Paul Klee Quotes (104 quotes) | Quotes of famous people

Paul Klee: 104 quotes 12 likes

Famous Paul Klee Quotes

“His [ Van Gogh's] pathos is alien to me, especially in my current phase, but he is certainly a genius. Pathetic to the point of being pathological, this endangered man can endanger one who does not see through him. Here a brain is consumed by the fire of a star. It frees itself in its work just before the catastrophe. Deepest tragedy takes place here, real tragedy, natural tragedy, exemplary tragedy. Permit me to be terrified.”

Paul Klee

Quote (1908), # 816, in The Diaries of Paul Klee; University of California Press, 1964; as quoted by Francesco Mazzaferro, in 'The Diaries of Paul Klee - Part Three' : Klee as a Secessionist and a Neo-Impressionist Artist http://letteraturaartistica.blogspot.nl/2015/05/paul-klee-ev.html
1903 - 1910

“Art does not reproduce what we see. It makes us see.”

Paul Klee

Section I

(de) Kunst gibt nicht das Sichtbare wieder, sondern macht sichtbar.
1916 - 1920, Creative Credo (1920)
Variant: Art does not reproduce the visible; rather, it makes visible.

“A single day is enough to make us a little larger or, another time, a little smaller.”

Paul Klee

“One eye sees, the other feels.”

Paul Klee

“The shaping of form is weak in energy in comparison with the determining of form. The final consequence of both ways of forming is form. From the ways to the end. From activity to the accomplished. From the genuinely living thing to the objective thing. In the beginning the male speciality, the energetic stimulus. Then the fleshly growth of the egg. Or: first the bright flash of lightning, then the raining cloud. When is the spirit at its purest? In the beginning. Here, work that becomes (dual). There, work that is.”

Paul Klee

Diary entry (1913), # 944; as quoted by Francesco Mazzaferro, in 'The Diaries of Paul Klee - Part Four', : Klee as an Expressionist and Constructivist Painter http://letteraturaartistica.blogspot.nl/2015/05/paul-klee-ev27.html
1911 - 1914

“The changeover was complete; in the summer of 1907 I devoted myself entirely to the appearance of nature and upon these studies built my black-and-white landscapes on glass, 1907/1908.”

Paul Klee

Quote (1908), # 831, in The Diaries of Paul Klee; University of California Press, 1964; as quoted by Francesco Mazzaferro, in 'The Diaries of Paul Klee - Part Three' : Klee as a Secessionist and a Neo-Impressionist Artist http://letteraturaartistica.blogspot.nl/2015/05/paul-klee-ev.html
1903 - 1910

Paul Klee Quotes about art

“Franz Marc.... is more human, he loves more warmly, is more demonstrative.... I only try to relate myself to God, and if I am in harmony with God, I don't fancy that my brothers are not also in harmony with me; but that is their business... My fire is more like that of the dead or the unborn... Art is like Creation: it holds good on the last days as on the first.
What my art probably lacks, is a kind of passionate humanity. I don't love animals and every sort of creature with an earthly warmth... I tend rather to dissolve into the whole of creation and am then on a footing of brotherliness to my neighbour, to all things earthly. I possess. The earth-idea gives way to the world-idea. My love is distant and religious.”

Paul Klee

Quote (1916), # 1008, in The Diaries of Paul Klee, translation: Pierre B. Schneider, R. Y. Zachary and Max Knight; publisher, University of California Press, 1964
1916 - 1920

“In art, too, there is room enough for exact research... What was accomplished in music before the end of the eighteenth century has hardly been begun in the pictorial field.”

Paul Klee

quote of Paul Klee from the text Exact experiments in the realm of art, 1928; as quoted in 'Klee & Kandinsky', 2015 exhibition text, Lenbachhaus und Kunstbau Munich, 2015-2016 https://www.zpk.org/en/exhibitions/review_0/2015/klee-kandinsky-969.html
1921 - 1930

“The naked body is an altogether suitable object. In art classes I have gradually learned something of it from every angle. But now I will no more project some plan of it: I will proceed so that all its essentials, even those hidden by optical perspective, will appear upon the paper. And thus a little uncontested personal property has already been discovered, a style has been created.”

