oil with water colors and similar.

He used to test for very long time in growing different color sequences and mixtures. The color textures used by him are very unique. They include highly glaring colors and in contrast very clean and light color mixtures. He created many color combinations and used them in his paintings. The many styles and color mixtures used offered him a unique id. The Golden Seafood, Ad Parnassum, and The Death and Open fire are talked about below.

The Golden Seafood:

Paul Klee created this masterpiece in 1925. It was colored by using essential oil and watercolor in some recoverable format, which was installed on cardboard. He had affection towards dogs and cats and animals. He also colored Trilling Nightingale, a Migratory Parrot and many others. The Golden Seafood is a enchanting fish with blinking rare metal color and lots of runic signs or symptoms all over its body. The golden fish hasscarlet color uncommon fins and a green bloom as an vision. He swims imperially with a great deal of freedom in the profound and dark blue sea. The great golden fishis very much visible in dark normal water with light blue plants almost everywhere. The painter is very enthusiastic to highlight the golden fish, so it was decorated with glaring yellow metal color, where others are flat shaded. The other fishes are small and are in various colors in order to receive the feel of an ocean or sea. It can be inferred from the picture as the gold fish is moving and also the other small fishes in the picture are operating away form huge, beautiful fantastic fish. We may or may not understand its value, but it pulls the mysteriousness of his independence and his top secret world. This quite nobility and lighting are clearly noticeable through his paintings in keeping and specifically in the golden seafood. The spellbinding color and dramatizing images is very well observed in this painting. Also there could be a strong reason for drawing many pictures of fishes.

Reference:

PAUL KLEE, THE GOLDENFISH, Site No: 104

Ad Parnassum:

It was decorated by using essential oil and casein on canvas in 1932. It is one of the major and most finely functioned paintings in divisionist group. He was at his optimum of his creative work before Ad Parnassum.

Ad Parnassum is a conclusion to the series "Magic Squares", created by Klee in 1923. This summary emerged in 1932 that is 9 years after creating special squares series. Here each element (in the painting) is similar to a style in a polyphonic design. Klee himself provides classification of polyphony as, 'the simultaneity of several 3rd party topics'. The golden-yellow morning hours sunshine and the divine hill can be viewed. Small dots are now recognizable small squares and rectangles.

The color combinations used are perfect and are changeable, so anyone who see's can experiencethe transitions of colors. Both the dawn and the noon can be identified in the picture with a specific look. The white slim directed wedge below the pile and above the temple is noon and the long, razor-sharp, slim triangle above sunlight implies its dawn. Klee has never showed such trend of time in his earlier paintings, as shown in this. The curves of the pile and the ruins are extremely much clear. This implies that he previously another picture in mind and tried to show his motives and ideas of the next one in this picture only. The white thin pointed wedge appears to be a platform. It can be noticed that the light is brighter inside the pyramid rather that outdoors. Also each imaginative element in Advertising Parnassum is itself a dilution and distillation of several ideas and own private experiences. The graphic aspect illustrates the access to Support Parnassus, i. e. the home of Apollo and the Muses. This picture brings mosaics, which Klee adored in Venice.

Reference:

PAUL KLEE, Advertisement PARNASSUM, Page No: 126.

Park Of Idols:

It was coated by using watercolor on blackened newspaper in 1939. His creative works in that period were majorly predicated on angels and demons. Whenever we first hear the name Playground of Idols, we get two questions blinking in our minds. They are simply, what kind of "idols", and where are they placed, i. e. what kind of "park" could it be. Three idols and be clearly recognized from the picture with different colors and patterns. The colors are not exactly decaying however they are pearlescent. The spherical ball like item in the picture is nothing but sunlight and the landscape is blue and grey-blue in color based on the painting. Here sunlight is not supposed as a heavenly body but as an idol of worship, combined with the idols in greenish yellow and reddish dark brown color.

The black qualifications on which the painting is painted provides us divided thoughts. The gaps between the idols where we will get the black backdrop can be pathways or they can be nothingness that confers numinous quality after this picture. As all know everything looks different in dark and can be inferred in several ways and will depend on ones considering. The usage of black background is apt because, on another background their location would be much less striking.

Reference:

PAUL KLEE, Recreation area OF IDOLS, Web page No: 150

Online Referencess:

http://www. ibiblio. org/wm/paint/auth/klee/

http://www. artchive. com/artchive/K/klee. html

http://www. sai. msu. su/wm/paint/auth/klee/

http://www. answers. com/topic/paul-klee

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