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Journal articles on the topic 'Klee, Paul, Art'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Schmidt, Stefan W. "» ... eine kleine Reise in das Land der besseren Erkenntnis«." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 56, no. 2 (2011): 113–34. http://dx.doi.org/10.28937/1000106182.

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Paul Klee und der Begriff des bildnerischen Denkens Paul Klees Bedeutung im Bereich der Malerei ist unbestritten. Der Artikel versucht seine kunstpädagogischen Schriften, die überwiegend zur Zeit seiner Bauhauslehrtätigkeit entstanden sind, als einen Beitrag im Rahmen der Kunstwissenschaft ernst zu nehmen und sie als kunsttheoretische Schriften philosophisch fruchtbar zu machen. Dies geschieht in drei Schritten anhand der Begriffe des bildnerischen Denkens und der ästhetischen Erkenntnis. Im ersten Teil wird das bildnerische Denken anhand der Analyse der kunstpädagogischen Texte Klees als ein

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2

Silver, Richard M. "Paul Klee’s illness—a series of historical and clinical vignettes, part II." Journal of Scleroderma and Related Disorders 5, no. 1 (2019): 3–5. http://dx.doi.org/10.1177/2397198319851924.

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Viewing and analyzing fine art from a medical perspective increases our appreciation of the artist’s suffering and teaches an important lesson of the human aspects of medicine. Paul Klee (1879–1940), one of the most influential artists of the 20th century, died at the age of 60 from complications of systemic sclerosis (scleroderma). In this second, in a series of clinical vignettes, I discuss the musculoskeletal manifestations of systemic sclerosis and how they may have influenced the life and art of Paul Klee.

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3

Whitelaw, Mitchell. "The Abstract Organism: Towards a Prehistory for A-Life Art." Leonardo 34, no. 4 (2001): 345–48. http://dx.doi.org/10.1162/00240940152549302.

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The author examines historical precedents for contemporary art practice using artificial life, in particular in the work of Paul Klee and Kasimir Malevich. Similarities are identified between artificial life and the philosophical tradition of organicism; specific examples from Klee and Malevich indicate that those artists were engaged in a form of creative organicist thought that imagined the realization of living structures in artificial media.

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4

Varga, John. "Illness and art: the legacy of Paul Klee." Current Opinion in Rheumatology 16, no. 6 (2004): 714–17. http://dx.doi.org/10.1097/01.bor.0000144759.30154.84.

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5

Baracchi, Claudia. "Paul Klee: Trees and the Art of Life." Research in Phenomenology 43, no. 3 (2013): 340–65. http://dx.doi.org/10.1163/15691640-12341263.

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Abstract The artist understands his work as intimately connected with the life and symbolism of plants. Art, thus, demands an attunement to life’s elemental operations, the thrust “into dimensions far removed from the conscious process.” The first part of the present essay aims at recovering what is implied in the imagery of trees, delving into ancient archives of dormant collective memories and immemorial imaginal stratifications. The second and third parts, deploying the re-energized figure of the tree, explore the theme of the relation between art and life, indeed, what Klee calls the “art

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6

López, María del Rosario Acosta. "Tragic Representation: Paul Klee on Tragedy and Art." Research in Phenomenology 43, no. 3 (2013): 443–61. http://dx.doi.org/10.1163/15691640-12341269.

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Abstract This paper traces and examines the different connotations given to the notion of “tragedy” in Paul Klee’s thought. From his early reflections on, Klee relates this notion to an intermediate and conflictive condition that characterizes human existence—an existence that takes place between heaven and earth, between the ethereal and the earthly. This essay focuses on how the connotations Klee gives to tragedy in different moments of his reflections transform the way he conceives the work of art. Hence, I will attempt to show how Klee’s reflections relate the tragedy of human existence no

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7

Knight, Terry W. "Either/or → and." Environment and Planning B: Planning and Design 30, no. 3 (2003): 327–38. http://dx.doi.org/10.1068/b12927.

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The writings of Wassily Kandinsky and Paul Klee, Bauhaus theorists and pioneers of nonrepresentational art, are the framework for a discussion of contemporary issues in computational design. Kandinsky and Klee wrote of the many misguided dualisms in the art theory and pedagogy of their time. They sought to reconcile the seemingly mutually exclusive issues associated with abstraction in art. Some of these dualisms, and new ones, arise today in discussions of computational design. How and whether these dualisms can be reconciled in computational design are considered here.