Paul Klee

Quote (June 1902), as cited in Artists on Art, from the 14th – 20th centuries, ed. Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 443
1895 - 1902

“Twenty-one years old! I never doubted my vital force. But how is it to fare with my chosen art? The recognition that at bottom I am a poet, after all, should be no hindrance in the plastic arts! And should I really have to be a poet, Lord knows what else I should desire. Certainly, a sea swells within me, for I feel. It is a hopeless state, to feel in such a way that the storm rages on all sides at once and that nowhere is a lord who commands the chaos.”

Paul Klee

Quote (1900), # 121, in The Diaries of Paul Klee, translation: Pierre B. Schneider, R. Y. Zachary and Max Knight; publisher, University of California Press, 1964
1895 - 1902

“We document, explain, justify, construct, organize: these are good things, but we do not succeed in coming to the whole... But we may as well calm down: construction is not absolute. Our virtue is this: by cultivating the exact we have laid the foundations for a science of art, including the unknown X.”

Paul Klee

Statement of 1917; as quoted in Teaching at the Bauhaus (2000) by Rainer Wick and Gabriele Diana Grawe, p. 231
1916 - 1920

“Tunis. My head is full of the impressions of last night's walk. Art-Nature-Self. Went to work at once and painted in watercolour in the Arab quarter. Began the synthesis of urban architecture and pictorial architecture. Not yet pure, but quite attractive, somewhat too much of the mood, the enthusiasm of traveling in it-the Self, in a word. Things will no doubt get more objective later, once the intoxication has worn off a bit.”

Paul Klee

Diary-note, 7 April 1914; # 926-f; as cited by Francesco Mazzaferro, in 'The Diaries of Paul Klee Part Four', : Klee as an Expressionist and Constructivist Painter http://letteraturaartistica.blogspot.nl/2015/05/paul-klee-ev27.html
The evening of their arrival, Dr. Jaggi took the 3 artists Klee, August Macke and Louis Moilliet on 'a nocturnal walk through the Arab city' Tunis. Klee wrote this note next day.
1911 - 1914, Diary-notes from Tunisia' (1914)

Paul Klee Quotes about nature

“Nature can afford to be prodigal in everything, the artist must be frugal down to the last detail.”

Paul Klee

Diary entry (Munich, 1909), # 857, in The Diaries of Paul Klee, 1898-1918; University of California Press, 1968, p. 236
1903 - 1910
Context: Nature can afford to be prodigal in everything, the artist must be frugal down to the last detail.
Nature is garrulous to the point of confusion, let the artist be truly taciturn.

“I project on the surface; that is, the essence of the subject must always become visible, even if this is impossible in nature, which is not adapted to this relief style. The absence of foreshortening also plays a crucial part in the process... For I have discovered a very small, undisputed, personal possession: a particular sort of three-dimensional representation on the flat surface... I am my style.”

Paul Klee

Quote (July 1902), # 425, in The Diaries of Paul Klee, translation: Pierre B. Schneider, R. Y. Zachary and Max Knight; publisher, University of California Press, 1964
1895 - 1902

“Structural concept in nature:
The grouping of the smallest recognizable entities in matter:
Bone matter is cellular or tubular. Ligament structure is a sinuous-fibrous web.
Tendons are continuous with the connective tissue of the muscle, strengthened by cross grain.”

Paul Klee

I.8 Material Structure. in Nature, p. 26
1921 - 1930, Pedagogical Sketch Book, (1925)

“It is possible that a picture will move far away from Nature and yet find its way back to reality. The faculty of memory, experience at a distance produces pictorial associations.”

Paul Klee

Statement of mid-1920'; as quoted in Abstract Art (1990) by Anna Moszynska, p. 100
1921 - 1930

“Our initial perplexity before nature is explained by our seeing at first the small outer branches and not penetrating to the main branches or the trunk. But once this is realized, one will perceive a repetition of the whole law even in the outermost leaf and turn it to good use.”

Paul Klee

Quote (1904), # 536, in The Diaries of Paul Klee, translation: Pierre B. Schneider, R. Y. Zachary and Max Knight; publisher, University of California Press, 1964
1903 - 1910

“For the artist communication with nature remains the most essential condition. The artist is human; himself nature; part of nature within natural space.”

