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Journal articles on the topic 'Paul Klee'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 June 2025

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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 ästhetischer Erkenntnisprozess herausgearbeitet. Im zweiten werden die Betrachtungen zum bildnerischen Denken über Klee hinaus auf die Problematik moderner bzw. zeitgenössischer Kunst ausgedehnt. Im letzten Teil werden dann die Ergebnisse exemplarisch an zwei Bildern Klees ausgewiesen.<br><br>Paul Klee’s significance for painting is undisputed. This article argues that Klee’s theoretical writings, especially those written during his time at the Bauhaus, present a seminal contribution to aesthetics. The argument will proceed in three steps, using the notions of generative thinking and aesthetic cognition: First, the notion of generative thinking will be outlined as a process of aesthetic cognition on the basis of an analysis of Klee’s theoretical writings. The second step extends the inquiry beyond Klee and considers problems of contemporary art. Finally, the results will be established by discussing two exemplary paintings by Klee.

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2

Parrott, A. C. "Aesthetic Responses to a Series of Paintings by Paul Klee." Perceptual and Motor Skills 69, no. 1 (1989): 339–48. http://dx.doi.org/10.2466/pms.1989.69.1.339.

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The effects of exposure to a series of colour slides of paintings by Paul Klee were assessed with 69 nonexpert subjects. All subjects viewed the same 2 paintings by Klee while the other 10 paintings were varied between groups. The control group viewed paintings by 10 different artists (da Vinci, Picasso, Rubens, Dali). The first experimental group viewed 10 different paintings by Klee while the second experimental group saw 3 Klees in close detail. Differences in response to the 2 Klees seen by every group comprised the empirical data. The experimental groups produced higher ratings on questions of painting style; it was judged significantly more ‘clear’ and ‘representational’ in comparison with control group scores. Emotional expression was also significantly affected, but ratings of liking the painting were not generally changed. The effects of familiarity depend upon the nature of the aesthetic response being evaluated. Familiarity breeds understanding and perhaps comfort, but not increased interest.

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3

Castro, Rosana Costa Ramalho de. "O pensamento criativo de Paul Klee: arte e música na constituição da Teoria da Forma." Per Musi, no. 21 (2010): 07–18. http://dx.doi.org/10.1590/s1517-75992010000100002.

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Estudo sobre a Teoria da Forma concebida no início do século XX pelo artista plástico Paul Klee e publicado no livro O Pensamento Criativo (KLEE, 1920). A Teoria da Forma de Paul Klee é uma demonstração do pensamento artístico que adota pressupostos formais, previamente estabelecidos para resultar na prática da representação artística. Klee identificou as relações formais entre a música e as artes visuais, apresentando conexões entre a linha melódica e a linha no desenho; o ritmo e as seqüências de módulos e sub-módulos; os tempos dos compassos e as divisões da pintura; a métrica da música e a modulação da forma e da cor nas artes visuais. Klee também apresentou suas experiências com superposição de cores e texturas para representar visualmente a polifonia. A Teoria da Forma de Paul Klee é um exemplo de estudo que pressupõe modelos formais para a elaboração artística e projetual.

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4

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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5

Koepsell, Thomas D. "Paul Klee (1879-1940)." Archives of Pediatrics & Adolescent Medicine 162, no. 10 (2008): 911. http://dx.doi.org/10.1001/archpedi.162.10.911.

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6

Eggelhöfer, Fabienne. "Etel Adnan Meets Paul Klee." Manazir Journal 1 (October 1, 2019): 11–18. http://dx.doi.org/10.36950/manazir.2019.1.1.1.

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7

Paradis, Annie. "À l’écoute de Paul Klee." Terrain, no. 53 (September 3, 2009): 28–47. http://dx.doi.org/10.4000/terrain.13761.

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8

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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9

Sampaio-Barros, Percival D., and João Francisco Marques Neto. "Paul Klee, um artista esclerodérmico." Revista Brasileira de Reumatologia 44, no. 1 (2004): 70. http://dx.doi.org/10.1590/s0482-50042004000100012.