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8

Brody, Marta Schneider. "Paul Klee: Art, Potential Space and the Transitional Process." Psychoanalytic Review 88, no. 3 (2001): 369–92. http://dx.doi.org/10.1521/prev.88.3.369.17685.

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9

Baumgartner, Michael. "Paul Klee. From Structural Analysis and Morphogenesis to Art." Research in Phenomenology 43, no. 3 (2013): 374–93. http://dx.doi.org/10.1163/15691640-12341265.

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Abstract This contribution illuminates the meaning of the systematic confrontation with nature in the artistic and art-theoretical thought of Paul Klee. Klee’s specific interest lay in the analysis of the morphological and structural principles of plants as well as in the study of the processes of growth and form in nature. A central element of this confrontation—which also manifested itself in nuanced ways in Klee’s teaching at the Bauhaus and in his artistic creations—is the reduction of the manifold natural world of appearance to structural and morphological principles which can be freely a

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10

Grandjean, Joan, and Mirl Redmann. "Etel Adnan — in Close Encounters with Paul Klee." Manazir Journal 1 (October 1, 2019): 83–93. http://dx.doi.org/10.36950/manazir.2019.1.1.6.

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Review of the symposium "The Arab Apocalypse. Art, Abstraction & Activism in the Middle East" (27—28 September 2018) organized by Silvia Naef & Nadia Radwan, and the exhibition "Etel Adnan" (15 June—7 October 2018) by Americano-Lebanese artist Etel Adnan, curated by Sébastien Delot & Fabienne Eggelhöfer, both of which took place at the Zentrum Paul Klee, Bern, Switzerland.

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11

MacMillan, Duncan. "“Taking a line for a walk”: the art of Paul Klee." Lancet 356, no. 9238 (2000): 1361. http://dx.doi.org/10.1016/s0140-6736(00)02831-2.

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12

Aronson, Jeffrey K., and Manoj Ramachandran. "The diagnosis of art: Scleroderma in Paul Klee – and Rembrandt's scholar?" Journal of the Royal Society of Medicine 103, no. 2 (2010): 70–71. http://dx.doi.org/10.1258/jrsm.2009.09k079.

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13

Osmond, Jonathan. "Review: Jenny Anger, Paul Klee and the Decorative in Modern Art." Art Book 12, no. 1 (2005): 31–32. http://dx.doi.org/10.1111/j.1467-8357.2005.00497.x.

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14

Watson, Stephen. "Gadamer, Aesthetic Modernism, and the Rehabilitation of Allegory: The Relevance of Paul Klee." Research in Phenomenology 34, no. 1 (2004): 45–72. http://dx.doi.org/10.1163/1569164042404617.

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Paul Klee's art found broad impact upon philosophers of varying commitments, including Hans-Georg Gadamer. Moreover, Klee himself was not only one of the most important artists of aesthetic modernism but one of its leading theoreticians, and much in his work, as in Gadamer's, originated in post-Kantian literary theory's explications of symbol and allegory. Indeed at one point in Truth and Method , Gadamer associates his project for a general "theory of hermeneutic experience" not only with Goethe's metaphysical account of the symbolic but equally with a "rehabilitation" of allegory. In this pa

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15

KAVURAN, Tamer, and Bayram Dede. "The roles of art educationalists to realize the aims of the art education: Bauhaus case." Global Journal of Arts Education 6, no. 4 (2017): 126–32. http://dx.doi.org/10.18844/gjae.v6i4.1836.

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AbstractTo achieve the objective of art education, (i.e. the training of art educationalists) workshops, technical equipment, and curriculum all play an important role. It is impossible to ascertain the objectives of art education if the instructor has insufficient knowledge. The reason why the Bauhaus school of design became globally recognized was due to its superior instructors. Among the instructors of the school, there were Johannes Itten, Josef Albers, Wassily Kandinsky, Paul Klee, Lyonel Feininger, Laszlo Moholy-Nagy, Oscar Schlemmer. They applied their revolutionary methods to the Bauh

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16

Fox, Christopher. "FROM ONE VESSEL TO ANOTHER: REFLECTIONS ON THE MUSIC OF NAOMI PINNOCK." Tempo 74, no. 294 (2020): 49–63. http://dx.doi.org/10.1017/s0040298220000388.

