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The year before he died, in what was one of the most difficult yet prolific periods of his life, Paul Klee created some of his most surprising and innovative works. In 1939, the year before his death from a long illness and against a backdrop of sociopolitical turmoil and the outbreak of World War II, Klee worked with a vigor and inventiveness that rivaled even the most productive periods of his youth. This book illuminates the artist’s response to his personal difficulties and the era’s broader realities through imagery that is tirelessly inventive—by turns political, solemn, playful, humorous, and poetic. The works featured testify to Klee’s restless drive to experiment with form and material. His use of adhesive, grease, oil, chalk, and watercolor, among other media, resulted in surfaces that are not only visually striking, but also highly tactile and original. Not unlike a diary, the drawings are often meditative reflections on the pains and pleasures of life—their titles, among them Monsters in readiness and Struggles with himself, signal Klee’s frame of mind. Renowned art historian Dawn Ades looks at this group of paintings and drawings in the context of their time and as indicative of a pivotal moment in art history. Moved by this late period of Klee’s oeuvre, American artist Richard Tuttle responds to specific works in the form of dialogical poems. This stunning publication highlights the novelty and ingenuity of Klee’s late works, which deeply affected the generation of artists—including Anni Albers, Jean Dubuffet, Mark Tobey, and Zao Wou-Ki—that emerged after World War II and continues to captivate artists and viewers alike today
Debut novelist Miles Klee takes a landscape of drugs, decay, loss and, perhaps, hope, and manages to make the ensemble wryly funny: something only a few notable contemporaries such as Jeff Vandermeer and Michael Chabon have been able to do. Post-urban New Jersey is instantly recognizable in this interlinked series of short vignettes. . . . and Lev's living room is puddles of water and sun, and a bunch of those furry caterpillars are hauling themselves from surface to surface. Populated by a bumbling, murderous citizenry of corrupt cops, innocents, ravenous addicts, lovesick geniuses, and cynical adventurers, Ivyland operates in the shadow of a giant pharmaceutical corporation that thrives on people's weaknesses . . . and may have an even more sinister agenda. It's our world, only a bit more extreme, and lovingly, precisely depicted with the adept skills native to a master of dark humor.
DigiCat Publishing presents to you this special edition of "Klee Wyck" by Emily Carr. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.
A story inspired by artist Paul Klee's quote, "A line is a dot that went for a walk" WHAT PAUL MADE is a story about friendship, creativity and the innocence of a child's imagination. Readers will follow a young Paul on a visual journey turning a simple stroll into a adventure full of color, nature, curiosity and joy. Together with his dot, Paul returns home to discover his imagination created something wonderful. The story ends with an informative artist bio and a creative prompt bringing readers full circle into their own dot inspired creation! Famous for merging "inner" and "outer" worlds into his compositions, artist Paul Klee's artistic life began with a childhood filled of music, nature and poetry. As a young man, Klee decided that visual expression was the creative path that interested him the most. It was then that Paul began a lifelong adventure of creating and developing his own unique vision through artistic study, practice and experimentation. Throughout his career, Klee remained dedicated to color theory practice while he experimented with materials and Impressionist, Post-Impressionist, Abstract Expressionist, Cubist and Futurist concepts. Paul Klee eventually became an instructor at the Bauhaus and Düsseldorf Academy and was a member of the artistic movement called the Die Blaue Reiter (The Blue Rider).
'One of the most famous of modern art documents - a poetic primer, prepared by the artist for his Bauhaus pupils, which has deeply affected modern thinking about art . . . This little handbook leads us into the mysterious world where science and imagination fuse.' Observer
The entertaining companion novel to the best-selling The Sweet Second Life of Darrell Kincaid. Michelle Lawrence's perfect life has been just as she's designed it. But then her husband, Chad, ruins everything by taking a job in San Francisco, about as far from their comfortable family home as it's possible to get without actually emigrating. Up until now, Chad's primary focus has been keeping her happy, and Michelle can see no good reason why this should change. But change it has, and Michelle now has to deal with Chad's increasing detachment, while building a new life with her two small children in a place filled with cat-eating coyotes. On top of that, Michelle's oldest friend is turning against marriage while her newest is a little too obsessed with clean taps. And down the redwood-lined street, there's Aishe Herne, a woman who could pick a fight with a silent order of nuns. Aishe has designed her own kind of perfect life, in which there's room for her, her teenage son and no one else. But when cousin Patrick lands in town like a Cockney nemesis, both Aishe and Michelle must begin determined campaigns to regain their grip on the steering wheel of their lives. The Catherine Robertson Trilogy Book 1: The Sweet Second Life of Darrell Kincaid Book 2: The Not So Perfect Life of Mo Lawrence Book 3: The Misplaced Affections of Charlotte Forbes
Loved by young people across the globe, Paul Klee's playful paintings are a natural introduction for children to the world of creativity and art. It's no wonder that young people are drawn to the work of Paul Klee. The German artist was fascinated by children's drawings, and incorporated their energy and simplicity into his own work. This beautiful introduction to Klee's paintings focuses on the artist's love of color and symbols, his lighthearted technique, and his belief that music and painting were inextricably linked. Children will relate to the stories about Klee's life and struggles as an artist while learning about art. Eye-catching reproductions of Klee's masterpieces show children how the artist used lines, pigments, and texture in imaginative new ways. Best of all, enticing suggestions invite readers to try different art activities and projects.