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10

Osborne, R. "Paul Klee: Imagery and Imagination." Journal of Photographic Science 42, no. 3 (1994): 91. http://dx.doi.org/10.1080/00223638.1994.11738579.

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11

Samuels, Peggy. "Elizabeth Bishop and Paul Klee." Modernism/modernity 14, no. 3 (2007): 543–68. http://dx.doi.org/10.1353/mod.2007.0073.

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12

Aichele, K. Porter. "Paul Klee—Ex Musica Pictura." Art Journal 45, no. 4 (1985): 356–58. http://dx.doi.org/10.1080/00043249.1985.10792326.

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13

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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14

Martínez V, Sergio. "Deleuze, color y cosmos-Klee." Trans/Form/Ação 41, no. 1 (2018): 223–48. http://dx.doi.org/10.1590/s0101-31732018000100011.

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Resumen: En este trabajo buscamos proponer una teoría del color de inspiración deleuzeana, esto es, propondremos una teoría que atenderá al color en cuanto multiplicidad y acontecimiento. Para ello, ensayaremos un recorrido a través de ciertos pasajes deleuzeanos que nos permitirán avanzar en dicha propuesta y llevarla al territorio artístico para establecer una interferencia que implicará variar la dirección de nuestro trabajo al proponer un diálogo con Paul Klee. En definitiva, intentaremos desarrollar las siguientes preguntas: ¿Cómo pensar una teoría del color de inspiración deleuzeana? ¿Cómo llevarla al terreno artístico? ¿Cómo concebir su relación con un cosmos-Klee? Y esto, para intentar establecer a través de una conversación que podría sostenerse con la obra de Paul Klee otra perspectiva de trabajo en torno a la obra de Gilles Deleuze.

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15

Meggyesi, Tamás. "Paul Klee and the spiritual tradition." Symmetry: Culture and Science 30, no. 4 (2019): 331–38. http://dx.doi.org/10.26830/symmetry_2019_4_331.

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16

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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17

Brody, Marta Schneider. "Paul Klee in the Wizard's Kitchen." Psychoanalytic Review 91, no. 3 (2004): 395–422. http://dx.doi.org/10.1521/prev.91.3.395.38301.

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18

Flenniken, Kathleen. "Memory of a Paul Klee Painting." Prairie Schooner 80, no. 3 (2006): 133. http://dx.doi.org/10.1353/psg.2006.0168.

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19

Caci, Massimo. "C. G. Jung et Paul Klee." Cahiers jungiens de psychanalyse N° 96, no. 3 (1999): 7–16. http://dx.doi.org/10.3917/cjung.096.0007.

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20

Radonjic, Aleksandar. "The Heartening Resilience of Paul Klee." American Journal of Medicine 132, no. 12 (2019): 1484–85. http://dx.doi.org/10.1016/j.amjmed.2019.05.051.

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21

Lang, Robert, and Volker Schmid. "Abgehängte Fassaden im Zentrum Paul Klee." Stahlbau 73, no. 7 (2004): 468–74. http://dx.doi.org/10.1002/stab.200490129.

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22

Seubold, Günter, Beatriz Bernal, and Margitta Freund. "Las notas sobre Klee heredadas de Heidegger." Estudios de Filosofía, no. 47 (January 13, 2013): 177–87. http://dx.doi.org/10.17533/udea.ef.16658.

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Seubold presenta el contenido de unas notas fragmentarias, no fechadas por Heidegger, sobre Paul Klee, pero que según él, pueden inscribirse hacia 1956, por lo cual sugiere que deben ser leídas a la luz de su filosofía tardía. En este ensayo, Seubold presenta algunos textos de Paul Klee citados por Heidegger, también se refiere a las obras del pintor suizo que más causaron impresión en el filósofo, y además, ofrece algunas interpretaciones del mismo Heidegger sobre el carácter metafísico del arte occidental, exponiendo la necesidad de experimentar un cambio del arte. Heidegger se pregunta si las obras del arte moderno todavía pueden ser denominadas “obras”, o si éstas son más bien productos de la planificación técnico-científica. Con todo, a la concepción tradicional del arte como “imagen”, propone asumirla a partir de la relación mirada atenta y acaecimiento-apropiador (Ereignis), haciendo referencia a la obra de Cézanne, de Paul Klee y al arte asiático oriental donde, en su concepto, tiene lugar una transformación de la esencia del arte.

