Swiss/German dab hand and colour theorist; I love the way he makes music with the paint.
Wow, was just doing some research to do with my art work for the last agonising year of my degree and up pops this splendid Klee. I’m combining…… oops, I should say juxtaposing……my abstract work with projections. A bit of a gem this one and it’s so relevant to what I’m doing, I love those jewel like colours. Thanks Stephen x
This painting was done eight years before Klee died of scleroderma. His experience of the illness was one of pain and wasting because eating was so difficult. Extraordinary how he lost himself in the beauty of his way of viewing the world, and that he still shares that with those who view his work.
He obviously used a kleeboard. I’ll get me coat!
Looks like a textile, I wonder how it looks in life.
Thanks for that Ovookla, & welcome to the blog.
Happy accidents & serendipity supplied on an occasional basis.
Tone-lowering Stokie arrives…
Much more glittery than an eiderdown.
It could be recreated with ceramic tiles which would be ace and perhaps regenerate the tile making industry of Stoke on Trent.
Tone lowering Stokie #2 signing in.
I think the word your looking for there is a ‘mosaic’ burger.
It would be good though; they could do eet on a roundabout instead of spelling ‘Tunstall’ out in daffodils.
nb. new book out on S-o-T by Emma Bridgewater’s old man:
The painting is oil on canvas and is called Ad Parnassum. Klee’s studies in the related fields of natural history, comparative anatomy and anthropology had brought him to the belief that nature was characterized by the permutation and movement of fundamental units of construction. He wanted to achieve an equivalent way of working in painting, in addition to his interest in the natural world. Klee also turned to theories of both colour and music. As he worked on the basis of units of construction taken from nature, Klee tried to create linear improvisations which he likened to the melody of the work. Klee evolved a system of colour organization in which all the colours of the spectrum were conceived of as moving around a central axis dominated by the three pigmentary colors – red, yellow and blue.
From 1923 Klee created a series of imaginative colour constructions which he called ‘magic squares’ in which he applied his theories. This series came to a conclusion in 1932 with Ad Parnassum. Klee likened each element in the painting to a theme in a polyphonic composition. He defined polyphony as ‘the simultaneity of several independent themes’. In addition, each artistic element in Ad Parnassum is itself a distillation of several ideas and personal experiences. For example, the graphic element illustrates the gate to Mount Parnassus, the home of Apollo and the Muses, and also may refer to the Pyramids which Klee saw in 1928, and to a mountain near Klee’s home.
I don’t know if I’ve copied this properly, but if I have, take a look.
It’s damned clever painting, I’ll give him that. Sort of three dimensional.
“It could be recreated with ceramic tiles which would be ace and perhaps regenerate the tile making industry of Stoke on Trent.”
Hah hah hah hah hah @ *regenerashun in Stoke-on-Trent. Nobody gives a toss about us, D. Suplus to requirements. Cannon-fodder. Pulis. *Wha/orehouse City. (/o the burslem bit 🙂 )
Have a look at the mosake in Moorcroft, Daftbugger. Dats a booty.
Tone lowering Stokie #3 signing out.
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This is real art! 😉
I’d like to see it recreated by Block 19 of the Boothen End using crepe paper, glitter and Gloy.
Tone lowering Stokie number 5 or 6 a votre service.
Haha, you middle class installationist. I’d like to see it recreated by the whole of the Boothen End holding up panels.
If the mosaic said ‘PULIS OUT’, there would be six seats in block 30 acting like a 3d effect. 🙂
Hahaha. TTB would be the epic centre of that.
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