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PAUL KLEE
1879
A
1940
RETROSPECTIVE EXHIBITION
ORGANIZED BY THE SOLOMON
R.
GUGGENHEIM MUSEUM
IN
COLLABORATION WITH THE IMSADENA ART MUSEUM
1967,
The Solomon R. Guggenheim Foundation, New York
Library of Congress Card Catalogue Number: 67-19740
Printed in the United States of America
PARTICIPATING IIVSTITITIOWS
PASADENA ART MUSEUM

SAN FRANCISCO MUSEUM OF ART
COLUMBUS GALLERY OF FINE ARTS

CLEVELAND MUSEUM OF ART
WILLIAM ROCKHILL NELSON GALLERY OF ART, KANSAS CITY
BALTIMORE MUSEUM OF ART
WASHINGTON UNIVERSITY, GALLERY OF ART.

PHILADELPHIA MUSEUM OF ART
ST.
LOUIS
Paul Klee stated in 1902: "I want
to
do something very modest,
to
work out
by myself a tiny formal motif, one that
my
pencil will be able to encompass without
any technique..."'. Gradually he intensified his formal and expressive range, proceeding
from the
tested to the experimental,
toward an ever deepening human awareness. Because

fall
of his intensive concentration
upon each new beginning, categories

into stable groupings
easily discernible.
by the wayside
styl-
and
istic
efforts to divide Klee's
work
remain unconvincing. Even
continuities are elusive
and not
There
is
nothing in the develops
ment
of his art that resembles, for example. Kandinsky's or
Mondrian
evolution from
a representational toward a non-objective mode.

in the sense in
Nor
is it
possible to speak of "periods"
which
this
term has assumed validity with Picasso. Despite the frequent
recurrence of Klee's images and the occasional repetition of his

the sense of newness that one experiences with
acute.
It is
own form
work
is
constellations,
him from work
to
extraordinarily
as
if
his creative
motor started anew with each painting, watercolor, draw-
ing, or print.
Proliferation and lack of rigidity
is
also the rule in Klee's choice of materials

like
and techniques. Media merge into one another, and the very use of designations
"'painting," "watercolor," or "drawing," lose their meanings.
his meticulous records the
How
i.e.
often
do we find
in
summary
designation "Farbbogen,"
"colored sheet", and
how
often, did
he lavish every care of execution upon the light watercolor
medium
while leasing in a state of sketchy fluidity works executed in weightier techniques.

Klee's impartiality to technical subdivisions enjoins us to view his
work without impedis
ing references to false technical hierarchies.
It is
for this reason that Klee's painting
presented together with watercolors, gouaches, and a few drawings, prints, and his
characteristic
mixed techniques.
In the absence of stylistic and technical uniformities an approximate chronology
became the
self-evident
framework
for the presentation of this show.
It
begins at the
turn of this century,
when
the preparatory essays of an
immensely gifted youth have
already given
Klee's
first
way
to a resolutely
maturing
talent.
The chronology continues through

of his time
significant contacts with the
advanced guard
and touches upon
that interesting transformation
from illustrator-draftsman
to colorist-painter a trans-
formation that comes to a dramatic conclusion upon the return from his North African
sojourn
at
Kairouan when he exclaims triumphantly, "I
am
a painter." In his full
maturity Klee's work gives evidence of the painstaking articulation that coincides with
his theoretical
and didactic pursuits
at the
Bauhaus and
of that grave, resigned state of

of
mind
that follows his withdrawal
from Nazi Germany when intense forebodings

intuition
death and the far reaches of the
human
assume
pictorial form.
A
to the
large
number
of the
most coveted works are included

this
in this exhibition,
prepared for presentation in leading American museums. That
was possible
is
due
extreme generosity of lenders
in this
country and abroad

full strength.
who
often, despite stated
misgivings, allowed Klee's
work
to
be seen in
Among
a
lenders none was
more capable
of translating such generous inclinations into effective support than Felix
Klee, the artist's son,
who extended
his unstinting help.
Nor could
comparable concenhis
tration have been achieved without the readiness of Director
Hugo Wagner and
Trustees at the Paul Klee Foundation in Bern to dismantle, for the duration of the show,
the
permanent Klee gallery and
to
reach deeply into their precious holdings to aid this
retrospective survey. To single out other than these two principal contributors
would
quickly lead beyond the confines of a brief acknowledgment.

to point to the separate listing of lending individuals
It
must
suffice, therefore,
and
institutions in the following
pages of this catalogue.

It is
my
pleasant prerogative, however, to acknowledge the extensive assistance

of distinguished collaborators. In the United States. Dr. Louise
received from a
number
Averill Svendsen, Curator of the
Guggenheim Museum, has worked most
consistently to
assure the success of the exhibition. She was importantly assisted by Frau Dr. Katalin
von Walterskirchen of the Kunstmuseum
in Bern, particularly in the
time-consuming
task of checking available data and furnishing scholarly documentation. Linda
Konheim
edited the catalogue. Dr. Charlotte Weidler, whose long acquaintance with Paul Klee
and
his
work established her valuable

all
credentials, acted as a guide
and consultant during
the prolonged sifting of
Klee material considered for this showing. James Demetrion.

in
Curator and now Acting Director of the Pasadena Art Museum, who traveled widelv
behalf of this presentation,
tiation of loans. Finally,
made
essential contributions to the selection
and the nego-
Miss Jane
Wade provided many

collectors.
a useful lead during the initial
orientation, particularly
among New York
In Europe, special thanks are due to Arnold Riidlinger, Director of the Kunsthalle in Basel. His familiarity with
and access
to collections
throughout Switzerland
and
his active part in soliciting loans has importantly enriched the exhibition. Felix Klee
to advise
went beyond his generosity as a lender

to the exhibition
and guide
us.
Also of great importance
was Professor Will Grohmann's
participation.
Through
his intimate
to
acquaintance with Paul Klee's writing, selected passages could be related

the exhibition.
works
in
The use
its
in this catalogue of the
concluding pages of Will Grohmann's

to a simple recognition of
art.
Paul Klee and
presentation here in a
new context amounts
the finality with
which Professor Grohmann summarizes the essence of Klee's
Thomas M. Messer.
Director
LEPERS TO THE
EXHIBITION
Walter C. Goodman, Belvedere, California
George Danforth, Chicago

Mr. and Mrs. Charles W. Engelhard,
Dr. and Mrs. Robert Engle,
New York
San Marino, California
Earle W. Grant, San Diego, California
Mr. and Mrs. Benjamin Hertzberg,

Mrs.
New
York
Kay Hillman, New York
Marian Willard Johnson,

Bern
New York
Nina Kandinsky, Neuilly-sur-Seine, France

F. K.,
Miss Jenifer Kellen
Mr. and Mrs. Henry T. Kneeland, Bloomfield, Connecticut

Ursula and Frank Laurens. Cincinnati
Mr. and Mrs. Arnold H. Maremount. Winnetka.
Illinois
Morton D. May.
William
St.
Louis
Mr. and Mrs. Hans Neumann, Caracas

S. Picher.
Belvedere, California
Mrs. Picher Purcell, Chicago

Dr.
and Mrs.
Israel Rosen, Baltimore
Siegfried Rosengart, Lucerne
Mr. and Mrs. Daniel Saidenberg,

Steven D. Saidenberg,
F. C.
New York
New York
Schang,
New York
New
York
Mrs. Rose C. Shere, Chicago
Mrs. Helen Serger,
Rolf Stenersen, Oslo
Christoph and Andreas Vowinckel, Cologne
Albright-Knox Art Gallery, Buffalo

Allen Memorial Art Museum, Oberlin College, Obetlin, Ohio The Art Museum, Princeton University
The Baltimore Museum of Art Berner Kunstmuseum, Paul Klee-Stiftung

City Art
Museum
of St. Louis
Kunsthaus. Zurich
The Minneapolis
Philadelphia
Institute of Arts
Pasadena Art Museum
Museum
R.
of Art
of Art
San Francisco Museum
The Solomon
Victoria
Guggenheim Museum, New York and Albert Museum, London

St.
Wadsworlh Atheneum. Hartford

Washington University,
Louis
Flair Gallery. Cincinnati
Galerie Claude Bernard, Paris

Galerie Beyeler, Basel
Galerie Rosengart, Lucerne
Galerie Rellee
Zictil.
r.
/ill ic'h
10
PAUL KLEE
BY FELIX KLEE
A
importance
great event, this large exhibition of works by Paul Klee

lies in
now shown
in the
United States!
Its special
the very rich selection from public and private collections, both in Europe and America.
As
everyone knows
who has
studied the Klee literature, there are

at all.
many works
that have been rarely shown,
and
even some that have never been exhibited
They
will
now be
seen and the public will be able to compare
them with works that already have achieved varying degrees

a unique
of popularity. Indeed, this
show promises
to create
moment
as the great variety of Klee themes are brought within a single harmonious framework.
Interest in the
work
of Klee
began
in the
United States soon after the end of the

of them, like G.
first
World War. Many
American
collectors acquired Klee's works,
and a few
David Thompson of Pittsburgh, sub-
sequently were to part with their treasures.
By
a curious fate these paintings then returned to

in the
Europe again
at the
where 88 of them now constitute the largest Klee collection

rhein-Westphalen
Federal Republic of
Germany
Nord-
Museum
in Diisseldorf.
It
This interest did not arise altogether spontaneously.
was stimulated by
the pioneering efforts of a
few connoisseurs. The four most outstanding of these were

all
J.
B.
Neumann, Karl Nierendorf and Curt
Valentin,
ex-Berliners, as well as
felt
Emmy
Galka Scheyer, who had come from Brunswick. They not only sold Klee's
promoting "their" Klee.
I
works but
a sense of mission in
wish
to give credit to these
pioneers today to
honor them
in friendship.
to
The seed they sowed was soon
bear the
to
fruits.
Through
a large
number
of publications, the
is
American public became highly responsive
and familiar with
his work.
But although Klee now
known
soil
throughout the world and we think of him in a cosmopolitan context, his art remains deeply rooted in the
of Europe.
My
father,
it
must be remembered, spent half
of his life in the
German-speaking part of
his native
Switzerland, and the other in Germany. His entire being and his philosophy are therefore thoroughly linked
with the best in
German
culture.
The very
titles of his
works are inseparable from
his
German
origins.
There
their
are puns, free plays on words and fantastic coinages of terms which, in translation, lose true
meaning and
relatedness to a particular milieu. Klee's development was at

first
slower than that of his colleagues, but then he rose to sharp heights.
He
to
I
noted jubilantly on April 17, 1914 about his work: "I

I feel it
now abandon work.

effort.
It
penetrates so deeply and so

I
gently into me.
and
it
gives
me
I
confidence in myself without
Color possesses me.
don't have
I
pursue
it.
It will
possess
me
always,
know
it.
That
is
the
meaning
of this
happy hour: Color and
are one.
am
a painter."
His dream-and-fairy-tale motifs exude magic and, above

to this day.
all
a delicate
atmosphere which ensnares us
This
is
particularly true of the works of his last years at Bern, especially those after 1936,
that little time
when an
incurable disease
made him aware
was
left to
him.
He
concentrated his energies on making
the most essential statements.
As he
freed himself, in thought, from the mortal world, the format of his paint-
ings on canvas grew larger, the drawings

as
if
more
forceful, the technique
more
differentiated. His final pictures look
they were "possessed by demons" (Klee's

In 1956 the Art
own phrase from
a letter he addressed to me.

to
Museum
in
Bern had the most comprehensive Klee exhibition

later,
date 574 works, of
which 200 came from the United States. Now, eleven years
we have again
major Klee show, resulting
from intense
opens up
efforts
on both continents. Indeed, as the years pass since

I recall
my
father's death, his unusual world
to us
with ever increased significance. Here

St.
what
my mother
said about father long before he
had become well-known: "Like

Paul Klee".
John
in the Isenheim Altar Piece of Grunewald,
men one
day. will point to
December 1966
Translated by Alfred Werner
11
I\TRODUCTIOi\
BY WILL GROHMANN
What kind
the stand he took in
of
man Klee
really
was
is
not easy to say in retrospect.

reticent,
He
held the
world at arm's length, so
to speak,
was extremely
and there
is
no judging him by
human
all
or artistic matters, as he hardly ever committed himself. If he
was looked up
to
by
as the final arbiter in conflicts and quarrels

his absolute integrity, recognized even
in this;
and
not only at the

lost suit in
Bauhaus the reason was

his judgments.
by those who
But he took no pride
on the contrary,
it
pained him
to feel that his
associates at times questioned the depth of his sympathies and put
him down
as a "neutral
art.
observer." This
is
exactly what he was, of course, but only for the sake of his
this
"cosmic
to
viewpoint"
and
to
was the
position
in
he chose for himself was hardly calculated

life it
cement
this he
his ties with other
men;
everyday
amounted
life.
to a renunciation,
and over from the

work,
came
ponder deeply towards the end of his
Did his work
suffer
exclusion of Eros?
The elemental and cosmogonic Eros

all
surely
was not missing
in his
ranging through space and time, linking
forms of being. But the

in all the art of
direct, personal
Eros
cannot be found
is
in Klee's
work any more than
the twentieth century, which
peculiarly "selfless" and free of private passions. Klee was not incapable of loving or
to love,
responding
thing, a
but as "nothing lasts in this world," love to him was an ever incomplete
flux of things.
mere part of the eternal
An
artist
cannot attain
to this "crystalline"
state without
paying the price of "abandoning the
self in his
work." Genius, having once

life,
tasted of the tree of knowledge,

It
may no
longer taste of the tree of
wrote Jean Paul.
would be
a mistake, however, to think of Klee as living cut off

it
from the world.

it
He knew
isolated
the world for what
is.
He was
share
acquainted with
evil
but regarded
evil for
not as an
phenomenon, but as part and parcel of the whole. Good and

evil
him made up
the "radically
the
"moral sphere," and
"has
its
in
it
generation and growth."
When
it
evil"
for in
evil
makes
its
appearance
in his
work, as
does every once

rarely produced.
in a while,
is
compensated
such a way that a one-sided picture
is
Good men only dream what
men
do; not that Klee's works are dreams, though sometimes they are; more often he
it
reacts consciously to the world as

special
impinges on him and "copes with

his
it
using his
own
endowment"
(as he put
it
in
Jena lecture), so that
in
the end he achieves a
balanced, harmonious view.
The following passage is quoted with the kind permission of Will Grohmann anil his American publisher Harry N. Ahrams from Professor Grohmann's monograph PAUL KLEE published in New York
in 1955.
12
The
self
artist
has knowledge of everything, and with Klee the link between the inner
is
and the outer world
more complete than with any
of his contemporaries.
He
has been
called the greatest realist of our time, and that describes
him
well, although his realism is
concerned with the essence of things, rather than with their surface appearance. Group his
themes together and they encompass the universe, not only the plenitude of things but the
secrets of their birth
and growth, the mystery
of their
innumerable sublunar and cosmic

