The Making Of Paul Klee S Career 1914 1920

Paul Klee—one of the preeminent artists of the twentieth century—was associated with all of the major movements of the first half of the century: expressionism, cubism, surrealism, and abstraction. In this economic and political history, O. K. Werckmeister traces Klee's career as a professional artist, concentrating on the years 1914-20 in which Klee rose from obscurity to recognition in the visual culture of the incipient Weimar Republic. Werckmeister reveals the degree to which Klee, who has been traditionally portrayed as aloof from politics and the vicissitudes of the art market, was subject to and interacted with material conditions. Drawing on rich documentary evidence—records of Klee's sales, reviews of his exhibitions, the artist's published writings about his art, unpublished correspondence, as well as contemporary criticism—Werckmeister follows Klee's transformation from an idiosyncratic abstract individualist to a metaphysical storyteller to mystical sage. Werckmeister argues that this latter image was promoted by a number of influential art critics and dealers acting in cooperation with the artist himself. This posture prompted Klee's success first in the war-weary modernist art world of 1916-18 and then in the pseudo-revolutionary art world of 1919-20. This work is a critical challenge to the myth of Klee's art and to the hagiography of his artistic personality. Werckmeister's historical account is sure to be a controversial yet significant contribution to Klee studies—one that will change the nature of Klee scholarship for some time to come.

How can works of the imagination help us to understand good and evil in the modern world? In this new collection of essays, Alex Danchev treats the artist as a crucial moral witness of our troubled times, and puts art to work in the service of political and ethical inquiry. He takes inspiration from Seamus Heaney's dictum: 'the imaginative transformation of human life is the means by which we can most truly grasp and comprehend it'. This is a book of blasphemers, world menders, troublemakers, torturers and turbulent priests of every persuasion.

Paul Klee (1879–1940) ist einer der bedeutendsten Vertreter der modernen Kunst. Er schuf ein ebenso universales wie individuelles Werk, das zwischen allen Strömungen und Ismen seiner Zeit steht. Sein gewaltiges malerisches, zeichnerisches und bildnerisches Œuvre, seine Briefe und Tagebuchaufzeichnungen und nicht zuletzt seine pädagogischen Notizen bilden den Hintergrund für diese pointierte Darstellung zu Leben und Werk des meditativen Künstlers und visuellen Denkers. Der reich bebilderte Band zeichnet Klees bewegte Biografie nach und spannt den Bogen von Klees künstlerischen Anfängen mit karikaturistischen Zeichnungen und Akten über seine Begegnung mit der Avantgarde und die berühmten Aquarelle der Tunisreise oder die abstrakten Farbkompositionen der Bauhaus-Zeit bis zu den geheimnisvollen Bildfindungen seiner letzten Jahre in Bern.

The book offers a new, original look at the great European modernist Paul Klee and the interplay of word and image in the work he produced after WWI, when the European avant-garde was at its most adamant. Bourneuf asks: why was it that Klee immersed himself in crossings of image and text at the same time that so much avant-garde art focused fiercely on the visual? She proposes that Klee created forms that hover between the pictorial and the written to provoke the viewer to look slowly and contemplatively, a mode of viewing the artist saw as both analogous to reading and threatened by new technological media such as film, mass printing, telephones, and radio. Bourneuf demonstrates how Klee s concern for the literary aspects of visual art is both the motive for and the means of his ironic play with modernist art theories and practices."

Contextual analogies reveal that Klee matched wits with Christian Morgenstern, rose to the provocations of Kurt Schwitters, and gave new form to the Surrealists' "exquisite corpses." By the end of his life Klee discovered his own poetic voice in alphabet drawings that read as anagrams and pictorial poems that challenge conventional distinctions between verbal and visual forms of expression." "Paul Klee, Poet/Painter is a case study in the reciprocity of poetry and painting in early modernist practice. It introduces readers to a little-known facet of Klee's creative activity and re-evaluates his contributions to a modernist aesthetic."--BOOK JACKET.

The entertaining companion novel to the best-selling The Sweet Second Life of Darrell Kincaid. Michelle Lawrence's perfect life has been just as she's designed it. But then her husband, Chad, ruins everything by taking a job in San Francisco, about as far from their comfortable family home as it's possible to get without actually emigrating. Up until now, Chad's primary focus has been keeping her happy, and Michelle can see no good reason why this should change. But change it has, and Michelle now has to deal with Chad's increasing detachment, while building a new life with her two small children in a place filled with cat-eating coyotes. On top of that, Michelle's oldest friend is turning against marriage while her newest is a little too obsessed with clean taps. And down the redwood-lined street, there's Aishe Herne, a woman who could pick a fight with a silent order of nuns. Aishe has designed her own kind of perfect life, in which there's room for her, her teenage son and no one else. But when cousin Patrick lands in town like a Cockney nemesis, both Aishe and Michelle must begin determined campaigns to regain their grip on the steering wheel of their lives. The Catherine Robertson Trilogy Book 1: The Sweet Second Life of Darrell Kincaid Book 2: The Not So Perfect Life of Mo Lawrence Book 3: The Misplaced Affections of Charlotte Forbes

Reconsidering the status and meaning of Bauhaus objects in relation to the multiple re-tellings of the school’s history, this volume positions art objects of the Bauhaus within the theoretical, artistic, historical, and cultural concerns in which they were produced and received. Contributions from leading scholars writing in the field today – including Frederic J. Schwartz, Magdalena Droste, and Alina Payne – offer an entirely new treatment of the Bauhaus. Issues such as art and design pedagogy, the practice of photography, copyright law, and critical theory are discussed. Through a strong thematic structure, new archival research and innovative methodologies, the questions and subsequent conclusions presented here re-examine the history of the Bauhaus and its continuing legacy. Essential reading for anyone studying the Bauhaus, modern art and design.