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23

Campos, Jessé Pinto, and Gilcilene Dias Da Costa. "Paul Klee e as experimentações por uma arte menor na educação." Observatorio de la Economía Latinoamericana 21, no. 03 (2023): 1364–82. http://dx.doi.org/10.55905/oelv21n3-011.

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O artigo enseja cartografar as linhas de uma arte menor através dos biografemas experimentados por Paul Klee. Nesse traço biografemático mergulhamos nos blocos de infância de Klee pelo qual versejamos as matérias sensíveis de uma vida nômade, tendo o cuidado de não compor uma linha administrada do tempo, e sim uma linha de vida que transborda as singularidades de um viver pelos afetos de uma arte em livre criação. Destarte, cartografamos as pistas de uma arte menor por um viés bibliográfico pelo qual nos debruçamos entre os “Diários” (1990) e as obras de Paul Klee, bem com alguns intercessores Deleuze e Guattari (2015, 1999, 2010, 2016), Corazza (2020), Costa (2008, 2010) e entre outros. Em linhas finais, desenhamos uma arte menor em seu tom minoritário de resistência em que as transgressões são sua melodia de criação e experimentação, haja vista que dança entre as matérias sensíveis dos afectos e perceptos que uma arte menor emana a educação.

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24

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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25

Martínez V., Sergio. "Línea y color. Acerca de la relación entre arte y pensamiento en Paul Klee." Cartaphilus, no. 20 (April 7, 2023): 181–217. http://dx.doi.org/10.6018/cartaphilus.521981.

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In this work we seek to inquire the relationship between art and thought in Paul Klee. We think that this relationship is related to the question of an image of creation as genesis. To attend this genesis, we will consider the work of art as the fundamental experience to sense and to think about it. Its in this way that the relationship between line and color is the primary experience that demand us to attempt to ask about the relationship between art and thought in Klee. The risk of the thought-in-image of the swiss-german artist, by seeking for a genesis, is that compromises a cosmological moment. While we consider this, we will introduce an elective affinity between Klee and a philosophical-aesthetic tradition, that its roots are in Kant. This perhaps could help us to understand what is at question in the thought-in-image of Klee. En este trabajo buscamos pesquisar la relación entre arte y pensamiento en Paul Klee. Creemos que esta relación está vinculada a la pregunta en torno a una imagen esencial de la creación como génesis. Para sentir y pensar esta génesis, consideraremos fundamental la experiencia de la obra de arte. Es de este modo que la relación entre línea y color nos demanda preguntar por la relación entre arte y pensamiento. En tanto que el riesgo del pensamiento-en-imagen del artista suizo-alemán se halla en lo que compromete: un momento cosmogenético. Al considerarlo introduciremos una afinidad electiva entre Klee y una tradición estético-filosófica cuyas raíces se hallan en Kant, en la medida en que ella nos ayudará a meditar lo que está en cuestión en su pensamiento-en-imagen.

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26

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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27

Maskarinec, Malika. "Paul Klee and the genesis of form." Word & Image 32, no. 2 (2016): 207–17. http://dx.doi.org/10.1080/02666286.2016.1154767.

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28

Cahoon, L. "BIOMEDICAL RESEARCH: Paul Klee, a Tragic Metamorphosis." Science 322, no. 5902 (2008): 669. http://dx.doi.org/10.1126/science.322.5902.669.