;
linkages. His art mirrors almost every area of

tion,
human thought
he visualizes the
rise, evolu-
and
fate of
human,
plant,
and animal
life,
as well as their transformation into primeval

his subject, as
and potential
states.
The world
of art itself
becomes
do the world of music
and poetry, the whole realm of the exact sciences, physics and mathematics, geology and
cosmology, the vistas of history, and the intricacies of pure invention. Thus he could give
us a
Bud
as well as a Voice Cloth, a Cloister
Garden as well as the Limits
of
Reason and
Coolness in a Garden of the Torrid Zone.

tions
is
He gave
us daydreams and shocks, ghostly apparitrail
and buffoonery, definitions and equations. Whoever follows the
blazed by Klee
in for
new
experiences,
new unsuspected
stars,
truths.
He
leads the
way through microcosm
and macrocosm, pointing out the

lives,
fraught as they are with the possibility of other
other destinies, other truths.
Surely Klee was a painter, but he was also a naturalist, a philosopher, a poet; as
early as 1911 he had
demanded
these things of himself. His insight into nature
was
at
times
more penetrating than that
of specialists,
and
his "intuitive
discernment" rivaled that of
Goethe. Philosophy for him was not just a branch of learning but a method of investigating
the interaction of
phenomena. Poetry and music, however, were as much part of
his
own
being as painting.
The
titles
he gave his pictures are like small metaphorical poems whose intense
suggestive power enhances the themes he drew and painted. In coining them he coined
a
many
new word
and. linguistically speaking, created

all.
new lands and
cities,
new
plants and living

his
things. Best of
and richest
in invention, are the short phrases with
which he sent
titles
creatures and creations on their way. Klee invented close to nine thousand such
phrases, hardly ever repeating himself. (His total auvre
and
numbers 8926
items.)
Many
clear
of the titles sparkle with wit,
and the point of many pictures only becomes

titles.
when they
are taken in conjunction with their
For
it is
not always easy to get
the drift of certain
works from their forms alone, which playfully mask the meaning.
"results
"Humor," wrote Goethe,
from an imbalance between reason and the world of facts";

its
and he recognized gay humor wherever reason abandons

itself to the jest.
rights and in good grace lends

title so
Such was Klee's brand

latter
title
of
humor. Very often picture and
complement
in
each other that the

it.
adds a further nuance to the work, stressing particular elements
Occasionally the
does not quite succeed in suggesting the scope and depth of the
pictorial experience.
Light and Dry
Poem
(1938) adds an extra note to the picture

it.
itself,
while Right, Left (1938) detracts a
little
from
Though
the titles are only secondary, they
betoken a highly suggestive intermingling of painting and poetry.

resources, the accuracy, the carrying
And
Klee's linguistic
startling
power
of his
words and phrases, and the

art.
combinations in which he puts them, are an essential feature of his
The
subtle imagery of Klee's wit lies in the theme, in the design, or in both.
trait
When
he paints a Christian Sectarian (1920), he slightly overdoes every

to
commonly
attributed
such men: the emaciated body, long flowing hair, watery eyes, spidery fingers, the cross he
it is
wears round his neck. In Performing Animals (1921)
the direct, childlike imagery and
the primitive quality of the forms that delights us. Even in early works, however,
we
find
is
another type of humor, based on "tension between forms." Thus Dr. Bartolo (1921)
puffed-up composition, while The Chair-Animal (1922)
is
a creature that behaves like a
13
piece of furniture.
The
delightful drawing.
What Does
It
Matter
to
Me?
(1928), though
a
dominated by several mathematical and spatial components, shows a small animal on

stand in the foreground, looking for
all
the world like a doll in a child's crib: the presence of
the tiny creature, comically out of place here, throws a veil of good
humor over
the grave
complex of forms on which the picture as a whole
is built.
Thus
to
a single detail holds the entire

itself
work
in
in balance.
About 1930 Klee's sense
of
humor began
express
even more strongly
formal terms. Not that the worldly-wise humanity of his earlier work went entirely by the
board; in Halves, the Clown (1938), Poster for Comedians (1938), or X-let (1938) a gay
sense of contrast
still
pervades the picture, but the power of expression and the keen
in
intelli-
gence with which lines and colors are interwoven are more strikingly
evidence than before.
We
also have such
drawings as Manageable Grandfather (1930) or Family Outing (1930),

rises to its
where pure geometry
most eloquent pitch and
at the
same time produces those
"playful, innocent flashes" that are the essence of humor.

Still
more
significant than this interaction of painting
and poetry
is
the
way Klee
mingled painting and music.

enjoyment, and never
He was
an excellent musician himself, often playing for his own
at a loss to
read and interpret a score. Though he did not compose, he
thoroughly understood the process of musical composition and was as
much
at
home with knew
Igor Stravinsky's musical system as with Arnold Schonberg's twelve-tone scale. Bach, Mozart,
and Haydn were as familiar

tically every
to
him as the poems
of
Goethe
It
to
poetry lovers, and he

his
practo
one of their works, some of them by heart.
was
way always
to
go back
the underlying elements of things; he could profit as
much from
the study of music as he did
from painting, perhaps even more so; for where,

that
in painting, could
set
he find the exemplars
might have helped him
to solve the
problems he had
himself? The analysis of graphic
representation in his Creative Credo not only gives us an outline of his methods as a painter,
but those of the creative
artist in general,
including the musician.

sets
The
fact is that Klee's pro-
cedure
is
no different from that of the composer as he
down
note after note, goes on from
motif to theme, introduces a second theme, combines the two, and so on. His art being unique
of its kind, the musician is often described as a
man
with sixth sense. But every artist worthy
of the
name
how
is
gifted with a sixth sense,

it is
and
his creations are just as unique of their kind.
This
is
true of Klee, as
rich
it is
of the old masters.
The deeper we go
into his work, the
more we
realize
in
unique, inexplicable forms of beauty phenomena analogous to those
that lead us to attribute a sixth sense to the musician.
Music runs through the whole of Klee's work, not merely

titles as
in
such works with musical
Fugue
in
Red
(1921) or Pastoral (1927). Obvious musical features of his pictures
are their rising or falling rhythms, brief or broadly arching melodies, subdued or cheerful
keys, polyphonic or harmonic phrases, tonal and atonal counterpoint;
of fugues
we might even speak

his
in
and sonatas, chamber music, solo pieces, and so on. Despite

for
keen interest in
modern music, Klee's enduring fondness

temperamental
affinity
in
Mozart was only natural
view of the deep
between the two
artists:
the life of each, in fact,
was so busily emleft for
ployed with painting

the things that
fill
the one case and music in the other that neither had any time
other people's daily lives.

re-
Analogies are often drawn between Picasso and Stravinsky, and certainly each
flects the
climate of the times. Reservations must be made, however, for Picasso's classical
is
period of about 1920
not nearly so inevitable as that of Stravinsky. With Klee
we
arc less
inclined to look for such parallels; he stands as an exceptional case in this respect as well.
Music was so intimate a part of
his being,
it
transmuted into visual qualities whenever he stood
before his easel or drawing-board, that
seems
to
fl
through
all
his
work. The
effect of
many
of a
of his pictures
is
like a phrase or passage out of a
symphonic whole: ami there are

over-all effect
is
sets
of pictures those painted in Egypt, for
examplewhose
comparable
to that
symphony.
14
If in the twenties
Klee stirred up far

is.
less controversy
is
than did the vanguard com-
posers of the day, the reason
perhaps, that painting
a less "public" art than

thirties,
music and
does not impinge upon the consciousness of so large an audience. In the

challenge of his pictures might have been at
its
when
the
most provocative. Klee himself, almost im-
perceptibly, had reached an unassailable degree of maturity, with a body of

that
work behind him
disarmed his detractors.

After music and poetry comes a third determining factor in his work; the spirit of
the
Near
East. His trips to Tunis
and Egypt are not the cause of
this influence; they
were the
in
is
natural outcome of his partiality for

general.
Near Eastern countries and Mohammedan culture

it,
Whether
or not there are actual blood ties behind
Klee's affinity with the Orient
obvious. Without ever being on really familiar terms with life in these countries, Klee felt at
home
past.
there. Their echoes in his
work ring
in
true, like deep-seated reminiscences of the

trees, ladders,
remote
There are compositions of his
which
and jugs
at
once bring to mind
the archaic characters of Babylonian writing tablets of the third millenium B.C.
One
of his
sketches from Kairouan resembles a sgraffito wall picture in the Parthian city of Dura-
Europus representing
the 1920s are built
caravan wending
flowers, fish,
its
way
across the desert.

like the
Many
of his
still lifes
in
at
up of
and symbolic signs
Alexandrian mosaics
Tripoli (second century A.D.).

affinities
His "sign-pictures" and "plant-script-pictures" have striking
with Kufic inscriptions and manuscripts of the Koran. Going through Klee's paintings
is
and sketches, one
continually brought up short by such analogies with the remains of
ancient cultures, far too frequent to be the product of chance. Klee's

fountains, trees, mountains, birds, fish
way
of combining
and
so
on corresponds to the Persian Hvarenah pic-
tures and to the symbolic landscape elements on the fagade of the
Omayyad palace
and
of
Mschatta, while his frequent use of broad curves on plane surfaces harks back to the ara-
besques of Islamic
art.
His interlacing of
figures, plants, animals, signs,
script, his alter-
nation of ground and design, the
way many
of his forms
seem
to
have neither beginning nor
end, thus inducing a kind of hypnotic spell all these procedures have their counterparts in
the art of the
Near
East.
The
point here
is
not simply his continual use of Oriental themes,
but rather the thoroughgoing interpenetration of two different ways of thinking.

find not only in a picture
And
this
we
such as Arab Song (1932)
but in
many
others whose titles betray
no inkling of
it,
in festive scenes
and pavilions decked out with
flags, in exotic figures
and
animals, in the actors and dancers of his theater pictures.
The
invisible spiritual core of the
Mohammedan
religion, the eloquent
symbol of
the void, appears in Klee's pictures as a state of self-fulfillment,
and also as the very reverse:
the supra-personal, the magical.
The angels and
genii of Islam are

all,
more akin
to the
"messen-
gers" of Klee's world than Christian angels are. Above
however, Klee, like the Moslem,
retains the fullness of worldly experience while overcoming the world,
armed with serenity
and seriousness,
faith
and irony, knowledge of nature and belief

all
in
myths. The love of analogy
and parable, the revelation of the fundamental oneness of
things through the metamor-
phosis of forms, the kaleidoscopic interplay of nature, man, and eternity all this
we
find in
Klee as we find
poet Hafiz
it
in the East.
And
the imagery, the approach to

it is
man and
nature of the Persian
is reflected in is
Klee's art just as
in Goethe's West-East
Divan.
live
"All art
artist."
memory
of age-old things,
dark things, whose fragments

art,
is
on in the
Hence
the archaic note struck in so
much contemporary
which gives
free rein to
the uprush of the unconscious.
So
it
is
with Klee, whose work
rich in archaic forms and
15
overtones. Not that the conscious
mind
and
is
by any means denied
its
due; Klee drew simultane-
ously on
many
levels of experience,
this fact in large part accounts for his
complex, many-
faceted links with remote times and peoples throughout the world, for the basic psychic
patterns are the same nearly everywhere. But in his
work even the elements he could not

At such times the
solid
assimilate play their part and lead to unexpected tensions and schisms.
world of the moment, the here-and-now,

to look
falls
away,
all that
seemed certain and
comes
but
extremely relative, and the plastic means employed hitherto no longer

to a
It
suffice,
give
way
new vocabulary whose message
is
couched
in ciphers
and strange formulas.
has been said that pictures of this kind are as exact as Einstein's equations. These,
of ciphers; for the physicist their
too, are
made up
meaning
is
symbolic, they stand for far
more than mere mathematical

tions, are
certainty. Klee's pictures, despite their multitude of implica-
indeed exact; to establish his world, the painter drew his materials and means from
study and intuition, from reality and dream, from mathematics
many sources from nature

why
and music. Had he sought only the most comprehensive formula instead of the most exact,
is it
that in literally thousands of sketches many of
which have the character of blue-
prints or mathematical constructions he labored to find the most sparing, most economical
form of expression? As Goethe's Theory of Color took
its
place besides the symbols of the
second part of Faust, so Klee's exact formal experiments, his pedagogical-scientific studies
and literary formulations, stand beside the symbolism of what

creations. This
have termed his "central"
then is the fourth instance of a fruitful interpenetration of his painting with

gift of
an external factor, based on his
both scientific and intuitive insight.
What
of
at
present
may
strike us as inexplicable in Klee's art will yield a rich harvest
enjoyment
to later ages.
The course
of the plastic arts will
merge with
that of music
and
poetry, to the enrichment of each.
This has come about already
in isolated cases; thus
James
Joyce, Leon-Paul Fargue, Stravinsky, and Hindemith throw light on Klee as Klee illuminates
them. Here, too, science has a part

as an important contribution to
to play, just as Klee's
painting will in time be recognized

is
human knowledge,
for his art
not only a picture of our
world but also a diagnosis of
its
problems.
Klee's greatness lies in his unswerving single-mindedness. in the
way he kept
faith
with himself.
He
spared no effort and unflinchingly
made
the sacrifices called for at every

to
stage of his artistic evolution.
Outward success meant nothing
him; he worked on as
always, heedless of the fame he had acquired, intent only on finding ever better solutions to
his artistic problems.
His singleness of purpose, however, went hand
in
hand with
serenity.
He
accepted everything with composure, with complete self-possession, with good sense.
in better
Never
in the
humor than when hard
at
work, never surer of himself than when immersed
mysteries of creation.
Not a few connoisseurs, frankly preferring the work he produced between 1920 and
1930
to that of his final
decade,
it
fail to
understand what led Klee to sacrifice so
much
"beauty."
Having repeatedly seen
happen, Klee realized that even his closest friends often attached
overriding importance to pictures which, for him, had been mere steppingstones. Always he
trusted his inner voices and
went
his
way. undeflected. His
last
works he must have regarded
as the ultimate fruition of his art. Yet he never repudiated what lay behind him. not even his
earliest works.
How
could he?
He had
built
them up. stone by

in 1940,
stone,
and every one of them

to
was necessary
for him.
Who
can say whether,
he was ready
lie
depart? Klee had

a
known many
in
phases,
many metamorphoses;
perhaps, toward the end.

in
skipped
few stages
order to achieve the harmony deatli holds
promise.
17
1879 1898
1898-1900
1901-1902
Born
at
Miinchenbuchsee near Bern, December
8.
Graduates from the Literarschule, Bern.

Studies in
Munich
at the
Academy with Franz
Stuck.
Travels in Italy. Returns to Bern
May
7.
1902.
1905
Trip to Paris
May 31-June
13.
Begins glass-paintings.
to
1906
1911
Marries Lily Stumpf, a pianist, and moves

First
Munich. Son Felix born 1907.
one-man show
at the
Thannhauser Gallery, Munich.
Establishes contact with the blaue reiter group. Meets Kubin, then
Macke, Kandinsky, Marc, Campendonk. Jawlensky, Werefkin, Miinter, Arp.

1912
Participates in the second blaue reiter exhibition at
Hans Goltz Gallery

Berlin.
in
Munich.
Translates an essay by Delaunay for der
sturm magazine,
Second
1913
trip to Paris,
April 2-18; visits Delaunay, Kahnweiler. Sees pictures by Picasso. Braque. Rousseau.
Exhibits in the erste Deutsche herbstsalon, Berlin.

