It's no accident that almost all of the artists on the leading edge of early 20th-century modernist artwork have been poets in addition to painters. Paul Klee (1879-1940) was once between them. identified this day nearly solely as a visible artist, he used to be additionally a poet who experimented throughout a number of poetic varieties. In 1901, whereas nonetheless vacillating among a profession as a painter and one as a poet, Klee anticipated he could prove expressing himself in the course of the be aware, "the maximum kind of art." this primary scholarly monograph dedicated to Klee's poetry proposes that he lived as much as that prediction. It considers poems he pointed out as such and visible pictures which are poetic of their compositional ideas, metaphorical imagery, and linear buildings. It offers chosen examples of Klee's poetry in addition to English translations that catch the spirit and literal that means of the German originals. It locations the poems and similar photographs in the spectrum of up to date poetic perform, revealing that Klee matched wits with Christian Morgenstern, rose to the provocations of Kurt Schwitters, and gave new shape to the Surrealists' "exquisite corpses." Paul Klee, Poet/Painter is a case research within the reciprocity of poetry and portray in early modernist perform. It introduces a little-known aspect of Klee's artistic task and re-evaluates his contributions to a modernist aesthetic. Kathryn Porter Aichele is affiliate Professor within the paintings division on the college of North Carolina at Greensboro.
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Extra resources for Paul Klee, Poet/Painter (Studies in German Literature Linguistics and Culture)
A 1918 variation of this e-book is within the Klee library. a number of students hyperlink Klee’s theories to this e-book. See Carol Ann Lees, “Klee and Worringer: non-compulsory Affinities in a classy Partnership” (M. A. thesis, McGill college, 1991). See additionally Jenny Anger, Paul Klee and the ornamental in glossy paintings (New York: Cambridge UP, 2004), 25–27; hereafter stated as Klee and the ornamental. 17 Wassily Kandinsky, at the religious in paintings, ed. and trans. Hilla Rebay (New York: Solomon R. Guggenheim beginning, 1946), forty seven, 54–55, 88; Über das Geistige in der Kunst, with an introd. by way of Max invoice (Bern: Benteli, 1952), sixty nine, 78–79, 127. For Worringer’s impression on either Kandinsky and Klee, see Mark Roskill, Klee, Kandinsky, and the concept in their Time: A serious standpoint (Urbana: U of Illinois P, 1992), 14; hereafter pointed out as Klee, Kandinsky. 18 For an research of Klee’s references to strength, see my essay “Paul Klee and the Energetics-Atomistics Controversy,” Leonardo 26 (1993): 311. 19 Many students have written greatly approximately Klee’s early landscapes. See, e. g. , Franciscono, Klee, 24–31, and Glaesemer, coloured Works, 12–23. For reproductions of the works brought up during this paragraph, see the next volumes of raisonné: untitled monitor, 1:170; Well-Tended woodland direction, 1:289; Tree covered road, 1:261; pink Church and White Panel, 1:419; homes within the Outskirts, 2:95. 20 Tagebücher #951, 1915, 365 (Diaries, 313). For an in depth research of Klee’s idea of Romanticism, see Glaesemer, “Klee and German Romanticism,” 65–81. A POETIC-PERSONAL inspiration OF panorama 117 21 Linda Hutcheon, A conception of Parody: the lessons of Twentieth-Century paintings varieties (New York: Methuen, 1985), 1–29; hereafter pointed out as conception of Parody. 22 Goethe’s critique, contained in an 1826 letter to F. Förster, is mentioned in William Vaughan, German Romantic portray (New Haven: Yale UP, 1980), 137. 23 Vaughan, German Romantic portray, 133, 154–56. 24 Ramdohr, “Über ein zum Altarblatte bestimmtes Landschaftsgemälde,” 147. 25 Hutcheon, idea of Parody, 6. even supposing now not within the spirit of parody, Glaesemer compares Klee’s Mural from the Temple of Longing “Over There” (Wandbild aus dem Tempel der Sehnsucht “dorthin,” 1922/30) with Friedrich’s Wanderer over a Sea of Fog, c. 1818 (“Klee and German Romanticism,” 67–69). 26 For reproductions of those works, see the next volumes within the Catalogue raisonné: The Hanged Ones, 2:85; Gallows Humor, 3:45. 27 Hutcheon introduces this idea in concept of Parody (14), even if she makes use of examples except these stated right here. Pound student Gail McDonald of the collage of North Carolina Greensboro educated me that Pound further one other layer of parodic coding in writing an opera entitled Le testomony de Villon. 28 Morgenstern, Galgenlieder, forty-one. Translation through Fritz Janschka. I back cite the replica within the Klee library, during which this poem, like others, is marked with a purple ‘X’ subsequent to the identify. 29 On references to Klee’s narrative of technique, which I examine to the method narratives of latest writers, see the index to my booklet Klee’s Pictorial Writing, 242.