Paul Klee

Klee's statement written in 1923, in 'Paths of the Study of Natura' (Wage dar Natur studiums), Paul Klee; in Yearbook of the Staatlich. Bauhaus, Weimar, 1919-1923, Bauhaus Verlag, Weimar, 1923
1921 - 1930

Paul Klee: Trending quotes

“My mirror probes down to the heart. I write words on the forehead and around the corners of the mouth. My human faces are truer than the real ones.”

Paul Klee

Diary entry (Munich, 1901), # 136, in The Diaries of Paul Klee, 1898-1918; University of California Press, 1968, p. 48
1895 - 1902

Heart

“Things appear to assume a broader and more diversified meaning, often seemingly contradicting the rational experience of yesterday. There is a striving to emphasize the essential character of the accidental.”

Paul Klee

Section V
1916 - 1920, Creative Credo (1920)
Context: Formerly we used to represent things visible on earth, things we either liked to look at or would have liked to see. Today we reveal the reality that is behind visible things, thus expressing the belief that the visible world is merely an isolated case in relation to the universe and that there are many more other, latent realities. Things appear to assume a broader and more diversified meaning, often seemingly contradicting the rational experience of yesterday. There is a striving to emphasize the essential character of the accidental.

Appearance

“A line is a dot that went for a walk.”

Paul Klee

Paul Klee Quotes

“The main thing now is not to paint precociously but to be, or at least become, an individual.”

Paul Klee

Diary entry (3 June 1902), # 411, in The Diaries of Paul Klee, 1898-1918; University of California Press, 1968
1895 - 1902
Context: The main thing now is not to paint precociously but to be, or at least become, an individual. The art of mastering life is the prerequisite for all further forms of expression, whether they are paintings, sculptures, tragedies, or musical compositions.

Painting

“The eye travels along the paths cut out for it in the work.”

Paul Klee

I.13 Productive | Receptive, p. 33
1921 - 1930, Pedagogical Sketch Book, (1925)

Travel

“.. I thought I had come into the clear in art when for the first time I was able to apply an abstract style to nature.”

Paul Klee

Paul Klee, in an autobiographical text for Wilhelm Hausenstein, 1919; as quoted in 'Klee & Kandinsky', 2015 exhibition text, Lenbachhaus und Kunstbau Munich, 2015-2016 https://www.zpk.org/en/exhibitions/review_0/2015/klee-kandinsky-969.html
1916 - 1920

Art , Nature , Time

“When in Italy [Klee stayed in Italy, in 1901], I learned to understand architectural monuments... Even the dullest will understand that the obvious commensurability of parts, to each other and to the whole, corresponds to the hidden numerical proportions that exist in other artificial and natural organisms. It is clear that these figures are not cold and dead, but full of the breath of life; and the importance of measurements as an aid to study and creation becomes evident.”

Paul Klee

Quote (December 1903), as cited in Artists on Art, from the 14th – 20th centuries, ed. Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 444
1903 - 1910

Life , Understanding , Nature , Study

“Serious color studies of nudes and heads. Only as practice and first training. Very strict determination of color values through water color. On top of it, some oils, simply for blending. The results are quite unattractive, little of importance to be hoped for here. This month of February is devoted to color. I painted many nudes from nature and even the portrait of a head, my syster's!”

Paul Klee

Quote (1903), # 485, in The Diaries of Paul Klee, translation: Pierre B. Schneider, R. Y. Zachary and Max Knight; publisher, University of California Press, 1964
1903 - 1910

Hope , Color , Nature , Study

“The more horrible this world (as today, for instance), the more abstract our art, whereas a happy world brings forth an art of the here and now.”

Paul Klee

Diary entry (1915), # 951 , in The Diaries of Paul Klee, translation: Pierre B. Schneider, R. Y. Zachary and Max Knight; publisher, University of California Press, 1964
1916 - 1920
Variant: The more horrifying this world becomes (as it is these days) the more art becomes abstract; while a world at peace produces realistic art.
Variant: The more horrifying this world becomes, the more art becomes abstract; while a world at peace produces realistic art. (this variant was quoted in the speech "Between Two Ages: The Meaning Of Our Times" by Wm. Van Dusen Wishard) http://www.commonwealthnorth.org/transcripts/wishard.html

World , Art , Happiness

“Genesis as formal motion is the essential thing in a work. In the beginning the motif, insertion of energy, sperm. Works as shaping of form in the material sense: the primitive female component. Works as form - determining sperm: the primitive female component. My drawings belong to the male realm.”

