Paul Klee

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"Klee" redirects here. For the German band, see Klee (band).
For other people named Klee, see Klee (disambiguation).

Paul Klee

Klee in 1911, photographed by Alexander Eliasberg

18 December 1879
Born
Mnchenbuchsee bei Bern, Switzerland
29 June 1940 (aged 60)
Died
Muralto, Switzerland
Nationality German/Swiss
Field
Painting
Training
Academy of Fine Arts, Munich
Movement Expressionism, Bauhaus, Surrealism
more than 10,000 paintings, drawings,
and etchings, including Twittering
Works
Machine (1922), Fish Magic (1925),
Viaducts Break Ranks (1937).
Paul Klee (German pronunciation: [kle]; 18 December 1879 29 June 1940) was born in
Mnchenbuchsee, Switzerland, and is considered both a Swiss and a German[a] painter. His
highly individual style was influenced by movements in art that included expressionism, cubism,

and surrealism. He was, as well, a student of orientalism.[1] Klee was a natural draftsman who
experimented with and eventually mastered color theory, and wrote extensively about it; his
lectures Writings on Form and Design Theory (Schriften zur Form und Gestaltungslehre),
published in English as the Paul Klee Notebooks, are considered so important for modern art that
they are compared to the importance that Leonardo da Vinci's A Treatise on Painting had for
Renaissance.[2][3][4] He and his colleague, the Russian painter Wassily Kandinsky, both taught at
the German Bauhaus school of art, design and architecture. His works reflect his dry humour and
his sometimes childlike perspective, his personal moods and beliefs, and his musicality.

Contents
[hide]

1 Early life and training

2 Marriage and early career

3 Mature career

4 Death

5 Style and methods

6 Legacy

7 See also

8 Notes and sources

o 8.1 Footnotes
o 8.2 Citations
o 8.3 References
o 8.4 Books, essays and lectures by Paul Klee
o 8.5 Further reading

9 External links

[edit] Early life and training

First of all, the art of living; then as my ideal profession, p

Paul Klee.[5]

Klee was born in Mnchenbuchsee (near Bern), Switzerland into a musical family. His father,
Hans Klee, was a German music teacher at the Hofwil Teacher Seminar near Bern. His mother,
Ida Frick, had trained to be a singer. He was the second of two children.[6]

My Room (German: Meine Bude), 1896. Pen and ink wash, 4 7 inches. In the collection of
the Klee Foundation, Bern, Switzerland
Klee started young at both drawing and music. At age seven, he started playing the violin, and at
age eight, he was given a box of sidewalk chalk by his grandmother. Klee appears to have been
equally talented in music and drawing.[6] In his early years, following his parents wishes, he
focused on becoming a musician; but he decided on the visual arts during his teen years, partly
out of rebellion and partly because of a belief that modern music lacked meaning for him. He
stated, I didnt find the idea of going in for music creatively particularly attractive in view of the
decline in the history of musical achievement.[7] As a musician, he played and felt emotionally
bound to traditional works of the eighteenth and nineteenth century, but as an artist he craved the
freedom to explore radical ideas and styles.[7] At sixteen, Klees landscape drawings already
show considerable skill.[8]
Around 1897, he started his diary, which he kept until 1918, and which has provided scholars
with valuable insight into his life and thinking.[9] During his school years, he avidly drew in his
school books, in particular drawing caricatures, and already demonstrating skill with line and
volume.[10] He barely passed his final exams at the Gymnasium of Bern, where he qualified in
the Humanities. With his characteristic dry wit, he wrote, After all, its rather difficult to achieve
the exact minimum, and it involves risks.[11] On his own time, in addition to his deep interests in
music and art, Klee was a great reader of literature, and later a writer on art theory and aesthetics.
[12]

