Great book by Modern Surrealist artist on art and his work. 30 black and white illustrations of drawings and prints by Klee from th 1910s through the 1940s. Animals, Surrealsim, birds, abstract images.
Softcover. 55 pages. Measures 7 1/4 by 7 1/4 inches. Interesting book, nicely illustrated.
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Most Helpful Customer Reviews
33 of 34 people found the following review helpful:
5.0 out of 5 stars
as valid today as 72 years ago,
By A Customer
This review is from: Paul Klee on Modern Art (Faber Paper Covered Editions) (Paperback)
This slim volume is the text of a lecture Klee delivered in 1924 on the occasion of the opening of a museum exhibit of modern art. It is both an educational lecture on color and form and an explanation of modern art that largely escapes being a defense. Klee's discourse is not simply an historical piece. It is as valid today as it was when he delivered it seventy-two years ago. Klee was Kandinsky's neighbor during the years they both taught at the Bauhaus. They shared more than the basement that connected their duplex apartments; they shared a belief in art as a spiritual pursuit.
13 of 13 people found the following review helpful:
5.0 out of 5 stars
Incorrect page number information,
By A Customer
This review is from: Paul Klee on Modern Art (Faber Paper Covered Editions) (Paperback)
Just a quick note on the number of pages. It only contains 56 pages of text amd images, not the over 150 pages as provided in the item description.As for the content 5 out of 5.
5 of 6 people found the following review helpful:
4.0 out of 5 stars
Pioneering manifesto on Modern Art which I had difficulty understanding,
By
This review is from: Paul Klee on Modern Art (Faber Paper Covered Editions) (Paperback)
Herbert Read in his Introduction to this work says that it constitutes " the most profound and illuminating statement of the aesthetic basis of the modern movement in art ever made by a practicing artist" I do not have the professional knowledge or aesthetic training to quarrel with Read. I can only give my personal impression of Klee's treatise which was given at the opening of an exhibition in Jena in 1924. I understand that Klee is in the Treatise arguing against the view that the criterion for judging the work of the artist is its being an accurate copy of nature. Klee puts the emphasis on the organic shaping power of the creative process , and gives examples of how this works. The text contains sketches by Klee illustrative of the process. My suspicion is that this focus on the 'organic ' the growing and developing element is what makes Klee so congenial to Herbert Read whose Theory of Art focuses on this concept.
However I personally could not really understand the process as Klee describes it in this work. Read says the book is cryptic and aphoristic. I did not find it aphoristic but I did find it cryptic and more. Perhaps here however it is wiser to "Trust the Artist and not the Reader" as my own understanding in these matters is limited. One point. The work is very short, the illustrations 'pleasant' if not perhaps as profound as Klee maintains them to be. Other readers truly have to judge for themselves.
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First Sentence:
Speaking here in the presence of my work, which should really express itself in its own language, I feel a little anxious as to whether I am justified in doing so and whether I shall be able to find the right approach. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
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Speaking here in the presence of my work, which should really express itself in its own language, I feel a little anxious as to whether I am justified in doing so and whether I shall be able to find the right approach. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
tone value New!
Concordance | Text Stats Browse Sample Pages:
Front Cover | First Pages | Back Cover | Surprise Me!
Citations (learn more)
37
books
cite this book:
See all 37 books citing this book
- Theatre and Everyday Life: An Ethics of Performance by Alan Read on 5 pages
- Beyond the Mainstream: Essays on Modern and Contemporary Art (Contemporary Artists and their Critics) by Peter Selz in Back Matter (1), Back Matter (2), and Back Matter (3)
- Painterly Abstraction in Modernist American Poetry: The Contemporaneity of Modernism (Cambridge Studies in American Literature and Culture) by Charles Altieri in Back Matter (1), Back Matter (2), and Back Matter (3)
- Colour and Humanism: Colour Expression over History by Don Pavey on page 90, and Back Matter
- Learning to Look at Modern Art by Mary Acton on page 99, and page 100
See all 37 books citing this book
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