Paul Klee

Quote (1912), # 931, in The Diaries of Paul Klee, translation: Pierre B. Schneider, R. Y. Zachary and Max Knight; publisher, University of California Press, 1964
1911 - 1914

Sense , Drawing

“And now an altogether revolutionary discovery: to adapt oneself to the contents of the paintbox is more important than [to] nature and its study. I must some day be able to improvise freely on the chromatic keyboard of the rows of watercolor cup.”

Paul Klee

Quote (1911), Diary # 873; as cited by Francesco Mazzaferro, in 'The Diaries of Paul Klee Part Four', : Klee as an Expressionist and Constructivist Painter http://letteraturaartistica.blogspot.nl/2015/05/paul-klee-ev27.html
1911 - 1914

Nature , Study

“Alfred Kubin, my benefactor, has arrived! He acted so enthusiastic that he carried me away. We actually sat entranced in front of my drawings! Really quite entranced! Profoundly entranced!”

Paul Klee

Quote (early 1911), Diary # 888; as cited by Francesco Mazzaferro, in 'The Diaries of Paul Klee Part Four', : Klee as an Expressionist and Constructivist Painter http://letteraturaartistica.blogspot.nl/2015/05/paul-klee-ev27.html
Alfred Kubin understood Klee's hieroglyphic language, based on symbols and signs and bought a series of works. As a reaction Klee started in February 1911 to make a precise catalog of all the works, still in his possession
1911 - 1914

Drawing

“Receptively it [the work as human action] is limited by the limitations of the perceiving eye. The limitation of the eye is its inability to see even a small surface equally sharp at all points. The eye must "graze" over the surface, grasping sharply portion after portion, to convey them to the brain which collects and stores the impressions.”

Paul Klee

I.13 Productive | Receptive, p. 33
1921 - 1930, Pedagogical Sketch Book, (1925)

“What had already been done for music by the end of the eighteenth century has at last been begun for the pictorial arts. Mathematics and physics furnished the means in the form of rules to be followed and to be broken. In the beginning it is wholesome to be concerned with the functions and to disregard the finished form. Studies in algebra, in geometry, in mechanics characterize teaching directed towards the essential and the functional, in contrast to apparent. One learns to look behind the façade, to grasp the root of things. One learns to recognize the undercurrents, the antecedents of the visible. One learns to dig down, to uncover, to find the cause, to analyze.”

Paul Klee

1921 - 1930
Source: 'Bauhaus prospectus 1929'; as quoted in Artists on Art, from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 444

Art , Music , Mathematics , Study

“Kandinsky wants to organize a new society of artists. I came to feel a deep trust in him [ Kandinsky ]. He is somebody, and has an exceptionally beautiful and lucid mind.”

Paul Klee

Quote from Diaries III, 1911; as quoted by Enric Jardi, Paul Klee, Rizzoli Intl Pubns, 1991 - ISBN 0-8478-1343-6, p 12
In Autumn 1911 Klee made an acquaintance with August Macke and Kandinsky, and in winter he joined the editorial team of the almanac Der Blaue Reiter. After meeting Kandinsky in Munch, Klee recorded this.
1911 - 1914

Beauty , Feeling

“We [at the Bauhaus, in Dessau - where Klee was art teacher with Kandinsky ] construct and construct, and yet intuition still has its uses. Without it we can do a lot, but not everything... When intuition is joined to exact research it speeds the progress of exact research..”

Paul Klee

1921 - 1930
Source: 'Bauhaus prospectus 1929'; as quoted in Artists on Art, from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 444

Art , Teachers , Speed

“Simple motion strikes us as banal. The time element must be eliminated. Yesterday and tomorrow as simultaneous. In music, polyphony helped to some extent to satisfy this need. A quintet as in 'Don Giovanni' is closer to us than the epic motion in 'Tristan [und Isolde]'. Mozart and Bach are more modern than the [music of the] nineteenth century.”