With his parents' reluctant permission, in 1898 he began studying art at the Academy of Fine Arts
in Munich with Heinrich Knirr and Franz von Stuck. He excelled at drawing but seemed to lack
any natural color sense. He later recalled, During the third winter I even realized that I probably
would never learn to paint.[11] During these times of youthful adventure, Klee spent much time
in pubs and had affairs with lower class women and artists' models. He had an illegitimate son in
1900 who died several weeks after birth.[13]
After receiving his Fine Arts degree,[verification needed] Klee went to Italy from October 1901 to May
1902[14] with friend Hermann Haller. They stayed in Rome, Florence, and Naples, and studied the
master painters of past centuries.[13] He exclaimed, The Forum and the Vatican have spoken to
me. Humanism wants to suffocate me.[15] He responded to the colors of Italy, but sadly noted,
that a long struggle lies in store for me in this field of color.[16] For Klee, color represented the
optimism and nobility in art, and a hoped for relief from the pessimistic nature he expressed in
his black-and-white grotesques and satires.[16] Returning to Bern, he lived with his parents for
several years, and took occasional art classes. By 1905, he was developing some experimental
techniques, including drawing with a needle on a blackened pane of glass, resulting in fifty-seven
works including his Portrait of My Father (1906).[10] In the years 1903-5 he also completed a
cycle of eleven zinc-plate etchings called Inventions, his first exhibited works, in which he
illustrated several grotesque characters.[13][17] He commented, though Im fairly satisfied with
my etchings I cant go on like this. Im not a specialist.[18] Klee was still dividing his time with
music, playing the violin in an orchestra and writing concert and theater reviews.[19]

[edit] Marriage and early career

Flower Myth (1918), Watercolor on pastel foundation on fabric and newsprint mounted on board,
Sprengel Museum, Hannover, Germany

Klee married Bavarian pianist Lily Stumpf in 1906 and they had one son named Felix Paul in the
following year. They lived in a suburb of Munich, and while she gave piano lessons and
occasional performances, he kept house and tended to his art work. His attempt to be a magazine
illustrator failed.[19] Klees art work progressed slowly for the next five years, partly from having
to divide his time with domestic matters, and partly as he tried to find a new approach to his art.
In 1910, he had his first solo exhibition in Bern, which then traveled to three Swiss cities. The
following year, he did some illustrations for an edition of Voltaires Candide. That year he met
Wassily Kandinsky, Franz Marc, and other avant-garde figures, and became associated with the
art group known as Der Blaue Reiter (The Blue Rider).[20]
On meeting Kandinsky, Klee recorded, I came to feel a deep trust in him. He is somebody, and
has an exceptionally beautiful and lucid mind.[21] The association opened his mind to modern
theories of color. His travels to Paris in 1912 also exposed him to the ferment of Cubism and the
pioneering examples of pure painting, an early term for abstract art. The use of bold color by
Robert Delaunay and Maurice de Vlaminck also inspired him.[22] Rather than copy these artists,
Klee began working out his own color experiments in pale watercolors and did some primitive
landscapes, including In the Quarry (1913) and Houses near the Gravel Pit (1913), using blocks
of color with limited overlap.[23] Klee acknowledged that a long struggle lies in store for me in
this field of color in order to reach his distant noble aim. Soon, he discovered the style which
connects drawing and the realm of color.[16]
Klees artistic breakthrough came in 1914 when he briefly visited Tunisia with August Macke
and Louis Moilliet and was impressed by the quality of the light there. He wrote, "Colour has
taken possession of me; no longer do I have to chase after it, I know that it has hold of me
forever... Colour and I are one. I am a painter."[24] With that realization, faithfulness to nature
fades in importance. Instead, Klee began to delve into the cool romanticism of abstraction.[24]
In gaining a second artistic vocabulary, Klee added color to his abilities in draftsmanship, and in
many works combined them successfully, as he did in one series he called operatic paintings.
[25][26]
One of the most literal examples of this new synthesis is The Bavarian Don Giovanni
(1919).[27]
After returning home, Klee painted his first pure abstract, In the Style of Kairouan (1914),
composed of colored rectangles and a few circles.[28] The colored rectangle became his basic
building block, what some scholars associate with a musical note, which Klee combined with
other colored blocks to create a color harmony analogous to a musical composition. His selection
of a particular color palette emulates a musical key. Sometimes he uses complementary pairs of
colors, and other times dissonant colors, again reflecting his connection with musicality.[29]
A few weeks later, World War I began. At first, Klee was somewhat detached from it, as he wrote
ironically, I have long had this war in me. That is why, inwardly, it is none of my concern. [30]
Soon, however, it began to affect him. His friends Macke and Marc both died in battle. Venting
his distress, he created several pen and ink lithographs on war themes including Death for the
Idea (1915).[31] He also continued with abstracts and semi-abstracts. In 1916, he joined the
German war effort, but with behind the scenes maneuvering by his father, Klee was spared
serving at the front and ended up painting camouflage on airplanes and working as a clerk.[32] He
continued to paint during the entire war and managed to exhibit in several shows. By 1917,