Trip to Tunis and Kairouan, April 5-22 with Moilliet and Macke.
1914
Begins
1916-1918
to
work mainly
in watercolor.
Service in the
German army.
at
1920
362 works exhibited
Hans Goltz
Gallery.
Klee's schopferische konfession (creative credo) published by E. Reiss.
Appointed
1921
to faculty of the
Weimar Bauhaus by Gropius on November
25.
Moves
Klee's
First
to
Weimar.
in the
1923
wece des naturstudiums (ways of studying nature) published
Bauhaus-Biicher
series.
1924
Klee exhibition in America (Societe Anonyme,

of die
:
New York)
Founding
1925
blaue vier Kandinsky, Klee, Feininger, Jawlensky.

in the
The padagogische skizzenbuch (pedagogical sketchbook) published

The Bauhaus moves
Klee participates
First
to
Bauhaus-Biicher
series.
Dessau.
in the Surrealist exhibition. Paris. in Paris at Galerie Vavin-Raspail.
one-man show
to
1926
Klee moves
Dessau.
1928
1929
Trip to Egypt December 17 to January 17, 1929.
One-man show
at
Flechtheim Gallery. Berlin for Klee's
fiftieth
birthday.
Exhibition shown at
1931
Museum
of
Modern
Art,
New York
in 1930.
Becomes
Returns
a
to
member
Bern
in
of the
Academy
at Diisseldorf.
1933 1935
December.
at the Kunsthalle.
Large Klee exhibition
Bern and
in Basel.
First signs of fatal illness.
1937
17 pictures by Klee in the Nazi exhibition of "Degenerate Art"
in
Munich.
102 of his works confiscated from public collections in Germany.
1938
Exhibits at the Buchholz (Curt Valentin) and Nierendorf Galleries.
New
York.
and
1940
at
the Simon (Kahnweiler) and Carre Galleries.
Paris.
Exhibition of Klee works 1935-1940 at the Ziirirh Kunsthaus.
Klee paints his own Requiem.

Dies at Muralto-Locarno June 29.
18
SISTER OF THE ARTIST (SCHWESTER DES KUNSTLERS)

Oil on board, IIV2 x 13" (29 x 33 cm.)
1903.
Not signed. Not in Klee catalogue. Collection Berner Kunstmuseum, Paul Klee-Stiftung.
Provenance: the
artist.
19
WORKS
IN
THE EXHIBITION
"All the things an artist must be: poet, explorer of nature,
philosopher!
And now
I have
become a bureaucrat
as well
artistic
by compiling a
large, precise catalogue of all
my
productions ever since
my
childhood."
All entries in this exhibition have been checked with records at the
Paul Klee Foundation

to the
in Bern.
The catalogue numbers
listed refer
notebook kept by the
artist himself.
The
inventory numbers
refer to the collection of his son. Felix Klee. Klee's tions of the
German
descrip-
medium used have been
translated into the closest pos-
sible English counterpart. Quotations
from Klee's writings may be
traced to the following sources:

1918, ed. Felix Klee. Cologne,
tacerbucher von paul klee 1898-
M. DuMont Schauberg, 1957 (English

Press, 1964)
;
translation. Berkeley, University of California
schopferische konfession, Berlin, E. Reiss. 1920:

by Will Crohmann,
paul klee
New
York, Harry N. Abrams, Inc., 1955; and

in
unpublished
letters
and lecture notes of Klee
the possession of
Professor Will Grohmann.
20
(above)
5 (below)
UNTITLED (1 FISH, 2 FISH-HOOKS, 1 SMALL ANIMAL) [OHNE TITEL (1 FISCH, 2 ANGELHAKEN, 1 KLEINES GETIER) ]. 1901. Watercolor and ink on paper, 5% x 8V8" (14 x 20,6 cm.)
Signed
1.1.
CONCERT OF THE PARTIES (DAS KONZERT DER PARTEIEN)

Ink and watercolor on paper, 9V2 x
1907.
12%"
(24,1 x 32,4 cm.)
Signed and dated
1.1.
"P.K. 07".
14.
Klee catalogue no. 1907,
"P.K."
Private Collection, Los Angeles.
Not
in
Klee catalogue. Inv. 1309.
Provenance: Dr. Heinrich Stinnes, Cologne.

Stuttgart Kunstkabinett, (Auction 1954).
Collection F. K., Bern.
Provenance: the
artist.
Gallery Berggruen, Paris.
Lily Klee, Bern.
Frank
Perls. Beverly Hills.
1
21
TT
r-
M^C^s
:i
;
^V,
1
3;
*8
y*
!
;
'
Obi irF <S

I
>
-y"
i,i
W n
i
/'"
j-
i
'/ j
ft
fl
-
.-
..
3 * X
I
W-
tiiU
6 (above)
9 (below)
BEATENBERG, THE HOTEL GARDEN (BEATENBERG, DER HOTELGARTENj Ink on paper, 6% x 10%" (17,1 x 27 cm.)
Signed
l.r.
1909.
STEAMSHIPS IN THE HARBOR DAMPFSCHIFFE IM HAFEN Ink on paper, 6% x 9%" 16,2 x 25 cm.)
(
1911.
Signed
u.l.
r.c.
"Klee"; inscribed in margin "Damschiffe im Hafen 4 1911".

4.
"P. Klee"; signed, dated, and inscribed
"Klee 1909, 48".

Collection Walter C.
Klee catalogue no. 1909, 48.

Private Collection.
Goodman, Belvedere,
California.
Provenance: Galerie Rosengart, Lucerne.
Provenance: Nierendorf Gallery,
New
York.
22
7 (above)
3 (below)
)
.
HOUSE AND FIELD (HAUS UND ACKER

Oil on board,
1909.
LANDSCAPE (LANDSCHAFT).
/s Oil on board, 10 7 x
c.1905.
12%
x SVz" (32 x 21,5 cm.)
14%"
(27,7 x 37 cm.)
Signed
u.l.
"Klee".
Not signed.
Collection
Not
in
Klee catalogue. Inv. 41.

artist.
The Art Museum, Princeton

artist.
University.
Provenance: Estate of the
Provenance: the
Mathilde Klee.
Interart, Lucerne, 1952.
Lily Klee, Bern.
^m^m00"m'l^^t
23
4 (above)
13 (below)
WOMAN READING
Signed and dated
1.1.
(DIE LESENDE)
1906.
OLD AND YOUNG (ALT UND JUNG)

Oil on board, 9V4 x 11" (23,3 x 28 cm.)
1913.
Ink with watercolor on paper,
9%
x 8" (24,1 x 20,3 cm.)
"Klee 1906".
Signed, dated and inscribed
u.l.
"Klee 1913. 123"
Collection Albright-Knox Art Gallery. Buffalo,

Gift of A. Conger Goodyear.
New
York,
Klee catalogue no. 1913. 123. Lent by Galerie Rosengart, Lucerne.
Provenance: Galleries Mettler, Paris.

A. Conger Goodyear, Buffalo and
New
York.
W
"
^
.
x
'.^
^^^r
24
/i
8
2Jw-
10
.
HANNAH, PROFILE I (HANNAH, PROFIL I)

Signed
u.l.
1910.
TWO LADIES
1
(ZWEI DAMEN)
1911.
Watercolor and ink on paper, 7 x ^Vi" (17,8 x 10,8 cm.)
Watercolor and ink on paper, 5 x 4" (12,7 x 10,2 cm.)

66 1910"
and
c.r.
"Klee"; inscribed on mount '"Hannah
Signed
u.l.
"Klee'"; inscribed on
no. 1911, 38.
mount "2 Damen 1911
38''

Collection F. C. Schang,
:
Klee catalogue
Provenance Curt Valentin,
New York. New York.
Collection F. C. Schang,
New York.
York.
Provenance: Kissling.
J.
B.
Neumann, New
Clifford Odets.
11
STREET LAMPS (LATERNEN) 1912. Watercolor and ink on paper, 4% x 9 XA" (12,1
.
Signed
1.1.
x 23,5 cm.) "Klee"; inscribed on mount "Laternen 1912 59"

Lent by Galerie Rosengart, Lucerne.
Provenance Miller, 1913.

:
25
16
17
.
WITH THE BLACK SPOTS (MIT DEN SCHWARZEN TUPFEN)

Watercolor and ink on paper mounted on paper, 6V4 x Signed l.r. "Klee"'; inscribed on mount "1915 251".
1915.
2%"
(16 x 6 cm.)
ALTAR WITH THE TWO MOONS (ALTAR MIT DEN BEIDEN MONDEN)
Watercolor on paper,
1917.
10%
6%"
(26 x 16,5 cm.)
Pasadena Art Museum, Galka E. Scheyer Blue Four Collection.

Provenance: the
artist.
Not signed; inscribed on mount "1917 73". Klee catalogue no. 1917, 73. Collection LIrsula and Frank Laurens, Cincinnati.
Provenance: Stuttgart Kunstkabinett (Auction 1951).
Galka E. Scheyer, Hollywood, California.

Estate of Galka E. Scheyer.
15
TWO WATERCOLORS
Watercolor on paper.
I. ell
>Z\\ El
AQUARELLE).
I
1915.
sheet
"s"
10.2 \ 10,5
rijzlil
cm.)
right sheel
u.r.
5%
"s"
-i.K
\ 10,5
cm.)
Left sheet inscribed on
mount "1915, 79";

79.
-beet signed
"Klee".
Collection Siegfried Rosengart, Lucerne.
26
12 (above)
14 (below)
A HOTEL
Signed
u.r.
(EIN
HOTEL)
1913.
ST.
(23,5 x 21 cm.)
Watercolor on paper. 9V4 x
Wi"
[ST.
GERMAIN NEAR TUNIS (INLAND) GERMAIN BEI TUNIS (LANDEINWARTS) ].

12%"
(21 x 31,1 cm.)
u.r.
1914.
"Klee"; inscribed on mount "1913 120 Ein Hotel".

of Art, Nelson
Watercolor on paper, 8V4 x
Signed
"Klee"; inscribed on mount "1914/217

b.
The Baltimore Museum

:
and Juanita Grief
Collection.
St.
Germain
Tunis (Landeinwarts)."
Provenance Interart, Lucerne, 1952.

Nelson Gurman.

Collection Nina Kandinsky, Neuilly-sur-Seine.
Provenance the
:
artist.
27
19 (above)
22 (below)
LEAF OF MEMORY ABOUT A CONCEPTION ERINNERUNGS-BLATT AN EINE EMPFANGNIS 1918. Watercolor and ink on paper, 10% x 6%" (25,7 x 16,8 cm.)
( ) .
SEXUAL AWAKENING OF A YOUTH (SEXUELLE ERKENNTNIS EINES KNABEN) 1918. Watercolor on gesso-primed canvas. 9% x 9%" (23 x 24.3 cm.)
.
Signed
u.l.
"Klee"; inscribed on mount "1918. 75 Erinnerungsblatt an eine Empfangnis"

75.
Signed
u.l.
"Klee"; inscribed on mount "1918. 111".
Klee catalogue no. 1918. 111. Inv. 1121.


Provenance: Hans Goltz, Munich.
Provenance: the
artist.
Galka E. Scheyer, Hollywood, California. Estate of Galka E. Scheyer.
Lily Klee, Bern.
28
18
ADVENTURE
IN
THE LECHAUEN (WITH THE SNAKE)

(M.D.
ERLEBNIS IN DEN LECHAUEN

Signed
u.l.
SCHLANGE)
1.
1918.
Watercolor on gesso-primed paper, 6V8 x 9V*" (15,5 x 23,3 cm.)

"Klee"; inscribed on mount
1.
"'1918.
Erlebnis in den Lechauen"'

Collection Mr.
and Mrs. Hans Neumann, Caracas.
Provenance: Hans Goltz, Munich, 1920.

Galerie Alfred Flechtheim, Diisseldorf.
Galerie Alex Somel, Diisseldorf.
21
24
.
THE TREE OF HOUSES (DER HAUSERBAUM)
1918.
Watercolor and ink on chalk-primed gauze mounted on paper mounted on board, 9Vs x 7%" (23 x 18,4 cm.) Signed u.l. "Klee": dated on mount "1918".
ABSTRACT WITH MOON CRESCENT (ABSTRAKT MIT MONDSICHEL) 1919.

.
Watercolor on chalk-primed paper mounted on paper,
5%x6"
Signed
(14,6x15,2 cm.).
"Klee"; inscribed on mount "1919 47".
u.r.

Provenance: the
artist.
Klee catalogue no. 1919, 47. Collection Mrs. Helen Serger,
New
York.
Provenance: Marion Rosalsky.
29
20
FLOWER GARDENS OF TAORA (BLUMENGARTEN VON TAORA)

Watercolor on chalk-primed paper; 2 sheets mounted side by side,
Left sheet
1918.
6%
x iVz"
u.l.
(16,2 x 11,5 cm.)
right sheet 6Vi x
5%"
77.
(15,9 x 13,4 cm.)
Left sheet signed
"'Klee"; inscribed on
77, as
mount "1918,
v.
Blumengarten von Taora"
"Botanischer Garten
Taora".
Collection Allen Memorial Art
Museum, Oberlin
Berlin.
College, Oberlin, Ohio.
Provenance: Renee Ziegler, Zurich.

Israel
Neumann,
Curt Valentin,
Clifford
New York. Odets, New York.
23
26
1918.
ORGANIZATION (EINORDNUNC).
Signed
1.1.
ILL
FATE OF THE SHIPS
(I
\STERN DER SCH1FFE).

1.1.
1919.
Watercolor and ink on paper mounted on board.
11%
8%"
(29.8 x 22,2 en
\\
atercolor on paper, 9 x 11" (22.9 x 28 cm.)
"Klee"; inscribed on mount "Einordnung 1918, 167".
Signed c.r. "Klee": dated and inscribed Klee catalogue no. 1919, 90.
Collection Mr. and Mrs. Arnold
II.
"1919. 90. (Jnstern der Schiffe
Pasadena Art Museum, Galka
E.
Scheyer Blue Four Collection.
Maremount, Winnetka,
Illinois.
Provenance: Hans Coltz, Munich.
Provenance:
F. C. Srliang.
New
Yirk.
v.
Galka E. Scheyer. Hollywood, California. Estate of Galka E. Scheyer.
Saidenberg Gallei
New Vnk.
30
'Art does not render the visible; rather,
it
makes
visible."
"For spatial
art
does not begin with a poetic
mood
or idea but with
the construction of one or
more
figures, with the
harmonizing of
several colors
and
tones, or with, the devaluation of spatial relation-
ships
and so on."
"Art plays an unwitting game with the ultimate things and achieves
them nevertheless."
"This
is
why
am
again
it
all
on the side of
satire.
Am
I to be
it is
comonly
pletely absorbed
by
once more? For the time being
my
creed. Perhaps I shall never
become positive? In any
case, I will
defend myself
like
a wild beast."
"Ingres
is
said to have ordered the motionless; I want to go beyond
pathos and order motion. (The neiv Romanticism.)"
31
25
TUNISIAN GARDENS (TUNESISCHE GARTEN)

Watercolor on paper. 9V4 x
1919.
12%"
(24.1 x 32 cm.)
Signed
l.r.
"Klee": dated
1.1.
"1919. 81".

