Paul Klee德国, 1879–1940The Malady
关于作品
While this watercolor may initially appear completely abstract, upon closer inspection a figure emerges from the layered forms. A body has been shaped from parallel lines, which give the appearance of exposed musculature. The figure appears trapped by the approaching darkness on all sides, and a single drop of blood falls from his mouth as another threatens to fall from above. The pain of the subject is palpable: the cross on the left, a symbol of the Crucifixion, enhances this sense of suffering.
芝加哥藝術博物館CC BY 4.0
作品信息
- 馆藏编号
- 2013.1053
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出处
- 芝加哥藝術博物館: the museum's own open data · 6天前获取
- 图片： 芝加哥藝術博物館 — © the artist or rights holder
与此同时，在Paul Klee的生活中
完整生平1921–1931
The preliminary course on the “theory of form”
Klee developed a preliminary course in the “theory of form” that began with the “point as the beginning of all beginnings”, moving through space, and the “cosmic egg” from which line, spiral, square, circle and cube are born. Students listened to lectures illustrated with Klee’s own abstract watercolours and then painted their own, trying to express movement, balance, flight and tension.
26 January 1924
The lecture “On Modern Art” in Jena
At his exhibition at the Kunstverein in Jena Klee delivered the lecture “On Modern Art” (Über moderne Kunst).
1924–1925
Success with the Paris Surrealists
In 1924 Klee exhibited in Paris for the first time and became a hit with the French Surrealists, who were drawn to his partly morbid motifs. At the Paris Surrealist exhibition of 1925 Max Ernst was impressed by his work.
1925
Moving to Dessau with the Bauhaus
In 1925 the Bauhaus moved to Dessau, and Klee moved with the school.
1925
“Pedagogical Sketchbook” is published
Klee’s theoretical book “Pedagogical Sketchbook” (Pädagogisches Skizzenbuch) is published; five years earlier, in 1920, his essay “Schöpferische Konfession” had appeared.
1928–1929
A journey to Egypt
Egypt impressed Klee less than Tunisia, yet in the desert he felt an almost mystical bond with the land: he was drawn to the proportions of the ancient funerary monuments and to the esoteric numerology by which they were built. His later “Ad Parnassum” was influenced by the trip.