Klees work was selling well and art critics acclaimed him as the best of the new German artists.
[33]
His Ab ovo (1917) is particularly noteworthy for its sophisticated technique. It employs
watercolor on gauze and paper with a chalk ground, which produces a rich texture of triangular,
circular, and crescent patterns.[24] Demonstrating his range of exploration, mixing color and line,
his Warning of the Ships (1918) is a colored drawing filled with symbolic images on a field of
suppressed color.[34]

[edit] Mature career

Miraculous Landing, or the "112!" (1920), Watercolor, ink, and monotype on paper. 23.6 31.8
cm. In the collection of the Metropolitan Museum of Art, NYC
In 1919, Klee applied for a teaching post at the Academy of Art in Dsseldorf. This attempt
failed but he had a major success in securing a three-year contract (with a minimum annual
income) with dealer Hans Goltz, whose influential gallery gave Klee major exposure, and some
commercial success. A retrospective of over 300 works in 1920 was also notable.[35]
Klee taught at the Bauhaus from January, 1921 to April, 1931.[36] He was a Form master in the
bookbinding, stained glass, and mural painting workshops and was provided with two studios.[37]
In 1922, Kandinsky joined the staff and resumed his friendship with Klee. Later that year the
first Bauhaus exhibition and festival was held, for which Klee created several of the advertising
materials.[38] Klee welcomed that there were many conflicting theories and opinions within the
Bauhaus: I also approve of these forces competing one with the other if the result is
achievement.[39]
Klee was also a member of Die Blaue Vier (The Blue Four), with Kandinsky, Feininger, and
Jawlensky; formed in 1923, they lectured and exhibited together in the USA in 1925. That same
year, Klee had his first exhibits in Paris, and he became a hit with the French Surrealists.[40] Klee
visited Egypt in 1928, which impressed him less than Tunisia. In 1929, the first major
monograph on Klees work was published, written by Will Grohmann.[41]
Klee also taught at the Dsseldorf Academy from 1931 to 1933, and was singled out by a Nazi
newspaper, Then that great fellow Klee comes onto the scene, already famed as a Bauhaus
teacher in Dessau. He tells everyone hes a thoroughbred Arab, but hes a typical Galician
Jew.[42] His home was searched by the Gestapo and he was fired from his job.[4][43] His self-

portrait Struck from the List (1933) commemorates the sad occasion.[42] In 1933-4, Klee had
shows in London and Paris, and finally met Picasso, whom he greatly admired.[44] The Klee
family emigrated to Switzerland in late 1933.[44]
Klee was at the peak of his creative output. His Ad Parnassum (1932) is considered his
masterpiece and the best example of his pointillist style; it is also one of his largest, most finely
worked paintings.[45][46] He produced nearly 500 works in 1933 during his last year in Germany.[47]
However, in 1933, Klee began experiencing the symptoms of what was diagnosed as
scleroderma after his death. The progression of his fatal disease, which made swallowing very
difficult, can be followed through the art he created in his last years. His output in 1936 was only
25 pictures. In the later 1930s, his health recovered somewhat and he was encouraged by a visit
from Kandinsky and Picasso.[48] Klees simpler and larger designs enabled him to keep up his
output in his final years, and in 1939 he created over 1,200 works, a career high for one year.[49]
He used heavier lines and mainly geometric forms with fewer but larger blocks of color. His
varied color palettes, some with bright colors and others sober, perhaps reflected his alternating
moods of optimism and pessimism.[50] Back in Germany in 1937, seventeen of Klees pictures
were included in an exhibition of Degenerate Art and 102 of his works in public collections
were seized by the Nazis.[51]

[edit] Death
Klee suffered from a wasting disease, scleroderma, toward the end of his life, enduring pain that
seems to be reflected in his last works of art. One of his last paintings, "Death and Fire", features
a skull in the center with the German word for death, "Tod", appearing in the face. He died in
Muralto, Locarno, Switzerland, on June 29, 1940 without having obtained Swiss citizenship,
despite his birth in that country. His art work was considered too revolutionary, even degenerate,
by the Swiss authorities, but eventually they accepted his request six days after his death.[52] His
legacy comprises about 9,000 works of art.[16] The words on his tombstone, Klee's credo, placed
there by his son Felix, say, "I cannot be grasped in the here and now, For my dwelling place is as
much among the dead, As the yet unborn, Slightly closer to the heart of creation than usual, But
still not close enough."[53] He was buried at Schosshaldenfriedhof, Bern, Switzerland.

