Thursday, December 18, 2014

Going on line Klee – BBC

«Not a day without a line” – in the Pushkin Museum. Pushkin an exhibition of Paul Klee, the first in Russia, see the works of the artist and art theorist, whom the Nazis declared a “childish idiot».

Paul Klee, one of the major avant-garde of the twentieth century, is problematic to explain through monosyllabic definition or stilted analogy – he flew past all classifications, passing through it a dozen major directions of the century. He was called the progenitor of abstract expressionists. At the same time he wrote cubic initiation Picasso, rocky landscapes and almost decorative ornaments.

In his first exhibition in Moscow had been brought more than 150 graphic drawings, watercolors and paintings from the Zentrum Paul Klee in Bern – the main repository of his work and other collections in Switzerland.

The story of the artist is easiest to collect from a pair of three commonplaces subjects: studies at the Munich Academy and the first sample hand – still felt smack symbolism odnokrylye angels, forgetfulness, crying, laughing. Friendship with Wassily Kandinsky – both studied at the Franz von Stuck, but never met, come together only in 1911 after the first exhibition association “Blue Rider».

Travel Tunisia from which Klee write the famous phrase: “Color and I become one».

Since 1921, he has taught at the German School “Bauhaus”, meticulously writing theory of forms and explain the dependence of the line from the environment she dissects: hovering in a pink haze tightrope walker (“Over Paris”) can not be written as floundering in flower ornament fry (“The Magic Fish»).

The exhibition talk about Klee begins with series of engravings “Inventions” – his “first real work»,

rhyme which suddenly made away from the famous “crowned poets” in a laurel wreath and the “electric ghosts” with socket instead head.

These types of grotesque doll artist was making for his son.

In 1930 acrobats, jugglers and “rope-dancers” in his drawings – tiny schematic figures – Change “oppressed” and “senior guard.” In one 1933 Klee make nearly 250 sketches – it’s completely nervous, densely populated schedule consisting of a writhing snake lines.

Thin song of madness, to break through these pictures, especially loud sounds in his work later.

This was the artist’s response to the Nazis came to power, who announced his “childish idiot” raided and searched his studio.

On the legendary propaganda exhibition of degenerate art, which in 1937 toured Germany seized from museums “harmful” works of the modernists, please do as much as 17 of his works.

Prior to that already Klee was dismissed from the Dusseldorf Art Academy alleged “incompetence” and was forced to return to Switzerland.

Usually, the artist is compared with Pablo Picasso and Kandinsky, but she and the other analogy, of course, look stretch. Perhaps because of his childish, a little overwrought graphics lost against the background of their grand experiment. In his works, seek out “arrangement of music” – the influence of my mother and father-singer – music teacher, remember “squares and hooks” from poem by Arseny Tarkovsky dedicated to Klee.

In fact, your primitive graphic vocabulary he borrows from children, savages and crazy, fascinated by cave paintings and daubs of unsound mind.

By visual difficulty he sneaks through the confused lines and blots, design of random shapes.

Most of the graph resembles Klee computer circuit. Actual “meat” of which must be built art space in his drawings missing. In his place

comes line – a sharp and intermittent, according to the artist, who was born not out of a set of points, and the motion of a single.

The emergence and destruction of forms experienced the “here and now” and felt almost physically. Hence the interest in Klee circus: he explores the delicate balance, second to collapse – a tiny tightrope walker drawn into the abyss or the artist’s hand.

His dotted planned puppets on a string, and balancing rope dancers evoke sculpture melting before our eyes ” Walking Man “by Alberto Giacometti. From this image, it seems almost nothing left of the material: the image is born, distorted and crumbles in front of the audience.

In 1935, Klee ill and, driven by disease, by 1939, creating more than 1,250 works, which, as he wrote to his son, demanded the release of “freedom».

However, this figure does not think about the viewers and avoids dialogue with him – just as shedding its meaning of the word in the poems of avant-garde poets.

However, Klee, which is one of the first to enter into their composition letters, notes, arrows and numbers, it seems, did not seek to create a complete story. The plot in his figurative works substitutes set characters – not even the characters, and accidentally left behind traces, signs, because of which his work has never turned into pure abstraction and empty admiration form. Therefore, this exhibition should be viewed as a conversation about the possibilities of painting in the language of Klee – not only an artist but also a theoretician, who insisted on the product, growing like a tree, and chaos as “the most natural beginning».


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