Provenance: the
artist.
81.
Pasadena Art Museum. Galka E. Scheyer Blue Four Collection.

Galka E. Scheyer. Hollywood. California. Estate of Galka E. Scheyer.
32
27 (above)
29 (below)
1919.
ROCKY LANDSCAPE WITH PALMS AND FIRS (FELSENLANDSCHAFT MIT PALMEN UND TANNEN)
Oil on board,
LANDSCAPE WITH 3 BLUEBIRDS (LANDSCHAFT MIT 3 BLAUE VOGELN)

Watercolor on chalk-primed canvas, 8V2 x
1919.
(21,5 x 28,2 cm.)
16%
x 20V4" (42,5 x 51,5 cm.)
UYs"
Signed
I.r.
"Klee'
27.
Signed
u.r.
"Klee"; inscribed on mount 1919. 189.
Klee catalogue no. 1919, 155. Inv.


Philadelphia
Museum
of Art. A. E. Gallatin Collection.
Provenance: the
artist.
Provenance: A. E. Gallatin,
New York.
Lily Klee, Bern.
33
28 (above)
30 (below)
.
THE MARIONETTE (MIT DER MARIONETTE)

Oil on gesso-primed board,
1919.
14%
x 12 7 /s" (37,5 x 32,5 cm.)
LANDSCAPE OF THE INDUSTRIAL SECTION (LANDSCHAFT AUF DEM INDUSTRIE GEBEIT)

Oil transfer drawing on paper
1920.
(.23.5
Signed and dated
1.1.
"Klee 1919 159".
mounted on paper, 9Vi x 12%"
x 31,1 cm.)
Klee catalogue no. 1919, 159. Inv.33.

Signed
u.r.
"Klee"; dated
8.
1.1.
"1920 8".
as "Industrielle Landschaft".
Provenance: the
artist.
Private Collection. California.
Provenance: Hans Goltz, Munich, 1920.

Gottfried Galston.
34
31
36
1920.
SUBURB OF RED HOUSES (ROTES VILLENQUARTIER)

Oil on board,
ROOM PERSEPECTIVE RED-GREEN

(ZIMMER PERSPEKTIVE ROT-GRUN)
Watercolor and pencil on paper, 7 7/s x
.
14%
UVi"
(36,2 x 31,1 cm.)
1921.
Signed and dated
1.1.
"Klee, 1920 74".
10%"
(20 x 26,7 cm.)

Collection San Francisco
Signed
of Art.
u.r.
"Klee"; inscribed on mount "1921/46. zimer perspektive rot/griin'
Museum
Provenance: Gordon Onslow-Ford, Inverness, California, 1951.

Provenance: the
artist.
33
38
MR. JULES THE MAGICIAN (MR. JULES DER ZAUBERKUNSTLER) Ink on paper mounted on board, TV* x HVs"
Signed
l.r.
WALKING HAND IN HAND (SPAZIERGANG)

.
1921.
1920.
(18,4 x 28,3 cm.)
Ink on paper mounted on board,
8%
7 x 6 /s" (22,5 x 17,5 cm.)
"Mr. Jules;" inscribed on mount "1920, 154 Mr. Jules, der Zauberkiinstler". Klee catalogue no. 1920, 154.
c.
"Klee"; inscribed
l.r. "Klee"; inscribed on mount "1921/60". Klee catalogue no. 1921, 60.
Signed
Pasadena Art Museum, Galka E. Scheyer Blue Four Collection. Provenance: the artist.
Collection Steven D. Saidenberg,
New York.
Provenance: Private Collection, Paris.
35
32
40
1920.
BERTA.
Oil on paper,
12% x
10" (30,7 x 25,3 cm.)

u.l.
Watercolor and ink on paper mounted on board,
BLACK BELL IN THE FOREST (SCHWARZE GLOCKE IM WALD) 1921. 5% x 7%" (14,6 x 19,7 cm.)
.
"Klee, 1920 77, Berta'
Signed
u.r.
"Klee"; inscribed on mount "1921/81 Schwarze Glocke im Wald".

E. Scheyer Blue


Provenance: the
artist.
Four Collection.
Galka E. Scheyer, Hollywood. California. Estate of Galka E. Scheyer.
34
35
.
THE GATE TO HADES (DAS TOR ZUM HADES)

Oil transfer
1921.
drawing with watercolor on paper mounted on board.

(27,3 x 39 cm.)
TRIPLE PORTH \1T iO\E PERSON SEATED) [TRIPELBILDNIS 'FINE PERSON SITZEND)].
Watercolor and ink on paper.
1921.
'
10%
15%"
l.r.
5%
\ ft's"
15 x 15,5 era,
Signed
"Klee"; inscribed on mount "1921/29 Das Tor
Zum
Hades.'
Signed
c.r.
"Klee".
.".J.
Pasadena Art Museum. Galka E. Scheyer Blue Four Collection. Provenance: the artist. Galka E. Scheyer, Hollywood, California.
Pasadena
An Museum,
artist.
Galka
E.
Scheyer Blue Four
Collection.
Provenance: the
Galka
E. Scheyer.
Hollywood. California.
Estate ol Galka E. Scheyei
36
37 (above)
41 (below)
TRANSPARENT PERSPECTIVE (WITH THE PAVILION) [TRANSPARENT-PERSPECTIVISCH (MIT DEM PAVILLON) ].

Watercolor on paper mounted on board. lOVs x
AUTUMNAL PLACE HERBSTLICHER ORT)

(
1921
1921.
Watercolor on paper, 13 x 8 7/s" (33 x 22,5 cm.)
11%"
(25,6 x 29,6 cm.)

S. Kl.".
Signed
".
l.r.
"Klee".
Signed
I.r.
"Klee"; inscribed on mount "1921, 55 Transparent-perspectivisch
Klee catalogue no. 1921, 104, as "Ansteigende Hauser im Herbst*

Collection Cristoph and Andreas Vowinckel, Cologne.
Klee catalogue no. 1921. 55 as "Transparent-perspectivisch (m.d. Pavilion)

Inv. 688.
Provenance: the
artist.
Lily Klee, Bern.
37
39 (above)
45 (below)
.
FUGUE IN RED (FUGE IN ROT)

;
1921.
GROWTH OF PLANTS (PFLANZEN WACHSTUM)

x
1921.
Watercolor on paper mounted on board,
10%
14%"
(24,5 x 37.3 cm.)

in Rot".
Oil on board, 21Y4 x 15 7 /s" (54 x 40,3 cm.)
Signed 1.1. "Klee" inscribed on mount "S. CI 1921/69 Fuge
Signed and dated
l.r.
"Klee 1921/193".
Klee catalogue no. 1921, 69. Inv. 718.

Provenance: the
artist.
Klee catalogue no. 1921, 193. Collection Nina Kandinsky. Neuilly-sur-Seine, France. Provenance: the artist.
Lily Klee, Bern.
38
42
43
.
RUNNER AT THE GOAL (LAUFER AM ZIEL)

Collection
1921.
THE HOLY ONE DIE HE1LIGE

(
1921.
Watercolor and gouache on paper mounted on paper, 11% x 9" (30,2 x 23 cm.) Signed c.r. "Klee"; inscribed on mount "1921 105 Laufer am Ziel".
Oil transfer drawing with watercolor on paper,
17%
12%"
(45,2 x 31,5
cm
Signed
fur
l.r.
"Klee"; inscribed on mount "1921/107 Die Heilige

1921 Kl".
Emmy Scheyer in Freundschaft Weihnachten
The Solomon R. Guggenheim Museum, New
York.
Provenance: Karl Nierendorf,
New York.
Estate of Karl Nierendorf, 1948.
Klee catalogue no. 1921, 107. Pasadena Art Museum, Galka E. Scheyer Blue Four Collection. Provenance: the artist.
39
49
51
.
FRIGHT OF A GIRL (SCHRECK EINES MADCHENS) 1922. Oil transfer drawing on paper, 12% x W" (32.7 x 23.2 cm.1
Signed
l.r.
FLOWER FAMILY
(BLUMEN F Will IE Y>. 9% \ 6V4" (24,2 \ 16.5 cm.)

134.
1922.
"'Klee"; inscribed on
mount "1922/131 Schreck eines Madchens".

York.

Collection
Signed l.r. "Klee". Klee catalogue no. 1922.

Private Collection,
(
lanada.
Provenance: Karl Nierendorf.
New York.
New
Y>rk.
M2.
40
48
PARTING AT EVENING (DIAMETRICAL GRADATIONS OF BLUE-VIOLET AND YELLOW-ORANGE) [SCHEIDUNG ABENDS (DIAMETRAL-STUFUNG AUS BLAUVIOLETT UND GELBORANGE) ]. 1922.
Watercolor on paper mounted on board. lSVs x 9%" (33,4 x 23 cm. Signed LI. "TClee"; inscribed on mount "S.C1 1922 79 Scheidung Abends". Klee catalogue no. 1922, 79 as "Scheidung Abends (diametral-Stufung aus blauviolett und gelborange)
)
".
Inv. 690.
Provenance the
:
artist.
Lily Klee, Bern.
41
50
MAID OF SAXONY MADCHEN AUS SACHSEN)

(
1922.
I
Oil and
foil
I.e.
Signed
on oil-primed muslin monnleH on board. 12% x 7" 32 x 17.8 cm. "Klee"'; inscribed on mount "1922 132 Madchen aus Saclisen".
Pasadena Art Museum. Galka E. Scheyer Blue Four Collodion.

Provenance: the
artist.
Galka E. Scheyer. Hollywood. California.

42
..
^)ii
~u':.i_
......
44
54
1921.
AQUARIUM GREEN-RED (2 SMALL SCENES) [AQUARIUM GRUN/ROT (ZWEI KLEINE SCENEN) ].

Watercolor on paper mounted on board. Upper sheet
(7,3
;
THE LEADING SCENE FROM THE BALLET 'THE FALSE OATH" (HAUPTSCENE AUS DEM BALLET "DER FALSCHE SCHWUR")
Signed
aus
l.r.
1922.
2%
x 3 x/2"
Watercolor and ink on paper mounted on board, 19 x Yl xk" (48,3 x 31,1 cm.)
Signed
x 8,8 cm.) Lower sheet 4Y2 x 3%" ( 11,5 x 8,8 cm.) 1.1. "Klee"; inscribed on mount "1921/127 Aquarium griin/rot".
"Klee"; inscribed on mount "1922/155 Hauptscene

".
dem
ballet 'der falsche schwur'
Klee catalogue no. 1921. 127.

Provenance: the
artist.
Klee catalogue no. 1922, 155. Collection Mr. and Mrs. Daniel Saidenberg,
New
York.
Provenance: Richard Davis, Minneapolis, 1957.
Galka E. Scheyer, Hollywood. California. Estate of Galka E. Scheyer.
43
1,1s t
'ft
55
56
EXOTIC RIVER LANDSCAPE (EXOTISCHE FLUSSLANDSCHAFT) 1922. Ink and watercolor on paper, 9 x 6%" (23 x 17,2
.
FIRST
i
DRAWING FOR SPECTER OF A GENIUS ERSTE ZEICHNUNG ZUM GESPENST EINES GENIES).
1 Iîs
1922.
cm.)
Ink on paper mounted cm paper.
x 7 3 j"
36,5 x 19.7 cm.).

Ill
Signed
1.1.
"Klee"; inscribed on mount "1922/158 Exotische Fluss

fiir
Signed
erste
Landschaft
Galston damit er gsund wird Weimar
1,
Januar23 Klee":
u.I. "Klee": inscribed on mount "1922. Zeichnung zum gespensl eines Genies".
192

Private Collection, California.
Pasadena \n Museum, Calka

Provenance: tbe
artist.
E.
ScheyerBIue Four Collection.
Provenance: Gottfried Galston.
Galka
Estate
E.
"I
Scheyer, Hollywood. California.

(
l.ilka
Si
hrvci
44
46 (above)
47 (below)
AGING VENUS
Watercolor,
oil
(DIE
ALTERNDE VENUS)
1922.
ROSEWIND (ROSENWIND).1922.
Oil on paper
transfer drawing
and paper collage mounted on board,
mounted on board. 16% x 18%"

39. Inv. 1144.
(41,7 x 48 cm.)
11%
23%"
(29.5 x 38.7 cm.)

l.r.
Signed
1.1.
"Klee".
Signed and dated

Collection
''Klee 1922".
8.


:
York.
Provenance: the
artist.
Provenance Karl Nierendorf, New York. Estate of Karl Nierendorf, 1948.
Lily Klee, Bern.
45
52 (above)
53 (below)
THE TENOR AS CONCERT SINGER (DER HELDENTENOR ALS KONZERTSANGER)

Watercolor and
oil
THE MARCH TO THE PEAK DER MARSH ZUM GIPFEL)

(
.
1922.
1922.
Watercolor on paper. 8 x
9%"
(20,3 x 23,5 cm.)
transfer drawing on paper, 12 x 15" (35 x 38,1 cm.)
Signed
fiir
u.r.
"Klee"; inscribed on mount "1922/146 'Der marsh zum gipfel'
Signed
c.r.
Meister Schreyer Dez 1922 K".
"1922, 144 Der Heldentenor als konzertsanger".

Collection Earle W. Grant, San Diego.
Klee catalogue no. 1922, 144. Collection Dr. and Mrs. Israel Rosen. Baltimore.
Provenance: Ida Bienert, Munich.
Provenance: Hartfield Gallery, Los Angeles.
Saidenberg Gallery,
New York.
46
58 (above)
59 (below)
.
TROPICAL GARDENING (TROPISCHE GARTENKULTUR) Oil transfer drawing and watercolor mounted on paper, 7% x 18"
Signed
l.r.
1923.
(19,7 x 45,7 cm.)
ARCHITECTURE (YELLOW-VIOLET STEPPED CUBES) [ARCHITEKTUR (GELBVIOLETT GESTUFTE KUBEN) ]. 19

Oil on board,
"Klee"; inscribed on mount "1923, VI (55) Tropische Garten Kultur".
22% x 14%"
1.1.

Collection
Signed and dated
(57 x 37,5 cm.) "Klee 1923 62";
The Solomon R. Guggenheim Museum, New York.

Solomon R. Guggenheim,
inscribed on stretcher "Architektur 1923 62 Klee".
Provenance: Rudolph Bauer, Charlottenburg-Westend.
New York,
1937.
Lent by Galerie Renee Ziegler, Zurich. Provenance Lily Klee, Bern.

:
Hermann Rupf,
Bern.
47
61 (above)
60 (below)
DUNE LANDSCAPE-BALTRUM, FROM NATURE (DUNENLANDSCHAFT-BALTRUM, NACH DER NATUR)

EROS.
.
1923.
1923.
Watercolor on paper, 13Vs x
9%"
I.e.
(33,3 x 24,5 cm.)