[edit] Style and methods

Tale la Hoffmann (1921), Watercolor, ink, and pencil on paper. 31.1 24.1 cm. In the
collection of the Metropolitan Museum of Art, NYC
Klee has been variously associated with Expressionism, Cubism, Futurism, Surrealism, and
Abstraction, but his pictures are difficult to classify. He generally worked in isolation from his
peers, and interpreted new art trends in his own way. He was inventive in his methods and
technique. Klee worked in many different mediaoil paint, watercolor, ink, pastel, etching, and
others. He often combined them into one work. He used canvas, burlap, muslin, linen, gauze,
cardboard, metal foils, fabric, wallpaper, and newsprint.[54] Klee employed spray paint, knife
application, stamping, glazing, and impasto, and mixed media such as oil with watercolor, water
color with pen and India ink, and oil with tempera.[55]
He was a natural draftsman, and through long experimentation developed a mastery of color and
tonality. Many of his works combine these skills. He uses a great variety of color palettes from
nearly monochromatic to highly polychromatic. His works often have a fragile child-like quality
to them and are usually on a small scale. He often used geometric forms as well as letters,
numbers, and arrows, and combined them with figures of animals and people. Some works were
completely abstract. Many of his works and their titles reflect his dry humor and varying moods;
some express political convictions. They frequently allude to poetry, music and dreams and
sometimes include words or musical notation. The later works are distinguished by spidery
hieroglyph-like symbols. Rainer Maria Rilke wrote about Klee in 1921, Even if you hadnt told
me he plays the violin, I would have guessed that on many occasions his drawings were
transcriptions of music.[12]
Pamela Kort observed: "Klee's 1933 drawings present their beholder with an unparalleled
opportunity to glimpse a central aspect of his aesthetics that has remained largely unappreciated:
his lifelong concern with the possibilities of parody and wit. Herein lies their real significance,
particularly for an audience unaware that Klee's art has political dimensions."[56]

[edit] Legacy

Art does not reproduce the visible; rather,

Paul Klee.

As Klee learned to manipulate color with great skill and passion, he became an effective teacher
of color mixing and color theory to students at the Bauhaus. This progression in itself is of great
interest because his views on color would ultimately allow him to write about it from a unique
viewpoint among his contemporaries.
Klee influenced the work of other noted artists of the early 20th century including Belgian
printmaker Rene Carcan.
Composer Gunther Schuller immortalized seven works of Klee's in his Seven Studies on Themes
of Paul Klee. The studies are based on a range of works, including Alter Klang [Antique
Harmonies], Abstraktes Terzett [Abstract Trio], Little Blue Devil, Twittering Machine, Arab
Village, Ein unheimlicher Moment [An Eerie Moment], and Pastorale. The German Ensemble
Sortisatio together with the Swiss Groupe Lacroix worked on the project "8 Pieces on Paul
Klee", based on the work of the painter. Another Klee-inspired work is Wingate's Second
Symphony, subtitled Kleetden; Variationen fr Orchester nach Paul Klee (Variations for
Orchestra after Paul Klee) which consists of 27 tone paintings in homage to Klee. The Spanish
composer Benet Casablancas's symphonic work Alter Klang. Impromptu for orchestra after Klee,
based on Klee's painting of the same title, was commissioned by Orquesta Nacional de Espaa,
which prmired it in 2007 under the baton of Josep Pons.[57] This is not the only piece by
Casablancas that is inspired by Klee; in 2007 he composed a chamber cantata Retablo sobre
textos de Paul Klee, for soprano, mezzosoprano and piano, commissioned by Fundacin Canal in
Madrid.
One of Klee's paintings, Angelus Novus, was the object of an interpretive text by German
philosopher and literary critic Walter Benjamin, who purchased the painting in 1921. In his
"Theses on the Philosophy of History," Benjamin suggests that the angel depicted in the painting
might be seen as representing the angel of history.
In 1938 Steinway pianos manufactured the "Paul Klee series", to commemorate the way in which
Klee married the art forms of music and visual art. Only 500 pianos were produced in this
limited series, with Vladimir Horowitz being one of those to purchase the piano. Paul Klee
described the series as "a great honour and privilege. This tribute has affirmed my life's work."

In the late sixties, the psychedelic nature of Klee's pieces was revived musically by a group
(including jazz composer Chuck Mangione), The National Gallery released the album
Performing Musical Interpretations of the Paintings of Paul Klee in 1968, with music and lyrics
that are appropriately surprising, strange, and delightful.[58]
Today, a painting by Klee can sell for as much as $7.5 million.

