One of the most changeable, incomprehensible and outstanding artists in the twentieth century. It is difficult to explore the development of this artist's style because he has repeatedly studied themes and forms closer to the essence since he matured.
Kelly is a romantic and mysterious person. He regards painting or creative activities as an incredible experience, in which the artist combines inner illusion with the instant experience of inspiration to the outside world.
Paul klee (1879 ~ 1940) was born in Mushanbush near Bern and died in Morado Law Carnaud in Dexing. The emergence of paul klee is almost a miracle. Since the glorious15th century, it seems that the Germanic countries have never produced a second outstanding painter like him. In this second half century, there is no second person, far away from Nabi, Fauvism and Cubism, who has nothing to do with the Paris School of Painting, but has such a pure influence. In addition, Picasso's rich changes make us look back on the history of form, while Klee's paintings make us face the future. Not easy to understand. In his works, there is no version of any painting, even if everything has not been seen, at least it has not been fully expressed. At first glance, they look like puzzling structures and childish pictures. But if we look closely, we will find a hidden world step by step. From the mystery of this art, the fantasy kingdom has emerged, and it is emerging and becoming clear one by one. Although he was born in Switzerland, his father was a music teacher from Bavaria and his mother was from Bern, he spent his whole life in Germany. After hesitating between music and painting for a while, he decided to devote himself to painting. He studied painting with Franz van Stoke at the Munich Academy of Fine Arts. After a short stay in Italy and Paris, he settled in Munich and married a pianist. During the period of 1908 ~ 19 10, he discovered the works of Cezanne, Gauguin and Matisse. As a friend of Kandinsky, the founder of the Green Knight, and Flantz Mark, he also exhibited his works with the school. 19 13 He stayed in Paris for almost a year, and then went to Queroix, Tunisia. This trip played a decisive role in his artistic development. At this time, Klee was thirty-five years old, mainly a sketch painter. In terms of color, he only painted some watercolors. In his diary, he wrote these meaningful words to prove that his life and art have entered a new era: "I am one with color, and I am already a painter!" " From 1920, as a teacher of Bauhaus, I first taught in Weimar and then in Dessau. 1928 After going to Egypt, he was hired as a teacher of Dü sseldorf Academy of Fine Arts. He resolutely opposed Hitler's doctrine and left Germany in 1933 to live in Switzerland until his death.
Kelly drew a lot of sketches. This is one of the profound secrets of his works. He used a representative language, and the marks made in his sketches have a very distinct personality. Axes, icy strokes and non-figurative sketches are unique. In those sketches, he created his own unique world through honeycomb lines. We can see that he tried some symbolic things, some comprehensive explanations, and some uncertain symbols in his paintings, from which he produced a maze brushwork, which soon made us vaguely see its new significance. These sketches have a rhythm of combination, opposition, swing and fracture-a parabola, from which something called the direction of the arrow can be found. The mosaic of houses in the city, the swimming of fish in the water, the appearance of plants, the spread of fire, the sliding of waves, the formation of crystals, the separation of roads, leaving and returning, all these things keep asking people, and Klee successfully shows their eternal life in front of us through images.
In his paintings, there is also a color that adapts to this sketch and gives it passion. The painter creates space and vibration on the color surface through the advance of blue and the retreat of gray. Cleveland got a belief from Cezanne that nature is not outside, but inside. The color of the surface should show the inner strength. For him, color has no complementary meaning and is an inseparable part of the picture organization. How can people not be captured by these sky blue tones interrupted by orange, purple and red, these gold ochre, cadmium and light lily colors with dark brown marks? Kelly sometimes uses the color of a fauvism painter, but there is no pungent and astringent feeling. His soft and hazy red and green will remind people of the beauty of moonlight. It "itself is like the dream of the sun, dominating the dream world". In addition to being good at sketching and color, he also has the talent of being good at organizing properly and generating rhythm. He adjusts the color change between white and the blackest color like a chessboard, just like overlapping printing, overlapping his light prism, creating distance and expressing turbulence.
Klee exists in all his new creations. He does not exist on the surface, but on a deeper level. It can be said that after capturing its initial vibrato in nature, he has presented himself to us: underwater vibrating ciliate nets, weathered peaks and growing plants. He can give images to things that have no outline, things that have escaped, and things of the past: flowers, waves, and smoke. Today, he may be the only painter who can draw a sky full of life without impressionism. He writes about the sky as he sees it lying on the grass on a sunny day.