".
9%
12%"
(24,5 x 31, 5 cm.)
Signed
l.r.
"Klee"; inscribed
"1923, 115 "Eros'
Signed
l.r.
"Klee"; inscribed on mount "S. Kl. 1923. 139 Diinen Landschaft".

Collection Siegfried Rosengart, Lucerne.
Klee catalogue no. 1923, 139. Inv. 782.

Provenance the
:
artist.
Lily Klee. Bern.
48
62
RIDE ON THE OGRE AUSRITT AUF DEM OGER)

(
1923.
Oil transfer drawing and watercolor on chalk-primed paper,
Signed
u.r.
and
c.l.
15% x 20 a/2" (39 x 52 cm.) "Klee"; inscribed on mount "1923 157 Ausritt auf dem Oger".

Collection Rolf Stenersen, Oslo
49
"Classical art
is
a sort of paradise for
me
"
''The Genesis of the 'Script'
is
a splendid parable of movement.

first
The work of
art, too, is
experienced by us
its
of all as a process of
creation, rather than as
passive product. The creative impulse

a flame, passes through the hand on
suddenly springs to
to the canvas,
life, like
it
where
spreads further until, like the spark that

it
closes an electric circuit,
returns to
its
source: the eve and the
mind."
"W hat my
warmth.
art
probably lacks,
is
a kind of passionate humanity. I
don't love animals and every sort of creature ivith an earthly

I don't
descend
to
them or
raise
rather to dissolve into the whole of creation
them to myself. I tend and am then on a foot-
ing of brotherliness to
my neighbor,
to all things earthly. I possess.
The earth-idea gives way

religious."
to the world-idea.
My
love
is
distant
and
I radiate warmth? Coolness? There is no talk of such things when you have got beyond white heat. And since not too many people reach that state, feiv will be touched by me. There is no sensuous relationship, not even the noblest, between myself and
"Do
many. In
my
ivork I
do not belong
to the species, but

is
am
a cosmic
point of reference.
My
earthly eye
too farsighted
and sees
through and beyond the most beautiful things. 'Why. he doesn't

even see the most beautiful things.' people say about me."
"I
now abandon work.

I feel
it
It
penetrates so deeply and so gently into
me,
and
it
gives
me
confidence
in
myself without
it.
effort.
Color possesses me. I don't have to pursue

always.
I
It will
possess
me
know
I
it.
That
is
the meaning of this happy hour: Color
and
are one.
am
a painter."
50
57 (above)
64 (below)
.
FIREWIND (FEUERWIND)
1923.
Oil transfer drawing and watercolor on oil-primed paper
CHRISTMAS PICTURE IB (WEIHNACHTSBILD IB) Watercolor on paper, 8% x 13%" (22,2 x 35 cm.)

Signed
I.e.
1923.
Signed
mounted on board. 17 x ll 7/s" (43 x 30 cm.) 1.1. "Klee": inscribed on mount "1923/43 Feuerwind S. KL. fur Lily zum 10 Okt. 1932".
Collection Berner
43.
"Klee'"
inscribed on
mount "1923 178 Weihnachtsbild
B"

Philadelphia
Museum
of Art, A. E. Gallatin Collection.
Provenance: A. E. Gallatin,
New
York.
Kunstmuseum. Paul Klee-Stiftung.
Provenance: the
artist.
51
63 (above)
65 (below)
SOUTHERN LANDSCAPE IN THE SPRING (SUDLICHE FRUHLINGSLANDSCHAFT) 1923.

.
DUNE FLORA (DUNENFLORA)
1923.
Watercolor on paper, 13% x 19%" (34,3 x 49,5 cm.) Signed 1.1. "Klee auf Grand von 1914. 217"; inscribed on mount '1923 175 Sudliche Fruhlings Landschaft".
Watercolor on paper mounted on board, 10 x 1134" (25,4 x 30 cm.) Signed u.l. "Klee"; inscribed on mount "1923, 184 Diinenflora".

Collection Ursula and
Klee catalogue no. 1923, 184. Collection Mr. and Mrs. Daniel Saidenberg. Provenance: J. B. Neumann, New York.
New
York.
Frank Laurens, Cincinnati.
Provenance: Klee Gesellschaft.

Feilchenfeld, Zurich, 1952.
52
66 (above)
67 (below)
.
IDOL FOR HOUSECATS (GOTZENBILD FUR HAUSKATZEN)

Oil transfer drawing and lace on chalk-primed muslin
1924.
STILL LIFE-BAZAAR (BAZAR-STILLEBEN)

1924.
7%
8%"
(18,6 x 22,6 cm.)
mounted on board, 14 x 18%"

Signed
l.r.
(35,5 x 46,7 cm.)
Signed
u.r.
"Klee'"; inscribed on
mount "1924 28
Bazar-Stilleben''
"Klee"; inscribed on mount "VI 1924 14 Gotzenbild fur Hauskatzen"

14.

Lent by Flair Gallery, Cincinnati.
Pasadena Art Museum, Galka E. Scheyer Blue Four Collection. Provenance: the artist.
Provenance: Saidenberg Gallery,

Mrs. John Barclay.
New York,
1956.
Kornfeld and Klipslein, Bern.
53
68 above)
(
69 below)
1
HOUSES IN A LANDSCAPE HAUSER IN DER LANDSCHAFT)

<
SWAMP-WATER SPRITE (SUMPFWASSER NIXE)

.
1924.
)
1924.
Oil transfer drawing with watercolor on paper.
11%
x I8V4" (29,8 x 46.3 cm.
Watercolor and
oil
on muslin.
17%
1.1.
x 2OV2" (43,5 x 52 cm.)
Signed
u.l.
"Klee"; inscribed on mount "VII 1924
.67
Sumpf Wasser Nixe".
Signed
l.r.
"Klee"; inscribed
"1924 39 Hanser in der Landschaft".

Collection Rolf Stenersen, Oslo.

Provenance: the
artist.
Galka
E. Scheyer.
Hollywood, California.
54
70
74
.
ARABIAN BRIDE (ARABISCHE BRAUT)
1924.
TREE CULTURE (BAUMKULTUR)

Signed
1.1.
1924.
Watercolor and crayon on paper mounted on board, 14% x 6%" (36 x 16,8 cm.) Signed I.e. "Klee": inscribed on mount "1924 151 Arabische Braut".
Oil transfer drawing with watercolor on paper.
18%
"Klee"; inscribed on mount "VIII 1924 245
13%" (47,3 x 34,6 cm Baum Kultur".

Provenance: the
artist.
Klee catalogue no. 1924, 245. Collection The Solomon R. Guggenheim Museum, New York. Provenance: Rudolf Bauer. Charlottenburg-Westend. 1939.
Galka E. Scheyer, Hollywood, California Estate of Galka E. Scheyer.
55
VBSTR SlCTIOM M \SK

\\
VBSTR VCTIONSM VSKE).

L'2
1924
atercolor and ink on paper.

I
\ 15"
55.9 x 38.1 cm.
'
Si gnei
l.i
"Klee"; inscribed on mount "1924 244 Abstractions Vlaske'

no. 1924,244.
(
Klee catalogue
Lent
l>\
(
lalei ie
llaude Bernard, Paris.
Provenance: Gallery Beggruen, Paris.
56
a.
%*?&?.
71 (above)
72
.
below)
COLLECTION OF SIGNS (ZEICHENSAMMLUNG) 1924. Ink and watercolor on paper, 9% x 12" (24,5 x 30, 5 cm.)
Signed
1.1.
COLLECTION OF SIGNS, SOUTHERN (ZEICHENSAMMLUNG, SUDLICH) 1924.

.
"Klee": inscribed on mount "1924 189Zeichen Sammlung".
Watercolor and ink on paper,
12%
18%"
(31,2 x 46,7 cm.)

Signed
1.1.
"Klee".

Collection Washington University, St. Louis.
New
York.
Joseph Pulitzer.
Jr., St.
Louis.
~l/*~-T~~
p
\-tq_ U\iVt -f
.
,\kl
-**-
4^"^
57
-i
r
-
-.-..
P
-,-.,l~ -/
Hffi
1
Iri
Tttij
<
l
*
,
V -
.:-->'
1 ,
'
n
J
HI
'
i
a n*
t!
h?T
rnr
"'-I-
#Tr?)
+i_ i
^ a,
~jj
c
/ *
2
^
Li^M^
- :'*
1
"~S
i
~\ ~i~*
r
-
_--
s.
-i
76
above)
.
78 (below)
1925.
HOUSE OF THE OPERA BOUFFE (HAUS DER OPERA BUFFA) Watercolor and ink on chalk-primed paper. 9% x 12" (24.1 x 30,5 cm.)
Signed and dated
inscribed on
u.l.
RIDE ON THE OGRE AUSR1TT AUF

<
DEM OGER)
1925.
Oil transfer drawing and watercolor on paper,
"Klee, 1925":
13% x 19%"
Buffa".
(34,7 x 50,1 cm.)

I.e.
mount
"II 1925 m.6.
Haus der Opera
Signed
1.1.
"Klee"; inscribed
"Ausritt auf
dem Oger".
Klee catalogue no. 1925 m.6. (36) Collection Mrs. Picher Purcell, Chicago.
Provenance: Buchholz Gallery.
Klee catalogue no. 1925, B. L. (Ill)

Lent by Galerie Rosengart. Lucerne.
New York.
Galerie Rosengart, Lucerne.
58
79 (above)
82 (below)
RISING OF THE
MOON (MONDAUFGANG)
4.
1925.
LETTER PICTURE (BRIEFB1LD).
1926.
Watercolor on paper, 13V4 x 9 7/s" (33,5 x 25 cm.) Signed l.r. "Klee": inscribed 1.1. "1925 B. 4. Mondaufgang"
Watercolor on paper mounted on paper, 9V4 x 12" (23.5 x 30,5 cm.) Signed and inscribed "An Herrn Kandinsky in MnMtun
.
Klee catalogue no. 1925, B.
114)
Mil lichen. W'cimer. Dessau Klee"
Collection Christoph and Andreas Vowinckel, Cologne.
inscribed on
mount "1926
L. 3. Briefbild 3. 5.
3,
Dezember 1927".
Klee catalogue no. 1926, L.

Provenance: the
(23)
Collection Nina Kandinsky, Neuilly-sur-Seine, France.

artist.
59
81 (above)
80 (below)
1925.
COTE MERIDIONAL.
Signed
u.l.
MR. PEP
18%"
(36,8 x 47,6 cm.)
AND HORSE MR. PEP MIT EINEM PFERDl

(
1925.
Oil and watercolor an paper, 14 Vz x
10%
(
x 13" (26,7 x 34,3 cm.)
"Klee".
(
Signed
195
>
l.r.
"Klee".
J eins
Klee catalogue no. 1925, T.5
as "Siidliche Kiiste
Abends
Klee catalogue no. 1925.

Collection
181
Collection William S. Picher, Belvedere, California.
Wadsworth Atheneum. Hartford.

artist.
Provenance: Joseph von Sternberg, Los Angeles.

Parke-Bernet,
Provenance: the
New
York.
Galerie Alfred Flechtheim. Berlin. 1933.
60
83
VILLAGE KARNEVAL DORF CARNAVAL) 1926. Oil on muslin mounted on board, 21% x 17%" (55 x 43,8 cm.) Signed and dated u.c. "Klee 1926 D 5" inscribed on reverse "D5
(
Dorf-Carnaval Klee"
Klee catalogue no. 1926, D5 (135)

Philadelphia
Museum
of Art,
The Louise and Walter Arensberg
Collection.
Provenance: Galka E. Scheyer, Hollywood, California. Mr. and Mrs. Walter Arensberg, Hollywood, California.
61
84 above)
1
86 below)
( .
ANIMAL TERROR (DER TIERSCHRECK)

Oil on canvas, 14 x 19" (35,5 x 48,3 cm.)
1926.
BILLY-GOAT MASK BOCK MASKE).

(
1926.
Signed and dated u.r. "Klee 1926 U. 4": inscribed on stretcher "1926 U 4 Der Tierschreck-Klee". Klee catalogue no. 1926, U. 4 (204)
Philadelphia
Ink on paper, 9Y4 x 12 Vi" (23,5 x 31,8 cm.) Signed u.r. "Klee"; inscribed on mount "1926,
W 5 Bock Maske".

Collection.
W5
(225)
Museum
of Art,
Provenance: Galerie Rosengart. Lucerne, 1953.
Provenance: Gustav Knauer, Berlin.
Buchholz Gallery, 1938.

Mr. and Mrs. Walter Arensberg, Hollywood, California.
62
*<*
S:
&S
V*'
""4j
\.
" r r
\
~
,
'A
*
t ^ff
jLt
* f*R
V^r"t3
Y
1
94
.
in ''+
Willi
\
"
kjti_iM
75
WITH THE LITTLE BLUE HOUSE (MIT DEM BLAUEN HAUSCHEN)

Watercolor on paper, 9VS x 4"
(
1925.
STUDY FOR A LANTERN FESTIVAL (ENTWURFE ZU EINEN LATERNENFEST)

Ink on paper mounted on board.
1.3
1927.
23 x 10
cm J
14% x 12%"
(36,2 x 31,5 cm.)
Signed u.r. "Klee"; inscribed on mount "1925 Klee catalogue no. 1925, 1.3 (23)
Collection Mr. and Mrs. Benjamin Hertzberg,
mit
dem blauen Hiiuschen"
Signed u.l. '"Klee"; inscribed on mount "1927 309 Entwurfe zu einen Laternenfest".
Collection Miss Jenifer Kellen.
New
York.
Provenance
J. B.
Neumann. New
York.
Eleanor Saidenberg,
New
York.
Provenance: Curt Valentin Gallery,
New York.
63
89 below
f
left)
88 (above)
1927.
PLAYTHING (SP1ELZEUG).
I'ACOI) \S O.N
Signed
\\
VI'KK
PAGODEN
x
\\i
WASSER).
i
L927.
<
Ink on paper, 8Vs x 11%" (20,7 x 29,8 cm.). Signed u.l. "Klee"; inscribed on mount "1927 B3 Spielzeug". Klee catalogue no. 1927, B3 (113).
Ink on paper mounted on paper, IH 7 s

u.l.
12%"
"I '127
18 \ 3]
cm.
"Klee"; inscribed on mounl
M. 9 Pagoden am Wasser"
York.
Klee catalogue no. 1927.M.9. (39).

Collection
The Solomon R.Guggenheim Museum, New
PriiMMiaiii'f: k.nl Yu-rendorf.
New
Yurk.
Estate "I Karl Nierendorf, 1948.
64
90 (above)
91 (below)
.
MOTHER OF THREE LITTERS (MUTTER DRETER WURFE)

Ink on paper, 16ya x 18V4" (42 x 46,4 cm.) Signed u.l. "Klee"; inscribed on mount "1927, F. Klee catalogue no. 1927, F. 7 (157)
7.
1927.
JOURNEY IN CORSICA (REISE AUF CORSICA)

1927.
12% x
18" (30,8 x 45,7 cm.)
Mutter dreier Wiirfe"
Signed
l.r.
"Klee"; inscribed on mount "1927,
H9
Reise auf Corsica".

Philadelphia
H9
Kay Hillman, New York. Provenance Buchholz Gallery, New York.