Zentrum Paul Klee in Bern, Switzerland: designed by Renzo Piano

A museum dedicated to Klee was built in Bern, Switzerland, by the Italian architect Renzo Piano.
Zentrum Paul Klee opened in June 2005 and houses a collection of about 4,000 works by Paul
Klee. Another substantial collection of Klee's works is owned by chemist and playwright Carl
Djerassi and displayed at the San Francisco Museum of Modern Art.
The 2005 bottling of Kenwood Vineyards "Artist Series" Cabernet Sauvignon features Klee's
Highways and Byways (1929)

[edit] See also

Theory of painting

[edit] Notes and sources

[edit] Footnotes

Paul Klee's father was a German citizen; his mother was Swiss. Swiss law determined
citizenship along paternal lines, and thus Paul inherited his father's German citizenship.
He served in the German army during World War I. However, Klee grew up in Berne,
Switzerland, and returned there often, even before his final emigration from Germany in
1933. He died before his application for Swiss citizenship was processed.[59][60]

[edit] Citations
1.

^ Rauer, Julie (2006). "Klee's Mandalas". asianart.

http://www.asianart.com/articles/klee/index.html. Retrieved 2008-02-10.

2.

^ Disegno e progettazione By Marcello Petrignani p.17

3.

^ Guilo Carlo Argan "Preface", Paul Klee, The Thinking Eye, (ed. Jrg Spiller),
Lund Humphries, London, 1961, p.13.

4.

^ a b The private Klee: Works by Paul Klee from the Brgi Collection Scottish
National Gallery of Modern Art, Edinburgh, 12th August - 20th October 2000

5.

^ Gualtieri Di San Lazzaro, Klee, Praeger, New York, 1957, p. 16

6.

^ a b Partsch, p. 8

7.

^ a b Partsch, p. 9

8.

^ Kagan p. 54

9.

^ Partsch, p. 7

10.

^ a b Partsch, p. 10

11.

^ a b Kagan, p. 22

12.

^ a b Jardi, p. 8

13.

^ a b c Partsch, p. 11

14.

^ Olga's Gallery Paul Klee

15.

^ Jardi, p. 9

16.

^ a b c d Kagan, p. 23

17.

^ Invention Paul Klee at the Museum of Contemporary Art San Francisco

ARTinvestment.RU 18.04.2009

18.

^ Jardi, p. 10

19.

^ a b Partsch, p. 12

20.

^ Partsch, p. 17

21.

^ Jardi, p. 12

22.

^ Partsch, p. 18

23.

^ Jardi, plate 7, 9

24.

^ a b c Partsch, p. 20

25.

^ Partsch, pp. 245

26.

^ Kagan, p. 33

27.

^ Kagan, p. 35

28.

^ Partsch, p. 27

29.

^ Kagan, p. 27, 29.

30.

^ Partsch, p. 31

31.

^ Reproduced alongside Gerg Traki's poem in Zeit-Echo 1915.A reverse

ekphrasis.

32.

^ Partsch, p. 35

33.

^ Partsch, p. 36

34.

^ Partsch, p. 40

35.

^ Partsch, p. 44

36.

^ Geelhaar, Christian (1972). Paul Klee und das Bauhaus. DuMont Schauberg,
Kln, p. 9

37.

^ Jardi, p. 17

38.

^ Jardi, p. 18

39.

^ Partsch, p. 48

40.

^ Jardi, pp. 189

41.

^ Jardi, p. 20

42.

^ a b Partsch, p. 73

43.

^ Partsch, p. 55

44.

^ a b Jardi, p. 23

45.

^ Partsch, p. 64

46.

^ Kagan, p. 42

47.

^ Partsch, p. 74

48.

^ Jardi, p. 25

49.

^ Partsch, p. 76

50.

^ Partsch, pp. 7780

51.

^ Partsch, p. 94

52.

^ Partsch, p. 80

53.

^ Partsch, p. 84

54.

^ Kagan, p. 26

55.

^ Partsch, pp. 5860

56.

^ Paul Klee 1933 at www.culturekiosque.com

57.

^ For further information see http://www.accompositors.com/compositoresobras.php?nIdioma=ing&idComp=29&AccID=2434e13741df0ef1817128442c2d9ada.

58.
59.

^ Vinyl LP, Philips catalog number: PHS 600-266.