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AbstractThis article explores aspects of the work of the composer Naomi Pinnock, focusing on six works written between 2012 and 2019: String Quartet No. 2 (2012), The Writings of Jakob Br. (2013), Lines and spaces (2015), Music for Europe (2016), The field is woven (2018) and I am, I am (2019). Each work is analysed and the analyses contextualised within a discussion of the works by other artists that form a creative hinterland to Pinnock's music: respectively art from the Sammlung Prinzhorn, paintings by Paul Klee and Agnes Martin, and the poetry of Rachael Boast.

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17

Misita, Filip. "PAUL KLE – ZAVEŠTANjE ZA INTERDISCIPLINARNU BUDUĆNOST." Lipar, no. 71 (April 2020): 155–70. http://dx.doi.org/10.46793/lipar71.155m.

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The subject of this article is the analysis of Paul Klee’s artistic research methods, putting a particular focus on the interdisciplinary aspects of his entire artistic-theoretical-didactic work. The text brings the scope and diversity of Klee’s oeuvre closer and presents the methods based on different procedures of transposing painting and extracurricular concepts used to achieve fluidity in design. Starting from the avant-garde as a context, we set out the principle of rethinking the tradition present in all the efforts of the historical avant-garde, which has a unique function to produce a

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18

Albury, WR, and GM Weisz. "Paul Klee (1879–1940) as a tragic figure: What the artist learned from his illness." Journal of Medical Biography 25, no. 1 (2016): 42–52. http://dx.doi.org/10.1177/0967772015575886.

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Paul Klee was a major contributor to the development of modern European art. An ethnic German (although born in Switzerland) and a German citizen, he was persecuted by the Nazi government on political rather than racial grounds because of his allegedly “degenerate” artistic style. Dismissed from his teaching position, he emigrated to Switzerland in 1933; shortly afterward he became ill with systemic sclerosis and struggled with this condition for the remaining years of his life. Many publications have examined the effect of social rejection and illness on his art, but the present study conside

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19

Montazami, Morad. "Hamed Abdalla: Talismanic Modernism." Manazir Journal 1 (October 1, 2019): 30–44. http://dx.doi.org/10.36950/manazir.2019.1.1.3.

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Hamed Abdalla (1917–85) is a key figure in Egyptian modernism and postcolonial art history. His experimental inventions around the Arabic Letter reflected over thirty years of aesthetic debate in the region – often identified as related to the concept of Hurufiyya and its artistic network. Abdalla’s much more political and militant use of the Arabic Letter places him as almost as a unique case. By giving shape to an exiled modernism (Cairo, Copenhagen, Paris, Beirut…) his practice is paradoxically affected by his complex exchange with the West. For instance, with Paul Klee, whom he sees with d

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20

Klee, Alexander. "Paul Klee: The Painter and the Contribution of the Most Famous Scleroderma Patient to Art in the 20th Century." Journal of Scleroderma and Related Disorders 1, no. 1 (2016): 5–6. http://dx.doi.org/10.5301/jsrd.5000197.

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21

Klimova, Nataliya V. "Visualization of Music as a Means for the Contemporary Composition to Function: Edison Denisov, “Three Pictures by Paul Klee”." ICONI, no. 4 (2019): 130–41. http://dx.doi.org/10.33779/2658-4824.2019.4.130-141.

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This publication presents informational and analytic materials to a class in 7th grade of children’s music schools with commentaries and elucidations of the artistic style of German artist Paul Klee and the personal perspective of his art works by 20th century Russian composer. Examination is made of the questions of visualization as a means of impact on the perception of a contemporary classical musical composition. The central portion of the class material is taken up by an analysis of Klee’s works (the visual element) and the analysis of the musical score of Denisov’s cycle. The musical sco

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22

Cheetham, Mark A. "Jim M. Jordan, Paul Klee and Cubism. Princeton, Princeton University Press, 1984. xxiv + 233 pp., 81 illus., $77.00 (cloth) Andrew Kagan, Paul Klee/Art & Music. Ithaca, Cornell University Press, 1983. 176 pp., 82 illus., $34,50 (cloth)." RACAR : Revue d'art canadienne 12, no. 1 (1985): 83. http://dx.doi.org/10.7202/1073702ar.

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23

Bachofen, Blaise. "ESTHÉTIQUE DU ≪SIGNE PUR≫. ADORNO, MERLEAU-PONTY ET L’ART COMME RÉINVENTION INFINIE DU RÉEL." DANISH YEARBOOK OF PHILOSOPHY 46, no. 1 (2011): 7–24. http://dx.doi.org/10.1163/24689300_0460102.