Collection Mrs.
:
Museum of
(A 239) Art, The Louise and Walter Arensberg
Collection.
Provenance: Galka E. Scheyer, Hollywood, California.
'mi-
65
95 (above)
92 (below)
HEAVENLY AND EARTHLY TIME

(KOSMISCHE UND IRDISCHE ZEIT) 1927. Watercolor and ink on paper, 9% x 12" (24,5 x 30,5 cm.) Signed l.r. "Klee"; inscribed on mat "1927 UE5 Kosmische und Klee catalogue no. 1927 UE 5.
.
PLANT SEEDS (PFLANZENSAMEN)

Watercolor and ink on paper, 12ys x
1927.
(30,8 x 46,7 cm.)
18%"
Signed
Irdische
Zeit''
1.1.
"Klee"; inscribed on mount "1927
Ue
8 Pflanzen
Samen"
Klee catalogue no. 1927, Provenance: the
Ue
8 (288)

Collection.
artist.
Philadelphia
Museum
of Art,

66
'^fes-Msy?,
ifcsk
/<?>>/
iff
77
RHYTHM OF PLANTING (RHYTHMEN EINER PFLANZUNG)

Watercolor on paper mounted on paper.
1925.
9%
x 12%'' (23.2 x 30.7 cm.)
Signed
u.r.
"Klee'': inscribed on
meinem
lieben Freund
mount "1925 qu. 8. Ill Rhythmen einer Pflanzung und bisherigem anwohner Kandinsky zum 4 Dez. 1932".
Klee catalogue no. 1925, qu. 8, (78) Collection Nina Kandinsky. Neuilly-sur-Seine. France.
Provenance; the
artist.
67
85
VIEW OF A LANDSCAPE (BUCK EINER LANDSCHAFT)

Watercolor on paper.
1926.
11%
x 18'-8" (29.9 x 46 cm.)
Signed u.r. "Klee": inscribed on mount "1926. Y.9 Wick finer I.andsrhaft" Klee catalogue no. 1926. V. 9. (2191. Philadelphia Museum of Art. The Louise and \\ alter Vrensberg Collection.
Provenance: Galerie Flechtheim, Berlin.
Galka
P. J.
E.
Scheyer, Hollywood, California.
Bachmann, Los Angeles. Mr. and Mrs. \\ alter Vrensberg.
Ilnll\
wood.
lalifornia.
68
97
SHE YELLS,
Oil on canvas,
WE PLAY
(SIE
BRULLT, WIR SPIELEN)
1928.
17% x 22 Va"
(44 x 57 cm.)
Signed and dated l.r. "Klee 1928 p 10." Klee catalogue no. 1928, p 10 (70)
Collection Berner
Provenance: the
artist.
69
^H
98
HOWLING DOC HEULENDER HUND).

l
1928.
Oil on canvas. 17'4 x 22V4" (43.8 x 56.3 cm.)
Signed and daled
u.l.
"Klee 1928 qu.

)
I": inscribed
on stretcher "1928 qu.

Inn-.
1.
'Heulender Hun.!" Klee"
Klee catalogue no. 1928, (|u. I (71 Collection The Minneapolis Institute of Arts,
Provenance: F. C. Schang,
gifl
ofF. C.
Si
\.
York.
New
York. 1956.
70
93 (above)
87 below)
(
CONJURING TRICK (ZAUBERKUNSTSTUCK)

inscribed on stretcher "1927
u.l.
1927.
Oil transfer drawing and watercolor on board, 19 x/2 x
16%"
(49,5 x 42,2 cm.)
TRIPLE MARIONETTE (TRIPEL MARIONETTE). 1927. Watercolor on paper mounted on paper, 10 x 8%" (25,5 x 27,5 cm.)
Signed
fiir
l.r. "Klee"; inscribed on mount "1927 3. Tripel Marionette Kandinsky zum 4 Dez 1931 in alter Freundshaft".
"Klee 1927
Omega
7";

Philadelphia
Omega 7 Klee Zauberkunst Omega 7 (297)
Stuck".

Collection.
3.
Museum
of Art,
Collection Nina Kandinsky, Neuilly-sur-Seine, France.
Provenance: Galerie Alfred Flechtheim. Berlin. 1927.
Provenance: the
artist.

71
99
96 below)
1
NEARLY HIT (FAST GETROFFEN).

Oil on board,
1928.
19%
x 15" (49,5 x 38,1 cm.)

1.1.
Signed and dated
"Klee 1928 E
3".
LITTLE HOUSES WITH GARDENS (KLEINE GARTENSTADTHAUSER). 1928. Ink and watercolor on paper, 11% x 18" (29,2 x 45,7
Signed
l.r.
cm.)
Klee catalogue no. 1928, E 3 (143) Collection San Francisco Museum of Art, Albert M. Bender Bequest Fund. Provenance: Nierendorf Gallery, New York, 1944.
''Klee'"; inscribed
on mount "1928 O. 2 Kleine Gartenstadt Hauser".
Klee catalogue
Philadelphia
no. 1928, 0.2 (52) of Art,
Museum
Collection.
Provenance: Mr. and Mrs. Walter Arensberg, Hollywood, California.
72
102 (above)
100 (below)
1929.
ORPHEUS.
Varnished watercolor on panel, 19% x 9%" (50 x 23,2 cm. Inscribed on reverse "1929 Z 'Orpheus' Klee".
FEAR BEHIND THE WINDOW (ANGST HINTER FENSTER) Watercolor on paper, 9% x 12%" (24,5 x 31,3 cm.)
Signed
c.l.
1929.
"Klee"; inscribed on mount "S. CL. 1929
3.
H. 28 Angst hinter Fenster
Klee catalogue no. 1929, Z
7.
Klee catalogue no. 1929, H. 28 (3)

Collection George Danforth. Chicago.
Provenance Buchholz Gallery,

:
New
York.
James Speyer, Chicago.
73
103 (above)
101
below)
1929.
FRAGRANT ISLAND (WOHLRIECHENDE

Watercolor on paper, 9 x 12V4" (23 x 31 cm.)
TNSEL)
1929.
STORM (STURM).
Signed
1.1.
Watercolor and ink on paper, 12 x 18" (30,5 x 45,5 cm.)

"Klee".
Signed
u.l.
"Klee"; inscribed on mount '"1929".
OE
10.
Klee catalogue no. 1929, OE.8. (278)

Collection Christoph and Andreas Vowinckel, Cologne.
Lent by Galerie Beyeler, Basel.
Provenance: Mrs. L. M. Maitland, Los Angeles.
John Dean, Wilton, Connecticut.
74
Stt\^
104
CREATOR II (SCHOPFER II)

Oil transfer drawing on paper
1930.
Signed
l.r.
mounted on board, 14y2 x lZVz" (36,8 x 47 cm.) "Klee"; inscribed on mount "1930 M 5 Schopfer II".
5 (35) Klee catalogue no. 1930, Collection Marian Wiliard Johnson, New York. Provenance: Nierendorf Gallery, New York, 1946.
75
105
107
1930.
PROPHET.
24 /4xl8
1 1 /2"
Watercolor and colored paste on paper mounted on board.
Signed
1.1.
(61,6x47 cm.). "Klee"; inscribed on mount "S.CI 1930

0. 6.
PHANTOM'S OATH (GESPENSTERSCHWI R). 1930. t" 46.6 x 37. Watercolor on paper mounted on board. 18% x 1 Signed and inscribed u.r. "Gespenster Schwur Klee":
:l
l
(.
1
cm.
'
0. 6.
Prophet'
inscribed on board "III 1930.
v. 3.
GespenMer-Schwur".

Provenance: F. K., Bern.
(56)
Lent by Galerie Beyeler, Basel.
Klee catalogue no. 1930, v. i. (113). olleciiiin Berner Kun-lniu-ciini. Paul Klee-Stiftung.
Provenance: the
artist.
76
110 (above)
115 (below
.
left)
SOUVENIR OF ASSUAN (ERINNERUNG AN ASSUAN) 1930. Colored paste and watercolor on paper, 6% x 20%" (17,2 x 52,4 cm.)
Signed
c.r.
WOMEN CATCHER (FRAUENFANGER). 1930.

Watercolor and colored paste on paper mounted on board,
"Klee"; inscribed on mount "1930. C.5. Erinnerung an Assuan"
7%
10%"
l.r.
Klee catalogue no. 1930, C5 (185)

Collection Walter C.
Signed
California.
( 18,5 x 26,2 cm.) "Klee"; inscribed on mount "1930
F.i
Fanger".
Goodman, Belvedere,

F.i (221)
as "(Frauen-) fanger". Inv. 777.
Provenance: Main Street Gallery, Chicago.
Provenance: the
artist.
Lily Klee, Bern.
1A
77
111
below right)
1081 above)
I)
.
FIRE
CLOWN I (FEUERCLOWN
8*/4
1930.
POLYPHONIC ARCHITECTURE (POLYPHONE ARCHITEKTUR)

Watercolor on muslin mounted on canvas
5.
1930.
6%"
(21 x 17 cm.)
ltv's x
18 1 -!" (12.2 \
16.
cm.)
Signed
l.r.
"Klee"; inscribed on mount "1930 d
Feuerclown
I".
Signed
1.1.
-Klee".
1
Klee catalogue no. 1930, d 5 (195)

Collection Mr. and Mrs.
Klee catalogue no. 1930. \V9
130
Benjamin Hertzberg,
New York.
Collection Cil>
\rt
Museum
of St. Louis.
Provenance: Gallery Berggruen, Paris.
Provenance: the
artist, 1939.
Nierendorf Gallery.
New
York, 1942.
78
106
RHYTHMICAL. MORE SEVERE AND FREE (RHYTHMISCHES. STRENGER UND FREIER)

Colored paste on paper mounted on board,
1930.
18%
x 24 Vi" (47,1 x 61,6 cm.)

9.
Signed
l.r.
"Klee"; inscribed on mount "VIII 1930. O.

9.
rhythmisches. strenger und freier".
(59)
Lent by Galerie Beyeler, Basel. Provenance: Private Collection, Bern.
79
113
OPEN BOOK (OFFENES BUCH).1930.

Varnished watercolor on while lacquer-primed canvas, 7 v s \ Id" 15 \ Signed 1.1. "Klee": inscribed on stretcher "1930. F. 6 )ffenes Buch' Klee". Klee catalogue no. 1930. E 6 (206)
1
i
|
12
cm.
Collection
The Solomon R. Guggenheim Museum. New

Estate of Karl Nierendorf,
Yoi
In
Provenance: Karl Nierendorf. New York.
New
York, 1948.
80
&?y;A?-r:;^.::::r:fi:*4M^
îttv,.
\
\
x/
y\ A "\
:\
y
\
112
114
1930.
DANCER (ON YELLOW) [TANZER (AUF GELB) ].

Varnished watercolor on cotton mounted on panel,
PLANAR AND LINEAR POLYPHONY (POLYPHONIE VON FLACHIGEM UND LINEAREN)

Ink and watercolor on paper mounted on board,
1930.
17V4X15" (43,8x38,1 cm.).

Signed
I.e.
16%
11%"
(41 x 29 cm.)
"Klee".
Klee catalogue no. 1930, E 4 (204) Collection Morton D. May, St. Louis. Provenance: Staempfli Gallery, New York.
Signed l.r. "Klee"; inscribed on mount "1930 S.G. Polyphonie von Flachigem und linearen".
Klee catalogue no. 1930, S 9 (219)

Private Collection.
81
116 (above)
117 (below)
.
LYING AS SNOW (ALS SCHNEE LIEGEND) 1931. Ink on paper mounted on board, 12% x 18%" (31,2 x 47,7 cm.)
Signed
l.r.
IN ANGEL'S
Signed
l.r.
KEEPING
(IN
ENGELSHUT)
16%
x
1931.

'"Klee"; inscribed on
19%"
(42.3 x 49,2 cm.)

L. 15. in
*'Klee"; inscribed on
10.
mount "1931.
10. als
Schnee liegend"
mount "1931.
Engelshut"
York.

Collection
Klee catalogue no. 1931, L. 15 (55)

Collection
New
York.

York, 1948.
New
York.
New
New York.
1948.
82
118 (above)
109 (below)
( .
FULL FIGURE VOLLE FIGUR)
1931.
GROUP W (GRUPPEW).1930.
Ink and pencil,
Signed
u.l.
Ink and watercolor, 19Y8 x 12" (48,5 x 30,5 cm.) Signed 1.1. "Klee"; inscribed on mount "1931 7 voller Fig Klee catalogue no. 1931, 7 (67)
9% x 12Vi" (24,5 x 31,2 cm.) "Klee"; inscribed on mount "1930. B.

(
6.
Gruppe
Klee catalogue no. 1930, B 6 176) Collection The Solomon R. Guggenheim Museum,
Provenance Karl Nierendorf,
:
New York.
Estate of Karl
New York. Nierendorf, New
York, 1948.
v
. : . .
''
Jit
***
JC
83
119 (above)
121 (below)
DANGER OF LIGHTNING
(BLITZ GEFAHRl
1931.
14%
x 19" (36,8 x 48,3 cm.)

(159)
T. Kneeland, Bloomfield, Connecticut.
SINCE EVERYTHING FLOWS (WEIL ALLES FLIESST) Watercolor on paper, 6% x 8%" 16 x 22 cm.)
(
1931.
Signed
u.l.
"Klee".
Signed
1.1.
"Klee": inscribed on mount "Weil alles Gliesst".

R 19
Hans Neumann, Caracas.
Henry
Provenance: D.
J.
Walter Kaesbach, Hemmenhofen.
New
York.
84
120 (above)
126 (below)
THEME CIRCULATING THROUGH 6 PLANES (THEMA ALS KREISLAUF DURCH 6 EBENEN)

Ink on paper mounted on board.
1931.
LOOSE COIL (LOSER KNAUL) 1932. 6% x 18%" (16,8 x 47,6

.
cm.)
v
19%
25%"
(50,2 x 55,1 cm.
Signed
l.r.
"Klee": inscribed on mount "1932
12 loser Knaul"
Signed
"1931,
u.r.
Klee catalogue no. 1932, v 12 (232)

Collection
14
Thema
als Kreislauf
durch 6 Ebenen".
York.
Klee catalogue no. 1931, U 14 (214)

Collection
New
York.

New York. New
York, 1948.
85
123 (above)
127 below)
1 .
PLANTS IN THE YARD (PFLANZEN IM HOF)

Oil
1932.
TWO WAYS
Signed
1.1.
(ZWEI GANGE)
12'/4
1932.
and gouache on paper mounted on hoard, 14% x 21" (37,5 x 53,3 cm.) Signed u.l. "Klee".
Provenance: the
x lSVs" (31 x 48,5 cm.)
"Klee"; inscribed on mount "1932 v 16 Zwei Gange"
K5
(25)
E.
Klee catalogue no. 1932, v 16 (236)

Collection

artist.
The Solomon R. Guggenheim Museum. New York.
New
York.