^ Fayal, M.: Paul Klee: A man made in Switzerland, swissinfo, 25 May 2005.
URL last accessed 2006-09-05.

60.

^ Zentrum Paul Klee: A Swiss without a red passport. URL last accessed 200609-05.

[edit] References

Jardi, Enric (1991) Paul Klee, Rizzoli Intl Pubns, ISBN 0847813436

Kagan, Andrew (1993) Paul Klee at the Guggenheim Museum (exhibition catalogue) [1]
Introduction by Lisa Dennison, essay by Andrew Kagan. 208 pages. English and Spanish
editions. 1993, ISBN 9780892071067

Partsch, Susanna (1993) Paul Klee 18791940, Taschen Basic Art, Kln, ISBN
3822802999

[edit] Books, essays and lectures by Paul Klee

1922 Beitrge zur bildnerischen Formlehre ('Contributions to a pictorial theory of form',

part of his 1921-2 lectures at the Bauhaus)

1923 Wege des Naturstudiums ('Ways of Studying Nature'), 4 pages. Published in the
catalogue for the Erste Bauhaus Ausstellung (First Bauhaus Exhibition) in Summer 1923.
Also published in Paul Klee Notebooks vol 1.

1924 ber moderne Kunst ('On Modern Art'), lecture held at Paul Klee's exhibition at the
Kunstverein in Jena on 26 January 1924

1924 Pdagogisches Skizzenbuch ('Pedagogical Sketchbook')

1949 Documente und Bilder aus den Jahren 18961930, ('Documents and images from
the years 18961930'), Berne, Benteli

1956 Graphik, ('Graphics'), Berne, Klipstein & Kornfeld

1956 Schriften zur Form und Gestaltungslehre ('Writings on form and design theory')
edited by Jrg Spiller (English edition: 'Paul Klee Notebooks')
o 1956 Band I: Das bildnerische Denken., ('Volume I: the creative thinking'). 572
pages review. (English translation from German by Ralph Manheim: 'The
thinking eye')
o 1964 Band 2: Unendliche Naturgeschichte ('Volume 2: Infinite Natural History')
(English translation from German by Heinz Norden: 'The Nature of Nature')

1964 The Diaries of Paul Klee 18981918 ed. Felix Klee Berkley, University of
California

1976 Schriften, Rezensionen und Aufstze edited by Ch. Geelhaar, Kln,

1960 Gedichte, poems, edited by Felix Klee

1962 Some poems by Paul Klee ed Anselm Hollo. London

[edit] Further reading

Paul Klee: Catalogue Raisonn. 9 vols. Edited by the Paul Klee Foundation, Museum of
Fine Arts, Berne. New York: Thames & Hudson, 19982004.

Paul Klee: 1933 published by Stdtische Galerie im Lenbachhaus, Munich, Helmut

Friedel. Contains essays in German by Pamela Kort, Osamu Okuda, and Otto Karl
Werckmeister.

Reto Sorg und Osamu Okuda: Die satirische Muse Hans Bloesch, Paul Klee und das
Editionsprojekt Der Musterbrger. ZIP Zrich 2005 (Klee-Studien; 2), ISBN
3909252079

Kort, Pamela (2004-10-30). Comic Grotesque: Wit And Mockery In German Art, 1870
1940. PRESTEL. p. 208. ISBN 9783791331959.
http://www.frontlist.com/detail/3791331957.

Otto Karl Werckmeister: The Making of Paul Klee's Career, 19141920. University of
Chicago Press, 343 pages, 125 halftones, 1984, 1989.

Marcel Franciscono: Paul Klee: His Work and Thought. University Of Chicago Press,
406 pages, 1991, ISBN 0226259900.

Wilhelm Hausenstein (1921) Kairuan oder eine Geschichte vom Maler Klee und von der
Kunst dieses Zeitalters ('Kairuan or a History of the Artist Klee and the Art of this Age')

[edit] External links

Wikiquote has a collection of quotations related to: Paul Klee
Wikimedia Commons has media related to: Paul Klee

Zentrum Paul Klee - The Paul Klee museum in Bern

Current exhibitions and connection to galeries at Artfacts.Net

Paul Klee Swissinfo web special

Paul Klee at the Museum of Modern Art

Paul Klee at The San Francisco Museum of Modern Art (SFMOMA)

Klee's Mandalas

Gallery of Klee's artwork: Only thumbnails, no full images on display.

[show]v d eDer Blaue Reiter

[show]v d eAesthetics

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