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29

Agaesse, Céline, Claire Cherel, Alexis Delestre, et al. "Esquisses pédagogiques Paul Klee, 1925. Une recréation." Sciences du Design 8, no. 2 (2018): 22. http://dx.doi.org/10.3917/sdd.008.0022.

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30

Carabaño Aguado, I. "Busto de un niño: Paul Klee, 1933." Pediatría Atención Primaria 15, no. 59 (2013): 287–88. http://dx.doi.org/10.4321/s1139-76322013000400021.

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31

Assumpção, Gabriel Almeida. "A pintura abstrata e Schelling: atravessar a “pele da natureza” [Abstract painting and Schelling: crossing "Nature's skin"]." Princípios: Revista de Filosofia (UFRN) 24, no. 45 (2018): 59. http://dx.doi.org/10.21680/1983-2109.2017v24n45id11877.

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A filosofia das artes plásticas de F. W. J. Schelling (1775-1845) é enraizada em sua filosofia da natureza, seja no postulado da natureza como produtividade, seja nos conceitos de aconsciente e desaceleração. O paralelismo entre produtividade da natureza e criação artística é base, para Schelling, de uma proposta de mímesis que emule a natureza não como mero produto passivo e inerte que se reproduz com fidelidade extrema, mas como força produtora, expressa pela imaginação do artista em seu trabalho de transformar a matéria. Nessa via, intérpretes como Beierwaltes, Frank e Schuback notaram afinidades entre as concepções schellinguianas e os escritos de pintores abstratos, especialmente Paul Klee (1879-1940) e Wassily Kandinsky (1866-1944). Todavia, desses trabalhos, apenas o de Schuback desenvolve textualmente tal proximidade em Klee. Nossa proposta, nesse sentido, consiste em explicitar textualmente a relação entre natureza e pintura abstrata, apontando como tal vínculo norteia a crítica e reavaliação positiva da mímesis de Kandinsky e Klee, aproximando-os de Schelling. [Schelling’s philosophy of plastic arts is deeply rooted in his Philosophy of Nature, whether in the postulate of Nature as productivity or in the concepts of deceleration and a-concious. The parallel between Nature’s productivity and artistic creation is the cornerstone of the Schellinguian conception of mimesis qua emulation of nature as a productive force, and not a mere product. In this line of argument, some interpreters such as Beierwaltes, Frank and Schuback noticed similarities between the writings of abstract painters, particularly Paul Klee (1879-1940) and Wassily Kandinsky (1866-1944). However, only Schuback further developed a conceptual connection between Klee and Schelling based on their writings. Our proposal, in that sense, is to develop the connection between nature and abstract painting in Kandinsky and Klee, thus revealing the similarities between their tenets and Schelling’s.]

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32

Bischin, Maria-Roxana. "The Changing of the Aesthetic Ballet’s Sphere in the Interwar Period. Between the Deconstruction of Oskar Schlemmer’s Ballet and the Idea of “Gebrauchmusik” of Paul Hindemith – An Imagistic Alley From Oskar Schlemmer to Céline Dion [1922-2019]." Studia Universitatis Babeş-Bolyai Musica 67, no. 1 (2022): 71–97. http://dx.doi.org/10.24193/subbmusica.2022.1.06.

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"The ballet can be deconstructed through some mathematized forms as the geometrical lines and trough created symmetries. Once, Paul Klee painted the Abstract Ballet (1937) in the manner that some musicians made innovative experiments in the music, or in the same manner as Oskar Schlemmer found a unique form of expression for his Triadisches Ballet. But, there were two types of ballet in the interwar period of the twentieth century between which we can differentiate: the Classical ballet (wich maintains a Romantic line too) and the Avant-garde ballet that appeared through the Triadisches Ballet composed by Oskar Schlemmer. Some dancers like Mikhail Baryshnikov brought the ballet in the area of the classic performance, and others as Maya Plisețkaia (the ʻprima-ballerinaʼ of the twentieth century) brought the ballet to a classical-romantic line. Apparently, Oskar Schlemmer and Paul Klee wanted to dislodge the corrugations as they may have dislodged a cupboard or a box. I will show in my analysis how ballet can be part of our lives and how its limitation to mathematized forms sometimes has the role of a deconstruction of the expression of the artistic message. In my analysis, I will serve myself of the analysis of Dasein to justify the “becoming” of the dancer [object]ified through the corporal movements and to justify the stage- Space as a place of “being-in-the-world”. Keywords: ballet, body, dance, Weimar period, Oskar Schlemmer, Paul Hindemith, Avant-garde, ontical-structures, Céline Dion, Paul Klee, Alexandre Vauthier. "