Estate of Karl Nierendorf. 1948.
86
"New work
is
preparing
itself;
the demoniacal shall be melted
into simultaneity with the celestial, the dualism shall not be treated
as such, but in
its
complementary oneness. The conviction

is
is al-
ready present. The demoniacal

there
already peeking through here and

truth asks that all elements be
and cant be kept down. For

is
present at once. It
questionable
how
far this can be achieved in
my
circumstances, which are only halfway favorable. Yet even the
briefest
moment
if it is
good one, can produce a document
of a
neiv pitch of intensity."
.From prototype
to
archetype
"I
welcome
is
the fact that forces so diversely inspired are
working
if
together at our Bauhaus. I approve of the conflict between them

the effect
evident in the final product. To tackle an obstacle

. .
is
On the whole, there good test of strength, if it is a real obstacle is no such thing as a right or a wrong; the ivork lives and develops
.
through the interplay of opposing forces, just as in nature good and bad work together productively in the long run."
"Thus he surveys with penetrating eye the finished forms which nature places before him. The deeper he looks, the more readily
he can extend his view from the present to the past, the more
deeply he
itself,
is
impressed by the one essential image of creation
as Genesis, rather than by the image of nature, the finished
product. Then he permits himself the thought that the process of

creation can today hardly be complete
and he sees the
act of world
creation stretching from the past to the future. Genesis eternal!"
'The Picasso exhibition was... a great surprise. There

of Matisse
. . .
is
something
Here
is
the painter of today."
87
124
Oil on canvas. 38Vi x
POSSIBILITIES AT SEA (MOGLICHES 37%" (97 x 95 cm.)

u.r.
VI
V SEE).
1932.
Signed
"Klee".
Klee catalogue no. 1932. K 6 (26) Pasadena Art Museum, Galka E. Scheyer Provenance: the artist.
Galka
E. Scheyer,
P>
ue
Four Collection.
Hollywood, California.
**tt*tt*i> *
**
m ******** ***
.
*)<*<
m >iif*n
I
HNfMUM
m "MMIiMtMl *'***:#*#',*#..
'Ill t
* *
.'***
l|tl(|IlM
.<14
i
i !f I * *
**##*#* *
***
*
******<
t
4-
4 4
f .l**#H
iMl***fl***a ii
'
, * > i 4 * < #
"* It** tVi mii,,', >* * *

iMItltllltt, 'iMitiniii
MiliXittVuii
fffftflllltl ttfffffftfftl
''.:.-''
4#<H**' "*<l,
4.#i<f.-l<i*if*i;j>k
iltif *#* 111! lift i|iiiP<*

t.i.
Hiimtuiitim
||Hi*<<4l|ll
~*Htomtn
j I > nii t #vi.
>H|
HIM Iff Iffft Iflfffffffffl
'-
4*
;:,-<. ..-...
.......
uflflfij
r
. ; ...:^
JlHf !**<
NMtt*<44*.4
MM|
II
ffffftf]
f *<
W I iff!***
JlfffftfftlM fttftfitttfi i*
lifts;
122 (above)
125 (below)
.
BOY AT TABLE (KNABE AM TISCH)

1932.
PUBLIC DUEL (OFFENTLTCHESDUELL).

I
193>.
11%
18%"
(30 x 48 cm.
Signed
u.r.
"Klee".
19.
Watercolor and ink on tissue paper. 19V4 x 14%" (49 x 36,2 cm.) Signed u.r. "Klee"; inscribed on mount "1932 qu 11 offentliches Duell"

Provenance: the
Klee catalogue no. 1932, qu 11

E.
131)
York.

artist.
Collection
The Solomon R. Guggenheim Museum. New
New
York.

New
York.
128
THE STEP (DER SCHRITT).

Oil on burlap,
L932.
28x21%"
no.
(71 x 55,5
cm.
Signed
1.1.
"Klee".
Klee catalogue
1932.Z
19 (319).
Im
f>87.
Provenance: the
ai tist.
Lily Klee, Bern.
90
129
TWO HEADS
Signed
u.r.
Oil on canvas, 31 7 x /s
(ZWEI KOPFE). 1932. 33%" (81 x 85 cm.)
"Klee".
Klee catalogue no. 1932, A. 12 (332)
Pasadena Art Museum, Galka E. Scheyer Blue Four Collection. Provenance the artist.
:
91
133
TRIANGLES ON THE SCENE DREIECKE

(
A.UF
DER SCENE).
(
1933.
Watercolor.
Signed
u.r.
egg tempera, on board. l"'s \ "Klee": inscribed on reverse "1033

oil,
1
20V
\
37 \ S3 em.
12 'Dreiecke auf der Seem-"
Klee"

Collection Berner
12 (312)
Klee-Stiftung.
Kunstmuseum, Paul
Provenance: the
artist.
'
92
^W
na
/
.
;v^^^^;:^J-r----v Tiiillilliill<ifife-f!ai>iiiiMri
130 (above)
131 (below)
.
(INITIAL LANDSCHAFT) 1932. Gouache on paper mounted on board, ZVi x 12%" (21 x 32.8 cm.) Not signed; inscribed on mount "1932 M 14 initial Landschaft".
INITIAL
LANDSCAPE
NUDE (WITH VOLUME) [AKT (AUFVOLUMEN)

Watercolor on newspaper.
J.1933.
Signed
u.r.
x 14" (24,5 x 35,5 cm.) "Klee": inscribed on mount "1933 N 8 Akt (auf Volumen)
9%
M 14.
New
York.

Provenance: Richard
8 (68)
Collection Dr. and Mrs. Robert B. Engle. San Marino. California.
Lent by Galerie Beyeler. Basel.

S. Davis,
Provenance: Bertha Schaefer Gallery,
London.
93
132 above)
1
138 (below)
.
SPIRIT
Signed
OF THE VAULT (GEIST DES GEWOLBES)

8'/s
1933.
CATTLE SUNNING (DIE HERDE SONNT SICH)

Pencil and watercolor,
1934.
u.I.
x 12V8" (20,5 x 32,5 cm.)
12%
x 19" (31.1 x 48,2 cm.)
"Klee"; inscribed on mount "1933 Z.12 Geist des Gewolbes"
Signed
u.I.
3 die
Heide Sonnt Sich"
Klee catalogue no. 1933, Z 12 (292) Collection Mr. and Mrs. Hans Neumann, Caracas. Provenance Charles E. Slatkin, New York.
:
Klee catalogue no. 1934, Collection F. C. Schang.
L 3 (43) New York.

Leiris, Paris.
Provenance: Galerie Louise
94
134
135
1933.
PEASANT DWARF (BAUERNZWERG).

Colored paste on paper mounted on board,
IN
cm.)
THE SCULPTOR'S STUDIO

18%
u.r.
(IM BILDHAUERATELIER).
1933.
Signed
l.r.
"Klee"; inscribed
17% x 10V2" (44 x 26,5 on mount "1933 E 14 Bauernzwerg".
Colored paste on paper,
x \2Vi" (48 x 31 cm.)
Signed
"Klee"; inscribed on reverse "1933 e 15 im Bildhaueratelier'

Collection Berner
14 (394)
Klee catalogue no. 1933, e 15 (395)

Kunstmuseum, Paul Klee-Stiftung.
Provenance: the
artist.
95
136
144
A NEGRO CHILD DOES NOT UNDERSTAND THE SN< >\Y (E1N NEGERKiND VERSTEHT DEN SCHNEE NICHT). 1933.
ROUGHLYHEWN HEAD
iGKOBCKSi IIMTTENER KOPF).

1
i
1935
16%
11%"
(429)
(42,5 x 29,9 cm.)
Watercolor on paper mounted on board, 12% \ 9 Signed u.l. "Klee"; inscribed on mount "11193 K
(31,6 x 24 cm.)
b
eschnittener
Kopf
Signed
u.r.
"Klee".
K2
(22).
G9
Collection F.
Si
ii.
Collection Mr. and Mrs. Arnold H.
Maremount. Winnetka,
ûrk.
Illinois.
Provenance:
.1
hang, New York. Neumann, New York.
Provenance: Saidenberg Gallery,
New
96
137 (above)
139 (below)
.
LATE GLOW (SPATES GLUHEN)

Pastel on
1934.
REMNANTS IN THE PLANE (UBERRESTE IN DER EBENE)

Watercolor and pencil on paper, 8V8 x
1934.
damask mounted on board, 10 7/s x 13%" (27,5 x 34 cm.) Signed u.l. "Klee"; inscribed on mount "1934 K 9 spates Gltihen".
12%"
(20,6 x 31,1 cm.)
Signed
u.r.
"Klee"; signed on reverse "1934, L.15".
K9
(29)
Inv. 785.
Klee catalogue no. 1934, L.15 (55)

Collection Ursula and Frank Laurens, Cincinnati.
Provenance: the
artist.
Provenance
J.
B.
Neumann, New
York.
Lily Klee, Bern.
143 (above)
1401 below)
1934.
AVIATIC EVOLUTION (AVIATISCHE EVOLUTION).

Watercolor on canvas, I6V2 x V)Vz" (42 x 49,5 cm.)
LANDSCAPE WITH ACCENTS (LANDSCHAFT MIT ACCENTEN)

Watercolor and colored paste on paper,
193
1.
12%
x 19" (31 x 48,1 cm.)
Signed
1.1.
"Klee".
Signed
u.r.
"Klee"; inscribed on mount "V 1934
15 Landschaft mil Accenten"

Collection City Art
U 16
216
15
195)
Museum
of St. Louis, gift of
Morton D. May.
Collection Berner
New
York.
Provenance: the
artist.
Paul Kantor Gallery, Los Angeles.

Mrs. Gerald Breckenridge, Beverlv
Hills.
-^sa
98
141
ANGEL IN THE MAKING (ENGEL IM WERDEN)

Oil on wood,
1934.
20%
x 20ys" (50,7 x 50,7 cm.)
Inscribed on reverse "1934

U 4 Engel im Werden Klee" and on U 4 (204) Inv. 1138.

.
stretcher "1934
U 4 'Engel
im Werden' Klee".
Provenance: the
artist.
Lily Klee, Bern.
99
142
THE CREATOR (DER SCHOPFER).

Signed
u.l.
1934.
7 Oil on canvas, 16 /s x 21 Vi" (43 x 54 cm.)
"Klee"; inscribed on stretcher "1913
II
13 "Her Sehopfer' Klee"
Klee catalogue no. 1934. U 13 (213) Collection Berner Kunstmuseum. Paul Klee-Stiftung.
Provenance: the
artist.
100
145
BUT THE RED ROOF ABER DAS ROTE DACH

l
1935.
Tempera on burlap, 23%

Signed
u.l.
x 35 V2" (60 x 90 cm.)
"Klee".
Klee catalog no. 1935, (113)
Museum of Art, The Louise and Walter Arensberg Collection. Provenance: Galka E. Scheyer, Hollywood, California.
Philadelphia
Nierendorf Gallery,
Stendahl
New York
101
147
TRANSITION (UBERBRUCKUNG).
Oil on canvas, 17 x
1935.
25%"
13.2 x 64,8 cm.)
Signed
u.r.
"Klee'
I!
I
Klee catalogue no. L934,

Collection Washington
I
(144).
I
niversity, St.
ouis.
Provenance: Karl Nierendorf, New York.
Theodore Sehemi'l'-
1
1
>45.
102
146
149
.
HEADDRESS (KOPFTRACHT)
Signed
u.r.
1935.
POMONA GROWING UP (POMA HERANWACHSEND)

x
1937.
Watercolor on gesso-primed burlap,

"Klee".
18%
.'
9%"
(46,5 x 30 cm.)
Oil on paper
Signed
(
)
1.1.
mounted on paper, 21% x 14%" (55 x 37,5 cm.) "Klee"; inscribed on mount "1937. K. 13 Poinona heranwachsend
Klee catalogue no. 1935, qu 2 122 Collection Mrs. Picher Purcell, Chicago.
Provenance: Galerie Rosengart, Lucerne.
Klee catalogue no. 1937, K. 13 (33)

Collection

artist,
Provenance: the
1938.
103
148
ST.
Oil,
GEORGE
l.r.
(ST.
GEORG)
1936.
egg tempera, and watercolor on board.

"Klee".
12%
x 17" (32 x 43 cm.)
Signed
Klee catalogue no. 1936, K 1 (21) Collection Berner Kunstmuseum. Paul Klee-Stiftung.
Provenance: the
artist.
104
150
FACE OF A VASE (GESICHT EINER VASE)

;
1937.
Charcoal and watercolor on paste and chalk-primed newspaper, 26 x \9Vi" (66 x 49 cm.) ". Signed u.r. Klee inscribed u.l. "1937 qu 6 'Gesicht einer Vase'
Klee catalogue no. 1937, qu 6 (126) Inv. 1214.

.
Provenance: the
artist.
Lily Klee, Bern.
105
153
CHILI)
Signed
AND AUNT K
(
M">
x
T WIT.
I'l.iT.
Oil on gesso-printed burlap,

u.r.
28%
(
20%"
72,5 \ 52,5 cm.).

"'
'Klee": inscribed on stretcher

no. 1937,
1 "J.'i
kind und Tante"

York.
Klee catalogue
I"
Collection Mr. and Mrs. Charles
W Engelhard, New
York,
Provenance: Curl Valentin, New York.

.1.
I!
Newmann, New
Odets Collection. Sir Edward and Ladj
rlulton.
(luleric IScveler. Ua-rl.
106
154(,above)
156 (below)
.
GLANCE FROM RED (BLICK AUS ROT)

Pastel on cotton
1937.
x 50 cm.)
WATERTOWER BIRD (WASSERTURM-VOGEL).

Colored paste and tempera on paper,
1937.
mounted on burlap, 18V2 x 19%" (47
10%
.
x 8Vi" (27 x 21 cm.)
Signed
l.r.
"Klee".
Signed
l.r.
"Klee"; inscribed "1937
W 19 Wasserturm-vogel".
Inv. 762.

11 (211)
Inv. 685.

Collection F.
W 19
(259)
K,
Bern.
artist.
Provenance: the
artist.
Provenance: the
Lily Klee, Bern.
Lily Klee, Bern.
107
158 (above)
155 (below)
HASTE
(EILE).1938.
cm.).
CLOWN IN BED (CLOWN IM BETT)

10%xl9"
F
17 Eile".
1937.
Colored paste on newspaper mounted on board,
Colored paste and tempera on paper mounted on board,
19%xl3" (48,5x33
Signed
u.l.
"Klee"; inscribed on mount "1938.
Signed
c.r.
(26,5x48,3 cm.). "Klee"; inscribed on mount "1937
W.
14 Clown im
Bett''
Klee catalogue no. 1938, F 17 (77)

Collection Berner
Klee catalogue no. 1937, W. 14 (254)

Collection Berner
Provenance: the
artist.
Provenance: the
artist.
108
151
157
.
FIGURE IN THE GARDEN (FIGUR IM GARTEN)

Pastel on paper. 20 x
;
1937.
MISS FROM SPORT FRAULEIN

(
VOM SPORT)
1938.
16%"
(51 x 42,2 cm.)
Colored paste on paper mounted on board, 23 '/i x 16" (59 x 40,5 cm.)
Signed u.r. "'Klee" inscribed on mount "1937 qu 9 Figur im Garten". Klee catalogue no. 1937, qu 9 (129) Inv. 686.
.
Signed
c.l.
"Klee".