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AESTHETICS OF “PURE SIGN” ADORNO, MERLEAU-PONTY AND ART AS AN ENDLESS REINVENTION OF REALITY Contemporary painting has often dealt with signs, graffiti, calligraphy, and more precisely with aesthetic objects that take the form and appearance of signs, but which do not belong to any existing alphabet. These are forms that imitate signs but are what we might call “pure signs”, i.e. signifiers without a signified. This form of artistic experimentation (of which Paul Klee is the precursor) has elicited parallel and convergent analyses by Merleau-Ponty and Adorno. These authors show the ways in whi

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24

Aichele, K. Porter, Ole Henrik Moe, and Karin v. Maur. "Paul Klee--Ex Musica Pictura." Art Journal 45, no. 4 (1985): 356. http://dx.doi.org/10.2307/776813.

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25

Danto, Isabelle. "Paul Klee en mouvement." Esprit Mars-Avril, no. 3 (2016): 291. http://dx.doi.org/10.3917/espri.1603.0291.

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26

Scott, Andrew. ""I See the Fretboard in Diagrams": An Examination of the Improvisatory Style of Herbert Lawrence "Sonny" Greenwich." Canadian University Music Review 24, no. 1 (2013): 62–78. http://dx.doi.org/10.7202/1014671ar.

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In this article, the author examines the improvisatory style of jazz musician Herbert Lawrence "Sonny" Greenwich. While numerous extra-musical sources inform the guitarist's performances, the cubist paintings of Paul Klee are particularly meaningful. Through transcription, analysis and interview, the author demonstrates that fretboard "diagrams"—which Greenwich suggests originate from Klee—act in a threefold manner. First, they afford Greenwich a personal way of discussing his craft, second they offer a formulaic and perceptual strategy for traversing various harmonic terrains and third these

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27

Brown, Maurice, Rainer Crone, and Joseph Leo Koerner. "Paul Klee: Legends of the Sign." Journal of Aesthetic Education 26, no. 3 (1992): 120. http://dx.doi.org/10.2307/3333024.

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28

Aichele, K. Porter. "Paul Klee and the Energetics-Atomistics Controversy." Leonardo 26, no. 4 (1993): 309. http://dx.doi.org/10.2307/1575918.

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29

Tamás, Meggyesi. "Paul Klee Akinek a művészete nem a láthatót adja vissza, hanem láthatóvá tesz." Építés - Építészettudomány 48, no. 1-2 (2020): 19–25. http://dx.doi.org/10.1556/096.2019.013.

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Paul Klee életműve szorosan kötődik az absztrakt művészet kialakulásához. Művészete és hatása is messze túlmutat a Bauhauson, ő a modernizmus spirituális hagyományának képviselője. Nem a látványban, hanem a keletkezésben, a genezisben fedezte fel a művészet gyökerét. Képein a tudat fejlődésének különböző korszakai, így az archaikus, a mágikus, a mitikus és a mentális hagyományok egyidejű jelenléte figyelhető meg: ez magyarázza az alkotások tematikájának rendkívüli változatosságát. Képei rokonságot mutatnak a gyerekrajzokkal, művészete sok tekintetben rokon Bartók zenéjével. Egyetemességre hajl

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30

Zhang, Kang, and Hanqing Zhao. "Modelling and generating abstract images of Paul Klee style." International Journal of Arts and Technology 11, no. 4 (2019): 380. http://dx.doi.org/10.1504/ijart.2019.10025036.

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31

Zhao, Hanqing, and Kang Zhang. "Modelling and generating abstract images of Paul Klee style." International Journal of Arts and Technology 11, no. 4 (2019): 380. http://dx.doi.org/10.1504/ijart.2019.103490.

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32

Wyman, Sarah. "How Paul Klee and Frank O'Hara used painted image and printed word to signify worlds in motion." Word & Image 26, no. 1 (2009): 40–51. http://dx.doi.org/10.1080/02666280902717254.

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33

Bridge, Helen. "Book Review: Paul Klee, Poet/Painter. By K. Porter Aichele. Rochester, NY and Woodbridge: Camden House, 2006. Pp. x + 225. £45.00." Journal of European Studies 37, no. 4 (2007): 430–31. http://dx.doi.org/10.1177/00472441070370040515.

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34

"Paul Klee: the Berggruen Klee Collection in the Metropolitan Museum of Art." Choice Reviews Online 26, no. 05 (1989): 26–2552. http://dx.doi.org/10.5860/choice.26-2552.

