Word: klees
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...high Dada. The studies of El Lissitzky, Max Ernst, Moholy Nagy, Malewich and Hannah Hoch more often reflect a kind of experimentalism which hovers tenuously in the nether regions of design, just outside the gates of one muse or another. Every so often, of course, a Mondrian or a Klee comes along who makes something of it. Then cometh the rear guard which inevitably ends up, again, indebted to the theories and left with little else...
...Bauhaus. Paul Klee is an artist who needs no post-scripts or excuses. His touch may become a trifle too casual at times but it never loses its integrity. Its poetry is always there to dwarf the importance of titles and methods. In short, his work stands of its own strength. A comparison of Klee's work with a wall of Kandinskys opposite, is a course in aesthetics all by itself. The similarities involved are sufficiently tangible to have linked the names of Klee and Kandinsky in the public eye. The differences, however, are more significant. Klee is the depth...
...compliments to young Richard Diebenkorn for having had the courage to break with the "new academy of abstraction." I am getting bored by the still-growing multitude of poor imitators of the 40-year-old experiments by Kandinsky, Klee and Mondrian, who, while never reaching them, insist on calling themselves the avant-gardists of our time...
...hands made bits of her imaginary universe out of driftwood and scraps. She moved into New York at 18, studied under Kenneth Hayes Miller at the Art Students League, then went to Germany, where she worked (in 1931) with Painter Hans Hofmann. In 1940 Karl Nierendorf (who championed Paul Klee in the U.S.) discovered her, staged her first one-woman show at his gallery...
...ironic to note that Van Gogh, who is the spiritual founder of expressionism, appears strongest in retrospect, not for the emotion which once seemed so audacious but for the poetic discipline which controlled that emotion. Nothing highlights the situation more clearly than the early works of Paul Klee. The etchings Head of Menace and Virgin in a Tree are works of quality and excellent draughtsmanship, yet their overbearing concern for the histrionics of their subject matter works against them. Moreover, the later Klees in the exhibit avoid histrionics, as their subject matter is relegated to a whimsical leitmotif, subordinated...