Paul Klee

Quote (July 1917), # 1081, in The Diaries of Paul Klee, translation: Pierre B. Schneider, R. Y. Zachary and Max Knight; publisher, University of California Press, 1964
1916 - 1920

Music , Time , Help

“[I] launched a new offensive against the fortress of painting. First, white thinned out in linseed oil as a general base. Second, color the entire surface lightly by applying very large areas of different colors that swim into one other and that must remain free of any effect of chiaroscuro. Third, a drawing, independent of and substituting for the unformulated tonal values. Then, at the end, some bass notes to ward off flabbiness, not too dark, but colored bass notes. This is the style that connects drawing and the realm of color, a saving transfer of my fundamental graphic talent into the domain of painting”

Paul Klee

Quote (1911), Diary # 875; as cited by Francesco Mazzaferro, in 'The Diaries of Paul Klee Part Four', : Klee as an Expressionist and Constructivist Painter http://letteraturaartistica.blogspot.nl/2015/05/paul-klee-ev27.htmlparagraph
1911 - 1914

Color , Drawing , Painting

“I have a feeling that sooner or later I shall arrive at something legitimate, only I must begin, not with hypotheses, but with specific instances, no matter how minute. If I then succeed in distinguishing a clear structure, I get more from it than from a lofty imaginary construction. And the typical will automatically follow from a series of examples.”

Paul Klee

Quote (Bern, April 1902), as cited in Artists on Art, from the 14th – 20th centuries, ed. Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 442
1895 - 1902

Feeling

“Spring. All the things an artist must be: poet, explorer of nature, philosopher! And now I have become a bureaucrat as well as by compiling a large, precise catalogue of all my artistic productions ever since my childhood. I have left out only the school drawings, studies of nudes, etc., because they lack creative self-sufficiency.”

Paul Klee

Diary entry (Spring 1911), # 895, in The Diaries of Paul Klee, 1898-1918; University of California Press, 1968
1911 - 1914

School , Spring , Nature , Study

“The law that supports space - this should be the title appropriate to one of my future pictures!”

Paul Klee

Quote (1905), # 681, in The Diaries of Paul Klee, translation: Pierre B. Schneider, R. Y. Zachary and Max Knight; publisher, University of California Press, 1964
1903 - 1910

Law , Support , Future

“A tendency toward the abstract is inherent in linear expression: graphic imagery being confined to outlines has a fairy-like quality and at the same time can achieve great precision.”

Paul Klee

Section I
1916 - 1920, Creative Credo (1920)

Time

“Looking back at the end of the year created a little more serious mood than before. To bring children [his son de:Felix Klee] in the world is no trifling matter! Over the entire horizon, bluish, phosphorescent flashes of sheet shining.... In fact, I really do go out into the snow [near Munich] in all seriousness, station myself there, freeze, freeze stiff, but work. I accomplish little in comparison with the abundance around me, but I accomplish a great deal in comparison with the poverty and simplicity of a small bourgeois homestead.”

Paul Klee

Quote (End of 1908), in 'Diary III', The Diaries of Paul Klee, 1898-1918, translation: Pierre B. Schneider, R. Y. Zachary and Max Knight; publisher, University of California Press, 1968, p. 220
1903 - 1910

Children , World , Mood

“It is interesting to observe how real the object remains, in spite of all abstractions.”

Paul Klee

Statement of mid-1920's; as quoted in Abstract Art (1990) by Anna Moszynska, p. 100
1921 - 1930

“And what is the relationship of muscle to bone? Through its ability to contract or shorten itself, the muscle brings two bones into a new angular relationship.... The position of two bones toward each other must change if the muscle so decides.
Bones give support to the total organism; also when in motion.
Muscles have a higher function because they act beside each other.
One bends, the other stretches.
One bone alone achieves nothing.”

Paul Klee

I.10 B, p. 28
1921 - 1930, Pedagogical Sketch Book, (1925)

Support , Change

“Van Gogh is congenial to me, 'Vincent' in his letters. Perhaps nature does have something. There is no need, after all, to speak of the smell of earth; it has too peculiar a savor. The words we use to speak about it, I mean, have too peculair a savor. Too bad that the early Van Gogh was so fine a human being, but not so good as a painter, and that the later, wonderful artist is such a marked man. A mean should be found between these four points pf comparison: then, yes!”

