Nicholas Fox-Weber writes about Paul Klee's influence as a teacher at the Bauhaus, on the occasion of the exhibition Paul Klee: Making Visible at Tate Modern, on view through March 9, 2014.
Fox-Weber cites impressions of Klee by a number of collectors and artists including Anni Albers who "considered [Klee] to be unparalleled in his genius, in his ability to combine the abstract and geometric with the natural and organic." Fox-Weber continues: "Klee was neither especially large nor strong, but he was someone to whom mysterious, other-world experiences occurred, and he was possessed of exceptional force. Besides, rivers and precipitous jumps in scale and mystical events were all part of the personal universe he richly inhabited... This is how Klee was to everybody: openly fearful, yet infallibly intrepid. He was always on an adventure."
Baker writes: "Drawing a connection between the redrawing of political borders and the subsequent exchange of ideas among previously alienated artists, the exhibition theorizes that the surge of creativity in the 1920s and 30s could have been a direct response to the mingling of Russian Constructivists (who migrated west due to the increasingly conservative Soviet policies against the avant garde) and the radical Dutch conceptualists they encountered. Simultaneously, the Weimar Bauhaus provided a home for abstractionists seeking like-minded collaborators. The sudden fusion of these disparate schools of thought and technique would birth a wide body of new works and approaches to painting and sculpture, with artists like Klee and Miró driving forward radical new ideologies in the creation of abstract works."
K. Shahi blogs about the exhibition Late Klee at the Metropolitan Museum of Art, New York, on view through February 24, 2013.
Shahi writes: "In 1936, Klee was diagnosed with scleroderma, a chronic systemic autoimmune disease. Knowing that he was nearing the end of his life, Klee’s work took on a renewed sense of urgency. As the Metropolitan Museum describes, he began to work more quickly, his lines becoming heavier, forms more generalized, colors more simple and deliberate. Chronology is not the primary emphasis of “Late Klee;” the exhibition does not map a straightforward progression. Instead, the artist’s rapidly shifting experiments with form, color and composition reveal a creativity that was unimpeded – indeed, even abetted – by his impending death."
Edited by artist Brett Baker, Painters' Table highlights writing from the painting blogosphere as it is published and serves as a platform for exploring blogs that focus primarily on the subject of painting.