of klee

“At a time when, fac­ing im­mi­nent plan­e­tary col­lapse, there is spec­u­la­tion about sur­vival strate­gies … we would like to see this project as an ex­er­cise that can help us repo­si­tion our­selves by re­vis­it­ing that pe­ri­od which marked the start of the prob­lema­ti­sa­tion of our gaze and of our cur­rent un­der­stand­ing of the phe­nom­e­na of na­ture.”
—Mar­ti­na Mil­là, cu­ra­tor

“Paul Klee’s in­ter­est in dis­cov­er­ing the dy­nam­ics of na­ture, and the gram­mar of art that he be­gan to elab­o­rate from his ob­ser­va­tions, grad­u­al­ly de­vel­oped in the years be­tween the First World War and his ar­rival at the Bauhaus as a teacher … His works from this pe­ri­od and his the­o­ret­i­cal com­pendi­um both man­i­fest his re­flec­tions stem­ming from his con­tem­pla­tion of the in­ter­nal laws of na­ture – move­ment, growth, re­cur­rence, con­for­ma­tion, which he turned into the ba­sis of his cre­ative process and teach­ing pro­gramme.”
—Cat­a­log, Paul Klee and the Se­crets of Na­ture

“The artist of to­day is more than an im­proved cam­era; he is more com­plex; rich­er, and wider. He is a crea­ture on the earth and a crea­ture with­in the whole, that is to say, a crea­ture on a star among stars.”
—Paul Klee (1879–1940)
 

A new ex­hi­bi­tion Paul Klee and the Se­crets of Na­ture at Fun­dació Joan Miró in Barcelona gives light to many rare, but in­cred­i­bly heart-warm­ing works of one of my favourite 20th cen­tu­ry artists.

Paul Klee was unique not just in his cre­ativ­i­ty, but per­son­al­i­ty – kind, naive and lov­ing – such an in­spir­ing fig­ure in the his­to­ry of art.

His style does not be­long to any move­ment, as it was al­ways chang­ing, the artist ad­vo­cat­ing for nat­ur­al growth with­out ex­ter­nal pres­sures.

Klee felt the guid­ance by forces from dif­fer­ent di­men­sions, an­gels of­ten be­ing guests in his draw­ings. His imag­i­na­tion was un­lim­it­ed, some­what rem­i­nis­cent of a child who be­lieves in mag­ic.

It was ac­tu­al­ly him who first saw po­ten­tial in works of kids and men­tal­ly ill, be­liev­ing in their ab­solute sin­cer­i­ty.

 

“Klee was a non-con­formist, and far ahead of his time. From the very be­gin­ning of his ca­reer, Klee chose the role of ‘house-hus­band.’ It was he who brought Fe­lix up, while his wife was per­form­ing in con­certs and teach­ing mu­sic abroad.”
—Raf­fael­la Rossel­lo, A Ra­tio­nal Ro­man­tic
 

Be­ing a house-hus­band was still a very con­tro­ver­sial po­si­tion for a man in his time, but it did not give Klee any shame, the op­po­site: He hap­pi­ly be­came the best friend to his son, Fe­lix.

To­day, his biggest ex­hi­bi­tions in­clude a 50-doll the­atre the artist has made to en­joy to­geth­er with his fam­i­ly.

Many of his pieces have this child­ish, sweet look, not both­ered by how “se­ri­ous” art should be, but rather how the cre­ator him­self saw it.

Some of the ti­tles made us laugh, ac­com­pa­nied by sil­ly doo­dles, but it was a very friend­ly, cheer­ful in­ter­ac­tion.

Sound of South­ern Flo­ra, 1927

Three Flow­ers, 1920

Glow­ing Lan­scape, 1919

Win­ter is Com­ing, 1939

Moon­rise, 1925

Be­fore the Light­ning, 1923

This Star Teach­es Bend­ing, 1940

His works ra­di­ate pos­i­tive en­er­gy, the wish to ex­plore what worlds, vis­i­ble and hid­den, have to of­fer.

It was a great plea­sure for us to get to know his soul a lit­tle clos­er ❤️

For mor:

     

“Art does not re­pro­duce what we see; rather, it makes us see.”
—Klee

 

—pur­ples­finx

Flom­mist Veroni­ka Veziro­va, a.k.a. Pur­ples­finx, is an il­lus­tra­tor and graph­ic de­sign­er based in Barcelona. In­spired by cul­ture of all kinds, she writes on top­ics that in­clude art his­to­ry, cre­ativ­i­ty and folk­lore. Her oth­er works in­clude man­ga and psy­che­del­ic po­et­ry. Copy­right © 2022 Veroni­ka Veziro­va.

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