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33

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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34

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 not only to the figure of the artist, understood as a tragic figure, but also to an idea of tragedy that the work produces and represents in its own particular way of coming into being. Thus, this paper poses a new approach to Klee’s suggestive proposal on modern art as well as to the meaning given to pictorial representation throughout his thought and artworks.

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35

Ortiz de Zárate, Amaya. "Poesía e imagen. A propósito de «Teoría del arte moderno» de Paul Klee." ACTIO Journal of Technology in Design, Film Arts and Visual Communication, no. 2 (May 18, 2021): 49–53. http://dx.doi.org/10.15446/actio.n2.95860.

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A partir de los escritos de Paul Klee (Apuntes sobre teoría del arte moderno y los Diarios), revisamos su teoría del arte, reconocida como una de las reflexiones más relevantes de la primera mitad del siglo XX. Utilizando una metodología estructuralista basada predominantemente en la exclusión (selección) y la antítesis (combinación), Klee persigue la anulación de los contrarios. Su teoría del arte sobre la pintura, concebida, por oposición a la poesía, como espacio de simultaneidad, combina el poder expresivo del color y la forma. Su obra tiende a la totalidad de una visión extática o eterna, guiada por la anamnesis (el recuerdo).

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36

Moorjani, Angela. "GENESIS, CHILD'S PLAY, AND THE GAZE OF SILENCE: Samuel Beckett and Paul Klee." Samuel Beckett Today / Aujourd'hui 19, no. 1 (2008): 187–97. http://dx.doi.org/10.1163/18757405-019001015.

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Samuel Beckett situated Paul Klee among "the great of [his] time." I explore the reasons for Beckett's recognition of an artist whose distillations suggest that he is to painting what Beckett is to the written word and stage. Beckett and Klee were among the modernist writers and artists who were fascinated with genesis and child's play in opting for a willed impoverishment of unseeing and unknowing. I will investigate this shared trajectory by drawing in particular on the work of Rudolf Arnheim on visual perception and the nonrepresentational translations children make of an intersecting inner and outer world.

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37

Martínez Vilajuana, Sergio. "Una expresión aórgica del deseo, el romanticismo frío de Paul Klee. Una aproximación genealógica y genética a su pensamiento-en-imagen." Escritura e Imagen 15 (December 3, 2019): 267–88. http://dx.doi.org/10.5209/esim.66742.

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En este trabajo buscaremos sostener que el llamado romanticismo frío de Paul Klee presenta una expresión aórgica del deseo. Esta expresión halla su fuente en una lectura del Hölderlin tardío, lo cual implicará considerar un trasfondo trágico en el pensamiento de Klee. Será también necesario concebir un vínculo entre el romanticismo frío y el temprano romanticismo alemán, precisamente, en torno a la experiencia de la obra de arte. Ahora bien, al mismo tiempo que plantearemos una distancia a partir de cierta lectura de Nietzsche para aproximarnos al romanticismo frío de Klee, tendremos que considerar qué es lo que concibe el pintor y dibujante suizo-alemán: un pensamiento aproposicional en tanto hace de sí un pensamiento-en-imagen. Pues bien: lo que experimentaría este pensamiento buscaremos concebirlo como un caos-cosmos.

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38

Lagôa, Maria Beatriz da Rocha. "O avesso do visível: poética de Paul Klee." Alea : Estudos Neolatinos 8, no. 1 (2006): 127–35. http://dx.doi.org/10.1590/s1517-106x2006000100009.

