Word: klees
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...joke to the comic actor. A painter for 40 years, Zero had his first one-man show of more than 60 recent paintings and collages in Manhattan. "Let the paintings speak for themselves," he declared. And so they do, but in the accents of modern masters like Dubuffet, Klee and Miró. Zero's authentic voice can best be savored these days as he cavorts in a national touring company production of A Funny Thing Happened on the Way to the Forum. Currently: Valley Forge...
...imaginative characters. His line has a verve and sophistication which he has been learning from the best in "conventional" art for over thirty years. (The Inspector is his sixth book since 1945.) He has clearly learned a lot from Grosz's fat generals and Berlin prostitutes, from Paul Klee's wandering tactile line, and perhaps less noticeably, from the sketches of Picasso. The Inspector includes a number of collage drawings that resemble parodies of Cubist still lives -- tables overflowing with anonymous, fragmented objects -- that demonstrate this source particularly well...
Both featured artists, Peter Ackermann and Hermann Waldenburg, were born in Hitler's time and both fill their current work with images of life and renewal amid ruined concrete. Waldenburg's aquatints reach back to the last, best representative of German painting, Paul Klee, with their draftsman-like environments and constant use of plant forms that seemingly grow out of pure geometry. Tilting up in exaggerated perspective, the box-like shapes from which Waldenburg's plants spring combine planes of rough shading to suggest concrete...
...Like Klee's plant forms, Waldenburg's stay close to geometrical shape--and thus close to the ambiguous line between living and non-living--and are set in regular rows. The light which makes them grow is too diffuse and dull to be sunlight; the forms seem to be machined flat in a manner that is occasionally reminiscent of Purism and its lathed still-lives...
...washed over by pastel lights and costumes running together like dew dripping from blades of grass. The dancers paint a moving tableau, a soft flowing watercolor with occasional sharp lines that cut at the pastel mist recalling the surprise surreal of Rene Magrette's imagery, the playfulness of Paul Klee's animal compositions, and an accent of slithery, lurking evil. The opening scene contrasts the quiet curves and calm glow of a sun slowly appearing above the earth...