A philosophical perspective on the relation between Paul Klee’s art and his thought. The artist Paul Klee once said that “art does not reproduce the visible but makes visible.” In Klee’s Mirror John Sallis examines the various ways in which Klee’s art makes visible things that ordinarily go unseen. He shows how Klee’s art is like a mirror capable of reflecting not only the surface appearance of things, but also their hidden depth and the cosmic setting to which they belong. Tracing the relation of Klee’s paintings and drawings to music, poetry, and philosophy, Sallis also takes account of Klee’s own extensive writings, both theoretical and autobiographical, and of the incisive lectures that he presented while teaching at the Bauhaus. Featuring large, high-quality reproductions, Klee’s Mirror shows how the painter’s theories both are exemplified in his art and, in turn, are enhanced and extended by what his art achieves and reveals. “Klee’s Mirror is a masterful interpretation of one of the most inspiring artists in the Western tradition, one that will surely capture the interest of philosophers, art history scholars, as well as students and lovers of Paul Klee’s works.” — Alejandro A. Vallega, author of Sense and Finitude: Encounters at the Limits of Language, Art, and the Political “Paul Klee mused in his diary that his art was a kind of mirror whose aim was not ‘to reflect the surface’ but rather ‘to penetrate inside’ such that, for example, his ‘human faces are truer than the real ones.’ In his exquisite new study, Sallis takes up the complex question of Klee’s mysterious mirrors. On the one hand, Klee’s works themselves are mirrors of truth, making visible, Sallis tells us, ‘what otherwise remains invisible,’ reflecting ‘what lies beyond the visible surface of things.’ On the other hand, Klee’s own theoretical writings are extraordinarily articulate and they uniquely mirror his artistic work. Klee’s paintings are not, however, illustrations or representations of Klee’s ideas. The mirror of Klee’s painting demands a new kind of reflective writing. Finally, there is the mirror of Sallis’ own work, deftly navigating between Klee’s brilliant double mirror play, producing in turn a startlingly and innovative mode of writing that twists free of the dualism of sensibility and intelligibility.” — Jason M. Wirth, author of The Conspiracy of Life: Meditations on Schelling and His Time
Paul Klee—one of the preeminent artists of the twentieth century—was associated with all of the major movements of the first half of the century: expressionism, cubism, surrealism, and abstraction. In this economic and political history, O. K. Werckmeister traces Klee's career as a professional artist, concentrating on the years 1914-20 in which Klee rose from obscurity to recognition in the visual culture of the incipient Weimar Republic. Werckmeister reveals the degree to which Klee, who has been traditionally portrayed as aloof from politics and the vicissitudes of the art market, was subject to and interacted with material conditions. Drawing on rich documentary evidence—records of Klee's sales, reviews of his exhibitions, the artist's published writings about his art, unpublished correspondence, as well as contemporary criticism—Werckmeister follows Klee's transformation from an idiosyncratic abstract individualist to a metaphysical storyteller to mystical sage. Werckmeister argues that this latter image was promoted by a number of influential art critics and dealers acting in cooperation with the artist himself. This posture prompted Klee's success first in the war-weary modernist art world of 1916-18 and then in the pseudo-revolutionary art world of 1919-20. This work is a critical challenge to the myth of Klee's art and to the hagiography of his artistic personality. Werckmeister's historical account is sure to be a controversial yet significant contribution to Klee studies—one that will change the nature of Klee scholarship for some time to come.
Offering a fresh look at one of the major artists of the 20th century, this book illustrates how Paul Klee’s critical and ironic take on life was evident in every stage of his oeuvre. Known for its whimsy and levity, Paul Klee’s art is often considered gleefully childlike. This groundbreaking volume argues that Klee’s style emerged from a philosophical school that originated with early German Romanticism and consisted of perpetual shifts between satire and affirmation of the absolute, finite and infinite, and real and ideal. Featuring approximately 250 works, this careful appreciation of Klee connects each stage of his career to the larger philosophical context. Exploring the satires and caricatures of Klee’s youth, his experimentations in Cubism and "mechanical theater," and the constructivist approach of the Bauhaus school, this book follows the trajectory of Klee’s oeuvre as a reflection of prevailing styles. It closes with the artist’s final years, in which he was labeled a "degenerate artist" by the Nazi regime and struggled with illness. Viewed through the many facets of irony as a complex theme, and against the backdrop of Europe’s seismic political and artistic movements, Klee’s body of work takes on a renewed significance as one of the most critical of its generation.