Word: klees
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...first one-man Münter show in the U.S.-44 paintings whose colors glow in bright chunks and whose landscapes shimmer under blazing skies. Gabriele is the sole surviving member of Germany's Blue Rider group, which included not only Kandinsky but Franz Marc and Paul Klee.* In spite of her bright palette, there is no gaiety in her canvases; they are intense, charged with emotion, and all a trifle sad-like the artist herself...
...girl named Else, who was a painter herself. The next year, in 1934, the two got married. Pedersen never saw any point in art schools: "They tie you. What you must learn is to master your own technique." He was strongly influenced by the childlike fantasies of Paul Klee and the emotion-soaked colors of Emile Nolde. Like Picasso, he went through "periods" keyed by colors. There were rose-colored paintings, followed by a long series of grey birds. Then his palette burst open, spilling out colors that glowed like stained glass. During the Nazi occupation, his colors faded...
...MODERNS, by Gaston Diehl (219 pp.; Crown; $10). Another survey of modern painting, with the usual fine color plates and the customary inescapable fault: such a book, of course, will be leafed through oftener than it is read, and leafing through a collection containing one Klee, one Dali, one Pollock, and so on, can lead only to ocular indigestion...
...paintings of Oscar Schlemmer, Herbert Bayer, Paul Klee, and others also reflect this mechanical trend, but it reaches perhaps its greatest extreme in the works of Laszlo Moholy-Nagy who completely eliminates the objective elements from his painting, retaining only geometric abstractions. Unlike most current abstract-expressionists, Moholy-Nagy shows a great amount of skill in juggling forms and colors to achieve a very definite (and intended) effect. In his "Composition A-18," the clever placing of several dotted lines directs a jumble of planes to recede from the viewer into a large white circle, and the whole melange tumbles...
...Gropius in 1923. "We perceive every form," he wrote, "as the embodiment of an idea, every piece of work as a manifestation of our innermost selves. Only work which is the product of inner compulsion can have spiritual meaning." The most familiar examples of this concept are Paul Klee's fantasies but, Feininger and, especially, Wassily Kandinsky submit to the same influence...