Paul Klee

Quote (1908), # 808, in The Diaries of Paul Klee; University of California Press, 1964; as quoted by Francesco Mazzaferro, in 'The Diaries of Paul Klee - Part Three' : Klee as a Secessionist and a Neo-Impressionist Artist http://letteraturaartistica.blogspot.nl/2015/05/paul-klee-ev.html
1903 - 1910

Nature

“I am armed, I am not here, / I am in the depths, am far away … / I am far away … / I glow amidst dead.”

Paul Klee

Quote (1912), # 931, in The Diaries of Paul Klee, translation: Pierre B. Schneider, R. Y. Zachary and Max Knight; publisher, University of California Press, 1964
1911 - 1914

Dead

“Everything that used to be foreign to me, at the rational procedures in my profession, I now beging to resort to after all, from necessity, at least as a matter of experiment. Apparently I am becoming perfectly sober and small, perfectly unpoetic and unenthusiastic. I imagine a very small formal motif and try to execute it economically.”

Paul Klee

Quote (July 1902), # 425, in The Diaries of Paul Klee - 1898-1918, translation: Pierre B. Schneider, R. Y. Zachary and Max Knight; publisher, University of California Press, 1968
1895 - 1902

Imagination

“Reality and dream simultaneously, and myself makes a third in the party, completely at home here. This will be fine.”

Paul Klee

Diary-note, 7 April 1914; as quoted by June Taboroff, on 'AramcoWorld', May, June 1991 http://archive.aramcoworld.com/issue/199103/travels.in.tunisia.htm
1911 - 1914, Diary-notes from Tunisia' (1914)

Dreams , Home , Reality

“What does the artist create? Forms and spaces! How does he create them? In certain chosen proportions... O satire, you plague of intellectuals.”

Paul Klee

Quote (1905), # 599, in The Diaries of Paul Klee, translation: Pierre B. Schneider, R. Y. Zachary and Max Knight; publisher, University of California Press, 1964
1903 - 1910

“The harbor and city.... were behind us [Klee's first glimpse of Tunis], slightly hidden. First, we passed down a long canal. On shore, very close, our first Arabs. The sun has a dark power. The colorful clarity on shore full of promise. Macke too feels it. We both know that we shall work well here.”

Paul Klee

Diary-note, 7 April 1914; as quoted by June Taboroff, on 'AramcoWorld', May, June 1991 http://archive.aramcoworld.com/issue/199103/travels.in.tunisia.htm
1911 - 1914, Diary-notes from Tunisia' (1914)

Color , Feeling , Sun

“The longer a line, the more of the time element it contains. Distance is time whereas a surface is apprehended more in terms of the moment.”

Paul Klee

Exact Experiments in the Realm of Art (1927)
1921 - 1930

Time

“To emphasize only the beautiful seems to me to be like a mathematical system that only concerns itself with positive numbers.”

Paul Klee

Diary entry (March 1906), # 759, in The Diaries of Paul Klee, 1898-1918; University of California Press, 1968
1903 - 1910

Beauty , Mathematics

“I can dimly recollect Kandinsky and Weisgerber, who were fellow students of mine... Kandinsky was quiet and mixed the colours on his palette with the greatest diligence and, so it seemed to me, with a kind of studiousness, peering very closely at what he was doing.”

Paul Klee

Klee in a autobiographical text for Wilhelm Hausenstein, 1919; as quoted in Klee & Kandinsky, 2015 exhibition text – exposition, Lenbachhaus und Kunstbau Munich, from 21 October 2015 to 24 January 2016: on https://www.zpk.org/en/exhibitions/review_0/2015/klee-kandinsky-969.html
1916 - 1920

“Music, for me, is a love bewitched. / Fame as a painter? / Writer, modern poet? Bad joke. / So I have no calling, and loaf.”

Paul Klee

Quote (1899), # 67, in The Diaries of Paul Klee, translation: Pierre B. Schneider, R. Y. Zachary and Max Knight; publisher, University of California Press, 1964
1895 - 1902

Love , Music

“..(Then come the lovers of art / and contemplate the bleeding work from outside. / Then come the photographers. / "New art," it says in the newspaper the following day. / The learned journals / give it a name that ends in "ism").”

