The search for inner art: Paul Klee
In 1912 he met Picasso, Apollinaire and Delaunay in Paris. Though, it was the previous contact with Blaue Raiter (The Blue Rider), founded by Kandinskij and Marc, that deeply influenced his way of doing art.
Blaue Raiter claimed the idea of art intended as a spiritual impulse, which goes beyond any real form: the same name of the group highlighted a tendency to dynamism and the main role of colour blue, that assumed the meaning of masculine austerity and spiritual issue.
A journey to Tunisi, in 1914, enriched and in some way completed this inheritance, bringing a wide variety of colours and lights and the instances of primitive art into Klees' paintings. The use of bright colours covered a large part of his production during this period.
Paul Klee - "Red and white domes", 1914
The teaching experience at Bauhaus, in 1921, contributed to a further evolution of the artist, who revealed his experimental tendency and constant transformation. In this period the figurative elements are moved to allegorical contexts, characterised by naive and innocent feels.
Paul Klee - "Red Balloon", 1922
Paul Klee - "Analysis of different perversions", 1922
The influence of a multidisciplinary environment, characterised by rationalism and functionality, conducts Klee towards a more mature style, where linearity assumes a primary role: city's streets are painted as alternated stripes and filled with warm colours. However, his landscapes maintained a characteristic of mystery and fantasy which was typical of his past production.
Paul Klee - "Highway and Byways", 1929
The occurrence of Nazism and a serious illness strongly affected Klee : the artist went through the use of deep dark colours and his subjects turned into warp figures, which looked like demons and angels fallen from the sky.
Paul Klee - "Lady Demon", 1935
Paul Klee - "Crisis of an angel", 1939
Paul Klee, 1939
"Art does not reproduce what we see; rather, it makes us see."
From 1937, the last years of his life, Klee’s production increased: shapes were simplified by the use of symbols, creating an elementary language made of strong marks and distinct areas of colour.
Paul Klee - "Rich harbour", 1938