Paul Klee: Work

“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

Star , Nature

“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

Way

“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

“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

“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)

“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

“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

“..(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

“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)

Art , Travel , Mood , Nature

“It is a great difficulty and great necessity to have to start with the smallest. I want to be as though new-born, knowing nothing, absolutely nothing, about Europe; ignoring poets and fashions, to be almost primitive. Then I want to do something very modest; to work out by myself a tiny, formal motive, one that my pencil; will be able to hold without any technique. One favorable moment is enough. The little thing is easily and concisely set down. It's already done! It was a tiny but real affair, and someday, through the repetition of such small but original deeds, there will come one work upon which I can really build.”

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. 442
1895 - 1902

Motivation , Fashion

“In fact I am beginning to see a way to provide a place for my line. I am at last finding my way out of the dead-end of ornament where I found myself one day in 1907! With new strength from my naturalistic études [studies], I may dare to give form to enter my prime real of psychic improvisation again. Bound only very indirectly to an impression of nature, I may again dare to give form to what burdens the soul. To note experiences that can turn themselves into linear compositions even in the blackest night. Here a new creative possibility has long since been awaiting me, which only my frustration resulting from isolation interfered with in the past. Working in this way, my real personality will express itself, will be able to emancipate itself into the greatest freedom.”

Paul Klee

Quote (1908), # 840, 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

Way , Soul , Nature , Study

“These are primitive beginnings in art, such as one usually finds in ethnographic collections or at home in one's nursery. Do not laugh, reader! Children also have artistic ability, and there is wisdom in their having it! The more helpless they are, the more instructive are the examples they furnish us; and they must be preserved from corruption at an early age. Parallel phenomena are provided by the works of the mentally diseased; neither childish behaviour nor madness are insulting words here, as they commonly are. All this is to be taken very seriously, more seriously than all the public galleries, when it comes to reforming today's art.”

Paul Klee

Diary entry (January 1912), # 905, quoting his "Munich Art Letter" in the journal Die Alpen
1911 - 1914

Wisdom , Children , Age , Disease

“The work grows "stone upon stone" (additive) or
The block is hewn "chip from chip" (subtractive)
Both processes, building and reducing, are time bound.”

Paul Klee

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

Time

“another and longer variant: I now abandon work. It penetrated so deeply and so gently into me, I feel it and it gives me confidence in myself without effort. Color possesses me. I don’t have to pursue it. It will possess me always, I know it. That is the meaning of this happy hour: Colour and I are one. I am a painter.”

Paul Klee

Quote (Tunisia, 16 April 1914), # 926, in: The Diaries of Paul Klee, 1898-1918, transl. Pierre B. Schneider, R.Y. Zachary and Max Knight; Berkeley and Los Angeles, University of California Press, 1964
1911 - 1914, Diary-notes from Tunisia' (1914)

Color , Feeling , Confidence , Effort

“The pictorial work was born of movement, is itself recorded movement, and is assimilated through movement (eye muscles).”

Paul Klee

Section IV
1916 - 1920, Creative Credo (1920)

“The work as human action (genesis) is productive as well as receptive. It is continuity.”

Paul Klee

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

“Graphic work as the expressive movement of the hand holding the recording pencil.... is so fundamentally different from dealing with tone and color that one can use this technique quite well in the dark, even in the blackest night. On the other hand, tone (movement from light to dark) presupposes some light, and color presupposes a great deal of light.”

Paul Klee

Quote (1912), # 928, in The Diaries of Paul Klee, translation: Pierre B. Schneider, R. Y. Zachary and Max Knight; publisher, University of California Press, 1964
1911 - 1914

Color , Light , Night

“When looking at any significant work of art, remember that a more significant one probably has had to be sacrificed.”

Paul Klee

Diary entry (December 1904), # 583, in The Diaries of Paul Klee, 1898-1918; University of California Press, 1968
1903 - 1910

Art

“Everything vanishes around me, and works are born as if out of the void. Ripe, graphic fruits fall off. My hand has become the obedient instrument of a remote will.”

Paul Klee

Diary entry (January/February 1918), # 1104, The Diaries of Paul Klee, 1898-1918 (p. 387)
1916 - 1920