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O artista Paul Klee investiga os processos da forma, conjugando materiais e técnicas que tecem suas próprias relações. O que caracteriza sua obra é a compreensão da Modernidade, as correspondências com outras culturas e demais gêneros de expressão artística. O traço, não mediado pela referência à natureza, atua como instrumento de busca de uma forma mais livre, que se desdobra no tempo e no espaço, e exige a participação do espectador.

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39

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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Volkova, Polina S., and Igor V. Kochubey. "HISTORY OF ONE DELUSION: “SENECIO” OF PAUL KLEE." Muzykal'nyj al'manah Tomskogo gosudarstvennogo universiteta, no. 7 (2019): 8–20. http://dx.doi.org/10.17223/26188929/7/3.

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Fulford, S. "Tom Paulin, Walking a Line, and Paul Klee." Cambridge Quarterly 31, no. 1 (2002): 57–75. http://dx.doi.org/10.1093/camqtly/31.1.57.

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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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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 of life.” By reference to Klee’s 1924 Jena lecture and the artist’s diaries, the discussion addresses the intersecting themes of artistic formation, mindful self-formation, the vital importance of worldly roots, and the transcendent fragrance of flowers and fruits.

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Lang, Robert, and Volker Schmid. "Zentrum Paul Klee– Entwurf und Konstruktion der Museumswelle." Stahlbau 73, no. 6 (2004): 365–72. http://dx.doi.org/10.1002/stab.200490104.

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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 hajló világnézetében fontos szerepet játszanak a szimbólumok, mert szerinte az alkotás folyamata a tudat alatt történik. Klee nem misztikus, de szerelmes a valóságba. Hitvallása szerint a művészet nem a láthatót adja vissza, hanem láthatóvá tesz.

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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 diagrams act as a surrogate music theory for the self-taught musician, affording him a unique method of organizing the guitar.

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Silver, Richard M. "Paul Klee's illness – a series of historical and clinical vignettes." Journal of Scleroderma and Related Disorders 2, no. 3 (2017): 135–36. http://dx.doi.org/10.5301/jsrd.5000248.

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Paul Klee (1879-1940) is undoubtedly the most notable historical figure to have suffered from systemic sclerosis (scleroderma). In this, the first in a series of vignettes on Klee's illness, I will explore a likely early feature of his condition - Raynaud phenomenon. In subsequent vignettes I will highlight other features of Klee's condition.

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Schuback, Marcia Sá Cavalcante. "In-between Painting and Music—or, Thinking with Paul Klee and Anton Webern." Research in Phenomenology 43, no. 3 (2013): 419–42. http://dx.doi.org/10.1163/15691640-12341268.

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Abstract The present article discusses the relation between painting and music in the work by Paul Klee, bringing it into conversation with the music by Anton Webern. It assumes, as a starting point, that the main question is not about relating painting and music but rather about the relation between moving towards painting and moving towards music, hence the relation between forming forces and not between formed forms. Since for Klee the musical structure of the pictorial is understood as “active linear polyphony,” the article develops this notion in conversation with Webern’s thoughts on the polyphonic structure of twelve-tone music. The general purpose of the article is to determine what kind of thoughts emerge from the in-between of painting and music.

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Cueto, Sergio. "Tres versiones de la intimidad." Saga. Revista de Letras 2, no. 4 (2020): 26–34. http://dx.doi.org/10.35305/sa.v2i4.120.

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A través de tres motivos y tres referencias diferentes, el retrato en una litografía de Paul Klee, la conversación en un haiku de Ryota y la música en un poema de T. S. Eliot, el trabajo se propone interrogar el estatuto de la intimidad como experiencia del sí mismo.

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Rougerie, Florence. "Écriture et peinture dans le Journal de Paul Klee." Marges, no. 07 (June 15, 2008): 8–25. http://dx.doi.org/10.4000/marges.595.

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