Paul Klee

Quote (1905), # 690, in The Diaries of Paul Klee, translation: Pierre B. Schneider, R. Y. Zachary and Max Knight; publisher, University of California Press, 1964
1903 - 1910

Art , Lovers , Learning

“I am God / So much of the divine / is heaped in me / that I cannot die.
My head burns to the point of bursting.
One of the worlds / hidden in it / wants to be born. / But now I must suffer / to bring it forth.”

Paul Klee

Quote (1901), # 155, in The Diaries of Paul Klee, translation: Pierre B. Schneider, R. Y. Zachary and Max Knight; publisher, University of California Press, 1964
1895 - 1902

God , World , Suffering

“The beautiful, which is perhaps inseparable from art, is not after all tied to the subject, but to the pictorial representation. In this way and in no other does art overcome the ugly without avoiding it.”

Paul Klee

Diary entry (December 1905), # 733, in The Diaries of Paul Klee, 1898-1918; University of California Press, 1968
1903 - 1910

Beauty , Art , Way

“Color is primarily Quality. Secondly, it is also Weight, for it has not only color value but also brilliance. Thirdly, it is Measure, for besides Quality and Weight, it has its limits, its area, and its extent, all of which may be measured.Tone value is primarily Weight, but in its extent and its boundaries, it is also Measure.Line, however, is solely Measure.”

Paul Klee

Quote from Klee's lecture 'On Modern Art', Kunstverein, Jena (26 January 1924), trans. Paul Findlay in Paul Klee: On Modern Art (London, 1948)
1921 - 1930

Color

“Thoughts about the art of portraiture. Some will not recognize the truthfulness of my mirror. Let them remember that I am not here to reflect the surface (this can be done by the photographic plate), but must penetrate inside. My mirror probes down to the heart. I write words on the forehead and around the corners of the mouth. My human faces are truer than the real ones.”

Paul Klee

Diary entry (1901), # 136, in The Diaries of Paul Klee, 1898-1918; University of California Press, 1964
1895 - 1902

Truth , Art , Heart

“My etchings have.... the mistake of being processed as images and to have at the same time the meaning of epigrams. It is the union of pure painting with pure graphics... From now onwards my task will be the division of art and graphics, and the full development of both fields. The pure art has already turned to impressionism and the graphics is going to do it.”

Paul Klee

Quote in a letter to his wife, 12 June, 1906; as cited in Paul Klee. Das Frühwerk 1883-1922, p. 50.
1903 - 1910

Art , Time , Painting

“Am I God? / I have accumulated so many great things in me! / My head aches to the point of bursting. / It has to hold an overview of power. / May you want (are you worthy of it?) / that it be born to you.”

Paul Klee

Quote (1905), # 690, in The Diaries of Paul Klee, translation: Pierre B. Schneider, R. Y. Zachary and Max Knight; publisher, University of California Press, 1964
1903 - 1910

God

“His [ Vincent van Gogh's] line is new and yet very old, and happily not a purely European affair. It is more a question of reform than of revolution.”

Paul Klee

Quote (1911), Diary # 899; as cited by Francesco Mazzaferro, in 'The Diaries of Paul Klee Part Four', : Klee as an Expressionist and Constructivist Painter http://letteraturaartistica.blogspot.nl/2015/05/paul-klee-ev27.html
speaking in positive terms of Van Gogh and his way of using the line in painting
1911 - 1914

Question

“.. I served Beauty by drawing her enemies.”

Paul Klee

Quote of Paul Klee, from 'Diaries I', 1901; as quoted in 'Klee & Kandinsky', 2015 exhibition text, Lenbachhaus und Kunstbau Munich, 2015-2016 https://www.zpk.org/en/exhibitions/review_0/2015/klee-kandinsky-969.html
on his caricatures and his satirical drawings Klee made then
1895 - 1902

Beauty , Drawing

“Bones are coordinated to form the skeleton.
Even at rest they depend on mutual support.
This is furnished by the ligaments.
Theirs is a secondary function; one could speak of a hierarchy of function.
The next step in motoric organization leads from bone to muscle. The tendon is the mediary between these two.”