Collection F.
:
D9
(29)
Inv. 702.
K,
Bern.
artist.
Provenance: the
artist.
Provenance the
Lily Klee, Bern.
Lily Klee, Bern.
109
]C>0
POND
IN
THE PARK (TEICH H
IM PARK).
1938.
I
Colored paste on board, lOVs x 20%" (25.7 x 51.8 cm. Signed l.r. "Klee"; inscribed on stretcher "1938 H 12 'Teic
Park' Klee 3".

Collet-lion F. K.. Bern.
12 (122). Inv. 1145.
Provenance: he
I
artist.
Lily Klee. Bern.
110
152
159
FOLLOWER OF BACCHUS
Oil on canvas,
(EIN
BAKCHANT)
1937.
DUMB DEVIL (DUMMER TEUFEL)

1938.
17% x 13%"
(43,5 x 33,3 cm.)
14%
10%"
(36,5 x 26 cm.)
Signed
u.r.
"Klee".
Klee catalogue no. 1937, R 7 (147) Collection Ursula and Frank Laurens, Cincinnati. Provenance the artist.
:
1.1. "Klee"; inscribed on mount "1938 G 8 dummer Teufel" Klee catalogue no. 1938, G 8 (88) Collection Mr. and Mrs. Hans Neumann, Caracas. Provenance J. K. Thannhauser.
Signed
Karl Nierendorf,
New York,
1940.
G. David
Thompson. Pittsburgh
Ill
"
161 (above)
162 (below)
GARDEN
Signed
c.l.
IN
HOT SEASON (GARTEN

13%"
(25,4 x 34,3 cm.)
IN HEISSER ZEIT)
1938.
INITIAL A (INITIALE A)
Pastel on canvas, 47s x
1938.
(
Oil on paper, 10 x
9W
12.5 x 24 cm.)
Initiale
"Klee".
Signed and inscribed on mount "Klee 1938 S 20
A"

Collection
M 15
(195)
Marian Willard Johnson,
New
York.
Klee catalogue no. 1938, S 20 (300) Collection Mrs. Rose C. Shere, Chicago.
Provenance: Galerie Rosengart. Lucerne.
Provenance: Private Collection, Zurich.
,^'W*!rS>Wr?r
.<
112
164
BUST OF GAIA (BRUSTBILD DER GAIA)

Oil on cotton, 38V4 x 27 I/s" (97 x 69 cm.)
1939.
Signed
u.r.
"Klee"; inscribed on stretcher "1939. Y. 3 'Brustbild der Gaia' Klee"

.
Klee catalogue no. 1939, Y.3 (343) Inv. 55.

Provenance: the
artist.
Lily Klee, Bern.
113
168
FAMA.
Signed
1939.
Oil on canvas, 357s x

u.l.
47%" (91 x 121 cm.) "Klee"; inscribed on stretcher "1939. A A
-.
Yam
\'
Klee"

Collection Berner
AA 2
(502)
Provenance: the
artist.
114
163 (above)
165 (below)
.
PATHETIC GERMINATION (PATHETISCHES KEIMEN)

Colored paste on paper mounted on board, 10 x Signed u.r. "Klee"; inscribed on mount "1939 v
1939.
DUSK
S.
(ES
DAMMERT)
1939.
19%"
1
(25,4 x 48,4 cm.)
pathetisches
Keimen
CL'
Watercolor on blue canvas mounted on board, 22% x 19 7/s" (57,7 x 50,5 cm. Signed 1.1. "Klee"; inscribed on stretcher "1939 Y 7. 'es dammert'.".
Klee catalogue no. 1939, v 1 (281) Collection Berner Kunstmuseum, Paul Klee-Stiftung.
Provenance: the
artist.

Y7
(347)
Inv. 1941.
Provenance: the
artist.
Lily Klee, Bern.
115
166
SLEEPING QUARTERS OF THE FOUR (SCHLAFSTELLE DER VIER

Oil and watercolor on oil-primed paper
1939.
I
mounted on canvas. 12% x 19"
(41.4 x 48.1 cm.
Signed
l.r.
8 Schlafstelle der Vier".

Collection Berner
A8
(388)
Provenance: the
artist.
116
169
AT THE HUNTER'S TREE (ZUM JAGERBAUM)

Oil on canvas.
1939.
39%
31%"
(100 x 80 cm.)
Signed
u.l.
"Klee".
Klee catalogue no. 1939, CC 17 (557) Collection Kunsthaus, Zurich.

Provenance: Klee Gesellschaft.
117
170
SCENE OF A FIRE (BRANDSTATTE) 1939. Waxed colored paste on burlap. 9% x 29 ,2" (25
.
x 75 cm.)
\\
Signed
r.c.
"Klee": inscribed on stretcher "1939.
\Y 15 'Brandstatte' Klee"

Collection F. K.. Bern.
WW 15
(895)
[nv.
I.
Provenance: the
artist.
Lily Klee, Bern.
118
167 (above)
173 (below)
) .
A BARREN ONE (EINE UNFRUCHTBARE

Watercolor and ink on paper, lOVs x Signed 1.1. "Klee".
1939.
16%"
(25,7 x 42,5 cm.)
EVENINGS BY THE SEA (ABENDS AM MEER) Colored wax on paper, 8% x 13" (21 x 33 cm.)
Signed
1.1.
1940.
"Klee"; inscribed on mount "1940 Z 20 Abends

.
am Meer'

Collection
B
R.
16 (456)
Klee catalogue no. 1940, Z 20 (20) Inv. 896.

York.
The Solomon
Guggenheim Museum, New

Provenance: the
artist.
Lily Klee, Bern.
Karl Nierendorf.
New York. New
York, 1948.
119
171
COLORFUL GROUP (BUNTE GRUPPE)

Black chalk,
oil
1939.
Signed
l.r.
and watercolor on handkerchief. 16V8 x 15 3 s" (41 x 39.5 cm.) "Klee"; inscribed on mount "1939, IK 13 bunle Gruppe".
(
Klee catalogue no. 1939, IK 13

Collection F. K.. Bern.
1133)
Inv. 1110.
Provenance: the
artist.
Lily Klee, Bern.
120
Mr
172
175
:
VOICE FROM THE ETHER AND YOU WILL EAT YOUR FILL (STIMME AUS DEM ATHER UND DU WIRST DICH SATT ESSEN
:
BOY WITH TOYS (KNABE MIT SPIELSACHEN)

!
1940.
1939.
11%
8%"
C29,2 x 20,7 cm.)
Oil
and tempera on paper, 19% x 15" (50 x 38 cm.)

l.r.
Signed
u.r.
M 9 Knabe mit Spielsachen"
Signed

! : '
GH
Stimme aus

Collection
M9
(249)
dem Ather 'und du wirst dich satt essen ". Klee catalogue no. 1939, GH 8. Collection Victoria and Albeit Museum, London. Provenance: Curt Valentin, New York.
G. David
New
York.
Thompson, Pittsburgh.
121
174
DOUBLE (DOPPED.1940.
20%
13%"
(52.5 x 34.7 cm.).
Signed
N 16 Doppel". Klee catalogue no. 1940, N 16 (236) Collection Berner Kunsl museum. Paul KJee-Stiftung. Provenance the artist.
u.r. '"IClee":
inscribed on
mount "1940
122
'A
good picture seems incomplete
until the last
brush stroke.
"No
use hurrying
when you want
so
much. The evening
is
deep
inside
me
be
forever.
Many
a blond, northern moonrise, like a muted
reflection, will softly

It ivill
remind me, and remind me again and again.
my
bride,
my
alter ego.
An
incentive to find myself.
myself
am
the moonrise of the South."
"Naturally I have not struck the tragic vein without some preparation.
Several pictures have pointed the
way with
their message:
the time has
come."
"Art
is
a likeness of the creation. It

is
is
sometimes an example,
just
as the terrestrial
an example of the cosmic."
"The heart that beat As if only memories

into the crystalline
for this world seems mortally

still
wounded
.
in
me.
tied
me
to ''these' things
Am
I turning
type?"
"I cannot be grasped in the here

the
dead as
and now, for I live just as well with with the unborn, somewhat closer to the heart of crefrom
close enough."
ation than usual, but far
123
176
WOMAN IN COSTUME FRAU

l
IN TRACHT) 1910. Colored paste on paper mounted on board. 18% x 12%" (47,5 x31,2 cm.). Signed u.r. "Klee": inscribed on mount "1940 14 Frau in Tracht".
.
Klee catalogue no. 1940, 14 (254) Collection Berner Kunstmuseum, Paul Klee-Stiftung. Provenance: the artist.
124
-=0 <&%
rTyP
^0
177
UNTITLED (COMPOSITION WITH FRUIT) [OHNE TITEL (KOMPOSITION MIT FRUCHTEN)

Colored paste on paper (fragment)
,
].
1940.
40%
x SBVi" (103 x 148 cm.)
Not signed. Not in catalogue.

Provenance the
:
Inv. 1332.

artist.
Lily Klee, Bern.
. .
125
ETCHINGS
Ii\
THE EXHIBITION
178
VIRGIN IN A TREE JUNGFRAU IM BAUM) Etching, 9V4 x 11%" (23,5 x 30 cm.)

(
1903.
Collection Mr. and Mrs. Robert A.
Rowan, Los Angeles.
179
THE COMEDIAN (KOMIKER)

Etching, 7 x
Collection
1904.
9%"
17,7 x 24,4 cm.
The Art
Institute of Chicago.
180
CHARM
(CHARME).1904.
Etching, 5V4 x
7%"
(13.3 x 9,2 cm.)
Collection Pasadena Art
Museum.
181
THREATENING HEAD (DROHENDES HAUPT).

Etching,
1905.
16%
12%"
(41,6 x 31,8 cm.)
Collection Busch-Reisinger
Museum
for
Germanic Culture,
Harvard University.
A number
of the
also listed, will be
works listed above will be withdrawn. added in the course of the tour.
iii-\i\
others
126
PHOTOGRAPHIC CREDITS
Allen Memorial Art Museum, Oberlin College. Oberlin. Ohio: The Art Museum. Princeton University no. 3 The Baltimore Museum of Art: no. 12
:
no. 20
Bildarchiv Felix Klee, Bern: nos.
1, 7,
22, 27. 28, 37. 39, 47, 48. 61, 115. 128, 129, 137. 141, 150, 151,
154. 157, 160. 164, 165, 170, 171, 173, 177
E. Irving Blomstrann. Courtesy
Wadsworth Atheneum, Hartford:
nos. 80, 119
City Art
Museum
Feist.
of St. Louis: no. 143

:
Thomas
New York
no. 90
Flair Gallery, Cincinnati: no. 67
Galerie Claude Bernard, Paris: no. 73
Galerie Beyeler, Basel: nos. 103, 105, 106, 131

Galerie Maeght, Paris: nos. 82, 87 Galerie Rosengart, Lucerne: nos. 11, 13, 15, 32, 60, 78, 100
Sherwin Greenberg Studio,

Kunsthaus, Zurich: no. 169
Inc.,
courtesy Albright-Knox Art Gallery, Buffalo: no. 4
Robert Mates and Paul Katz.
New York
nos. 8, 10, 14. 24. 42, 46, 49, 58. 59, 68, 74, 88, 109, 113, 116,
117, 120, 125, 126, 127. 138, 144, 149, 153. 167, 175
The Minneapolis
Institute of Arts: no. 98

51, 81. 89 69, 122, 124
Moulin Studios, San Francisco: nos. 9, Pasadena Art Museum nos. 23, 50, 56.
:
Philadelphia
Museum
of Art
nos. 29. 64. 83, 84, 91, 93, 95, 96, 145
Piaget Studio St. Louis: no. 108
Robinson's, San Diego: no. 53
San Francisco Museum of Art: John D. Schiff, New York: nos.

I.
nos. 31. 99
33, 54. 65. 75, 112
Serisawa, Los Angeles: nos. 16. 19. 34. 35. 36, 40, 43, 44, 66, 70. 123
:
Paul Klee-Stiftung, Bern nos. 2, 57, 97. 107. Adolph Studley, New York: no. 104 Frank J. Thomas, Los Angeles: no. 6. 38. 92.
O. Vaering, Oslo: nos. 71. 118. 135
Victoria and Albert
133. 134, 140, 142. 148. 158, 163, 166, 168, 174, 176
94, 114, 130
Museum, London: no. 172 Washington University, St. Louis: nos. 72, 147 Willard Gallery. New York: no. 161
5,000 copies ol this catalogue
designed by Herbert Matter
have been printed by Sterlip Press

in for the Trustees of
February. 1967
The Solomon R. Guggenheim Foundation
on the occasion of the loan exhibition
"Paul Klee"
PASADENA ART MUSEUM
SAN FRANCISCO
MUSEUM
OF ART
COLUMBUS GALLERY OF FINE ARTS

CLEVELAND MUSEUM OF ART
WILLIAM ROCKHILL NELSON GALLERY OF ART, KANSAS CITY
BALTIMORE MUSEUM OF ART
WASHINGTON UNIVERSITY, GALLERY OF ART,

PHILADELPHIA MUSEUM OF ART
ST. LOUIS
THE SOLOMON
R.
GUGGENHEIM MUSEUM, NEW YORK

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ORGANIZED BY THE SOLOMON

COLLABORATION WITH THE IMSADENA ART MUSEUM

The Solomon R. Guggenheim Foundation, New York

Library of Congress Card Catalogue Number: 67-19740

Printed in the United States of America

PASADENA ART MUSEUM

COLUMBUS GALLERY OF FINE ARTS

BALTIMORE MUSEUM OF ART

WASHINGTON UNIVERSITY, GALLERY OF ART.

Paul Klee stated in 1902: "I want

do something very modest,

by myself a tiny formal motif, one that

pencil will be able to encompass without

tested to the experimental,

toward an ever deepening human awareness. Because

of his intensive concentration

upon each new beginning, categories

efforts to divide Klee's

remain unconvincing. Even

continuities are elusive

nothing in the develops

of his art that resembles, for example. Kandinsky's or

a representational toward a non-objective mode.

possible to speak of "periods"

term has assumed validity with Picasso. Despite the frequent

recurrence of Klee's images and the occasional repetition of his

him from work

motor started anew with each painting, watercolor, draw-

Proliferation and lack of rigidity

also the rule in Klee's choice of materials

"colored sheet", and

he lavish every care of execution upon the light watercolor

while leasing in a state of sketchy fluidity works executed in weightier techniques.

work without impedis

ing references to false technical hierarchies.

for this reason that Klee's painting

In the absence of stylistic and technical uniformities an approximate chronology

for the presentation of this show.

turn of this century,

the preparatory essays of an

immensely gifted youth have

The chronology continues through

significant contacts with the

and touches upon

that interesting transformation

Kairouan when he exclaims triumphantly, "I

a painter." In his full

and didactic pursuits

of that grave, resigned state of

that follows his withdrawal

from Nazi Germany when intense forebodings

death and the far reaches of the

most coveted works are included

prepared for presentation in leading American museums. That

extreme generosity of lenders

country and abroad