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"Art does not render thevisible, rather it makes it visible"
| Part One: Compositional Methods |
| Order in the real of colours + Paintings of Squares |
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| Sunset in the City, 1922 | North Sea Picture, 1923 | City with the Red Dome,1923 |
| left: the
play of light and shadow of a fading evening; the orange sun still spreads
its rays... middle: the spectrum of the colour circle catches the transparent clarity of the northern light... right: geometric dissection of the surface of the picture based on analytical cubism... |
| The Arrow + Eros + Strange Garden + Fairy-Tale Scenes |
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| Sunset in the City, 1922 | Woman and Beast, 1904 | City with the Red Dome,1923 |
| left: the
illusion of movement acquires an active character when tension is directed
towards the left middle: the beast in man pursues the woman, who is not entirely insensible to it... right: the watercolour belongs to the group of colour gradations... |
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| Eros, 1923 | Distillation of Pears,1921 | A Face, also of the Body,1939 |
| left: based
on mathematically proportioned colour-movements... middle: mechanical constructions to be understood as erotic symbols... right: 'I imagine face and genitals to be the corresponding poles of the female sex...' |
| Portrait - like |
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| Mask for Falstaff,1929 | Portrait of Frau GI,1929 | Mr Pearly-Pig, 1925 | Self-Portrait,1922 |
| Coloured Polyphony + Structural Rhythms |
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| Monument on the Edge of Fertile Country,1929 | Fire in the Evening,1929 | Polyphonic Setting for White, 1930 | 'Florentine' Villa District,1926 |
| left: the
ground is divided into horizontal strata and their breadth can be read ... middle-left: a picture moves from nature and yet finds its way back to reality... middle-right: a conflict between exotopic and endotopic form... right: the cubistic division of surfaces into fields of colour ... |
| THE PHILOSOPHY OF ART The URGE OF ABSTRACTION is the result of man's inner dread wheb faced with the external world, and leads to a transcendental, religious colouring of the imagination. The URGE OF ABSTRACTION is the foundation of all art and in certain HIGHLY-DEVELOPED PEOPLES the dominant instinct, whereas the GREEKS and other WESTERN PEOPLES slowly lose it as their URGE TO EMPATHY grows stronger. PRIMITIVE MAN lived in OVERWHELMING DREAD of the external world, which he expressed sponta-neously in ART in an attempt to escape from arbitrary appearances and to cling to self-created, essential and unquestioned values. His ART is therefore inspired by a NEED FOR RELEASE. (Wilhem Worringer) |
| Reference: Paul Klee and the Bauhaus by Christian Geelhaar -NY ISBN 0-8212-0505-6 |
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