Paul Klee

I.9 A The Natural organism of movement as kinetic will and kinetic execution (supra-material), p. 27
1921 - 1930, Pedagogical Sketch Book, (1925)

Support , Dependency

“The father of the arrow is the thought: how do I expand my reach? Over this river? This lake? That mountain?”

Paul Klee

IIII.37, The Arrow. p. 54
1921 - 1930, Pedagogical Sketch Book, (1925)

Mountain

“Already at the very beginning of the productive act, shortly after the initial motion to create, occurs the first counter motion, the initial movement of receptivity. This means:
the creator controls whether what he has produced so far is good.”

Paul Klee

I.13 Productive | Receptive, p. 33
1921 - 1930, Pedagogical Sketch Book, (1925)

“Pictures have their skeleton, muscles, and skin like human beings. One may speak of the specific anatomy of the picture. A picture representing 'a naked person' must not be created by the laws of human anatomy, but only by those of compositional anatomy. First one builds an armature on which the picture is to be constructed.”

Paul Klee

Quote (1908), # 840, in The Diaries of Paul Klee, translation: Pierre B. Schneider, R. Y. Zachary and Max Knight; publisher, University of California Press, 1964
1903 - 1910

Law , Personality

“Color has taken possession of me; no longer do I have to chase after it, I know that it has hold of me forever... Color and I are one. I am a painter.”

Paul Klee

Diary-note (Tunisia, 16 April 1914), # 926; as quoted by Suzanne Partsch in Klee (reissue), Benedikt Taschen, Cologne, 2007 - ISBN 978-3-8228-6361-9, p. 20
1911 - 1914, Diary-notes from Tunisia' (1914)

Color

“Towards the end of the month I prepared engravings; first, invented appropriate drawings. Not that I want to become a specialist now. But painting with its failures cries out for the relief of minor successes. Nowadays I am a very tired painter, but my skill as a draftsman holds [me] up.”

Paul Klee

Quote (1904), # 512, in The Diaries of Paul Klee, translation: Pierre B. Schneider, R. Y. Zachary and Max Knight; publisher, University of California Press, 1964
1903 - 1910

Failure , Success , Drawing , Painting

“Thoughts at the open window of the payroll department [in a military barrack - World War I. ]: That everything is transitory is merely a simile. Everything we see is a proposal, a possibility, an expedient. The real truth, to begin with, remains invisible beneath the surface. The colors that captivate us are not lighting, but light. The graphic universe consists of light and shadow. The diffused clarity of slightly overcast weather is richer in phenomena than a sunny day. A thin stratum of cloud just before the stars break through. It is difficult to catch and represent this, because the moment is so fleeting. It has to penetrate into our soul. The formal has to fuse with the Weltanschauung”

Paul Klee

world view
Quote (July 1917), # 1081, in The Diaries of Paul Klee, translation: Pierre B. Schneider, R. Y. Zachary and Max Knight; publisher, University of California Press, 1964
1916 - 1920

War , Truth , World , Color

“[commenting French Cubist art].. Trees are violated, humans become incapable of life; there is a coercion that leads to the un-recognazibility of the object, to a picture-puzzle. For here what counts is not a profane law, but a law of art.”

Paul Klee

Quote (April 1912); as cited in Kandinsky and Klee in Tunisia, Roger Benjamin & Cristina Ashjian; Univ of California Press, 2015, p. 106
In April 1912 Paul Klee spent 16 days with his wife Lily in Paris. They visited the exhibtion of the 'Salon des Independants' of 1912, where works were shown of Delaunay, Seurat and many Cubist works
1911 - 1914

Life , Law , Art , Tree

“As time passes I become more and more afraid of my growing love of music. I don’t understand myself. I play solo sonatas by Bach: next to them, what is Böcklin? It makes me smile.”

Paul Klee

Quote (November 1897), # 52, in The Diaries of Paul Klee, translation: Pierre B. Schneider, R. Y. Zachary and Max Knight; publisher, University of California Press, 1964
reflecting on his youth and on the uncertainty about the future of choice to make
1895 - 1902

Love , Smile , Music , Understanding