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35

"Paul Klee: philosophical vision: from nature to art." Choice Reviews Online 50, no. 11 (2013): 50–5994. http://dx.doi.org/10.5860/choice.50-5994.

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36

Eakle, Jonathan, and Erin Bailey. "Playing Baroque Lines through a Museum Landscape with Deleuze, Guattari, and Klee." Qualitative Inquiry, July 23, 2020, 107780042094104. http://dx.doi.org/10.1177/1077800420941046.

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This article uses concepts and ontologies drawn from Deleuze and Guattari by assuming a complex of lines inspired by the paintings of Paul Klee in an art museum show. The post-qualitative approach is by way of Baroque mechanics and is comprised of three types of lines that convey the events: crack lines, break lines, and lines of escape (or leakage). An intent is to show how philosophies, art, and life merge with lines of animals, colors, and musical refrains during and beyond the Klee exhibition.

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37

Auther, Elissa. "Elissa Auther. Review of "Paul Klee and the Decorative in Modern Art" by Jenny Anger." caa.reviews, March 8, 2006. http://dx.doi.org/10.3202/caa.reviews.2006.24.

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38

Snoch-Pawłowska, Alicja. "Materia mystica. Próba introspekcji w kolorach złota i czerni* / Materia Mystica. An Introspection in Black and Gold." Annales UMCS, Artes 12, no. 2 (2014). http://dx.doi.org/10.1515/umcsart-2015-0008.

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AbstractThe article is an attempt to combine reflection on the mystical side of artistic activity with the author’s self-comment on her creative work in graphic art. The discourse shows multi-aspectual thoughts on the secret of the act of creation and the matter itself that serves art, based on the philosophical background of different religious, cultural and worldview traditions; it also touches upon the sphere of self-cognition, symbolism, and transcendence. The author’s narrative is accompanied by the thoughts of inter alia William Blake, Samuel Coleridge, Stanisław Fijałkowski, Hildegard o

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39

Emrali, Refa. "Surrealist inheritance in drawing." Global Journal on Humanities and Social Sciences, February 19, 2016. http://dx.doi.org/10.18844/gjhss.v0i0.291.

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Sequential movements in history of art have led to revolutions during the times they originated. Thereafter, they maintained their existence in work of art with their indications. These heritages artists have acquired take them away from their pasts, bring them to present, and at this very point where past and present intersect, enable them to view future. Drawing is the origin of creative practice in all plastic arts, from painting to architecture. Artistic contemplation begins with nature we are part of and a familiar object close by. Examining entity and life-drawing teaches us how to obser

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40

Trofimova, Evija, and Sophie Nicholls. "On Walking and Thinking: Two Walks across the Page." M/C Journal 21, no. 4 (2018). http://dx.doi.org/10.5204/mcj.1450.

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IntroductionTwo writers, stuck in our university offices, decide to take our thoughts “for a walk” across the page. Writing from Middlesbrough, United Kingdom, and Auckland, New Zealand, we are separated by 18,000 kilometres and 11 hours, and yet here, on the page, our paths meet. How does walking, imaginary or real, affect our thinking? How do the environments through which we move, and the things we see along the way, influence our writing? What role do rhythm and pace play in the process? We invite you to join us on two short walks that reflect on our shared challenges as writers from two d

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41

Holleran, Samuel. "Better in Pictures." M/C Journal 24, no. 4 (2021). http://dx.doi.org/10.5204/mcj.2810.

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While the term “visual literacy” has grown in popularity in the last 50 years, its meaning remains nebulous. It is described variously as: a vehicle for aesthetic appreciation, a means of defence against visual manipulation, a sorting mechanism for an increasingly data-saturated age, and a prerequisite to civic inclusion (Fransecky 23; Messaris 181; McTigue and Flowers 580). Scholars have written extensively about the first three subjects but there has been less research on how visual literacy frames civic life and how it might help the public as a tool to address disadvantage and assist in re

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Highmore, Ben. "Listlessness in the Archive." M/C Journal 15, no. 5 (2012). http://dx.doi.org/10.5204/mcj.546.

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1. Make a list of things to do2. Copy list of things left undone from previous list3. Add items to list of new things needing to be done4. Add some of the things already done from previous list and immediately cross off so as to put off the feeling of an interminable list of never accomplishable tasks5. Finish writing list and sit back feeling an overwhelming sense of listlessnessIt started so well. Get up: make list: get on. But lists can breed listlessness. It can’t always be helped. The word “list” referring to a sequence of items comes from the Italian and French words for “strip”—as in a

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