Around 1924, Kelly wrote down his own thoughts on art in some experiences, and published it in Bauhaus Press in the form of notes the following year, entitled "Teaching Shorthand". This book embodies some fragments of his aesthetics. Obviously, the theory he used to teach can't give his painting artistic value. However, it can guide painters to seek new expressions while preventing the use of ready-made observation methods and procedural skills. As soon as Kelly picked up the brush, he rushed into the improvisation of whimsy with great freedom. Such a work cannot be absorbed and imitated, but it will always be Genesis. He always thought that it was illogical for people to try to draw a picture. He said: People are learning to understand something by looking for the source and studying the prehistoric images of what they can see. However, this is not a high-level art, because the mystery begins at a high level. Klee further believes that "intuition can never be replaced". At the same time of extremely deep simplification, Klee was lucky enough to forget all his creative methods. There is no doubt that in some oil paintings, this person who has been an educator for more than 20 years will inevitably show his norms. But soon, his poems were mainly inspired. "Become abstract through memory," he wrote in his diary. In the last twenty years, no painter has shown such mysterious adaptability, selflessness and rare passion in his works. His main biographer, Mr. Werner Huffman, told us: "He is a primitive man with new feelings."
Why do we seem to think that the beauty of his art lies in his sense of music and poetry first? Is there anything in Klee's paintings that tries to change them? I should say nothing. In that case, it is a lack of performance and an underestimation of sketches and color sources. It can be said that in the works of this beloved painter, what we see is the indirect feeling ability beyond the direct feeling aroused by each unique art. These indirect feelings are transmitted to us through the senses and given to the senses first. In short, in the works of such an important painter as Klee, everything is visually expressed, and everything is presented to us through this expression. Those things that help us discover are first decomposed into lines, surfaces and colors by him, and then these elements themselves will make a discovery. This is paul klee's secret. No one can accept it, and no one is better suited to express the unique movement of life.
Klee grasped the core of this generation in his creation. He said: "Just as children imitate us in games, painters imitate the birthplace and the power to create the world." . He turned the root of this power into a rather vague, even a little magical, orientalist idea. His first favorite is the moral, which feels so far away that he can only imagine the god of his messenger at most. Almost all his works are painted on canvas, cardboard and Xiao Zhang's drawing paper. It can be said that he gained something in depth that he refused to expand in breadth. His works have absolute personality, and no egoism can isolate it, and no superman can make it arrogant. On the contrary, the author showed us the crystallization of cosmic forces with Williamson. Paul klee's paintings show the scene of space and the rhythm of the world we live in. It went straight to our deepest secret area and opened some mysterious exits, but at the same time it never lost its true meaning of existence, and its language was always visible.
Death and Fire was written in the last few years of the painter's life, when he was seriously ill and dying. There is a strong desolation and sadness in the picture, which is not subjective speculation, but the artistic appeal of the picture. The thick black line in the painting hides an unbearable heaviness. A pale figure with symbolic language in the middle, like a skull, makes people feel like a sign of death. And if you look closely, you will find that the eyes and mouth of this image are composed of three letters "T", "O" and "D", and the word "tod" composed of these three letters means death in German. Kelly handled this photo very specially. On the one hand, he used a combination of pictures and texts, which looked novel and interesting. On the other hand, this image is a person facing left in outline, but it is for everyone to see in the treatment of five senses. The abnormal treatment makes the picture interesting and reflects the painter's unique humor. This distorted image seems to be the painter's helplessness and irony about death. This wonderful treatment also shows the painter's life interest, artistic talent and personality characteristics. On the right side of the picture, there is a pictogram composed of thick lines, which is stinging. It is a symbol of virus or disease. The man holds a circle in his left hand, symbolizing the sun and time. It means that death is an inevitable result for anyone. It's just a process that painters will face easily. As the painter wrote in his letter to a friend: Of course, I didn't accidentally embark on the road to death. All my works point to one point, claiming that the last stage has fallen. Because of his deep understanding of life and death, the painter faced it calmly, without losing his reason, and without losing his last banter and humor in life.
The colors in the painting have an oppressive sense of terror. The background of Lux smells of death, and the pale figure seems to be a patient sitting in a pool of blood. The color matching of the whole picture has a stale flavor of ancient tomb murals, and various symbolic languages also have a mysterious color and metaphysical flavor.
No artist in this century is more worthy of being hailed as a cosmic painter than paul klee; No artist takes the whole universe as his subject like him and chooses its rich and unified side to describe it. In any case, in every painting, he shows the principle of the universe, which is the "soul of the universe" advocated by the German romantic poet Klee all his life.