Paul Klee: Creative Confession E-Book

Paul Klee

• Herausgeber: Tate Publishing
• Kategorie: Geisteswissenschaft
• Serie: Artist's Writings
• Sprache: Englisch
• Veröffentlichungsjahr: 2013

Seitenzahl: 37

Beschreibung

"Creative Confession" brings together three short critical texts written by Paul Klee, one of the most distinctive artists of the early twentieth century. Reflective and often lyrical, the essays exemplify Klee's artistic thinking and his relationship with the creative process.Entitled "Graphic Art" (published as Creative Confession, 1920), "Ways of Nature Study" (1923) and "Exact Experiments in the Realm of Art" (1928), the texts arch into each other through a number of common and overlapping concerns: the alliance between what Klee terms his graphic art, nature, and abstraction, and the role of the artist in this triumvirate; the notion of genius, equating creativity with Genesis as well as nature; and the importance of the process as well as the outcome of art. The practical function of these writings was to draw a wider public into a dialogue that Klee was already having with the world around him through his art. Indeed, he said Art does not reproduce what is visible, instead it makes it visible, and it is with this philosophy that he talks us through his own creative confessions. With a postscript by Matthew Gale, Head of Display at Tate Modern, on the origins and context of the essays, this compact new edition is a must for any Klee fan, as well as those wishing to explore Modern artistic ideas.

Leseprobe

Paul Klee, Comedy 1921

Paul Klee

Creative Confession and other writings

Tate Publishing

Contents

Title PageCreative Confession, 1920Ways of Nature Study, 1923Exact Experiments in the Realm of Art, 1928Postscript: Reflections on Klee’s Early Writings Matthew GaleReferencesCopyright

Creative Confession, 1920

Creative Confession, 1920[1]

I

Art does not reproduce the visible; rather, it makes visible. A tendency towards the abstract is inherent in linear expression: graphic imagery being confined to outlines has a fairytale quality and at the same time can achieve great precision. The purer the graphic work – that is, the more the formal elements underlying linear expression are emphasised – the less adequate it is for the realistic representation of visible things.

The formal elements of graphic art are dot, line, plane, and space – the last three charged with energy of various kinds. A simple plane, for instance – that is, a plane not made up of more elementary units – would result if I were to draw a blunt crayon across the paper, thus transferring an energy-charge with or without modulations. An example of a spatial element would be a cloud-like vaporous spot, usually of varying intensity, made with a full brush.

II

Let us develop this idea, let us take a little trip into the land of deeper insight, following a topographic plan. The dead centre being the point, our first dynamic act will be the line. After a short time, we shall stop to catch our breath (the broken line, or the line articulated by several stops). I look back to see how far we have come (counter-movement). Ponder the distances thus far travelled (sheaf of lines). A river may obstruct our progress: we use a boat (wavy line). Further on there might be a bridge (series of curves).

On the other bank we encounter someone who, like us, wishes to deepen his insight. At first we joyfully travel together (convergence), but gradually differences arise (two lines drawn independently of each other). Each party shows some excitement (expression, dynamism, emotional quality of the line).

We cross an unploughed field (a plane traversed by lines), then thick woods. One of us loses his way, explores, and on one occasion even goes through the motions of a hound following a scent.

Nor am I entirely sure of myself: there is another river, and fog rises above it (spatial element). But then the view is clear again.

Basket-weavers return home with their cart (the wheel). Among them is a child with bright curls (corkscrew movement). Later it becomes sultry and dark (spatial element). There is a flash of lightning on the horizon (zigzag line), though we can still see stars overhead (scattered dots).

Soon we reach our first quarters. Before falling asleep, we recall a number of things, for even so short a trip has left many impressions.

Lines of the most various kinds, spots, dabs, smooth planes, dotted planes, lined planes, wavy lines, obstructed and articulated movement, counter-movement, plaitings, weavings, bricklike elements, scale-like elements, simple and polyphonic motifs, lines that fade and lines that gain strength (dynamism).

The joyful harmony of the first stretch, followed by inhibitions, nervousness! Repressed anxieties, alternating with moments of optimism caused by a breath of air. Before the storm, sudden assault by horseflies! The fury, the killing.

The happy ending serves as a guiding thread even in the dark woods. The flashes of lightning made us think of a fever chart, of a sick child … long ago.

III

I have mentioned the elements of linear expression which are among the visual components of the picture. This does not mean that a given work must consist of nothing but such elements. Rather, the elements must produce forms, but without being sacrificed in the process. They should be preserved.

In most cases, a combination of several elements will be required to produce forms or objects or other compounds – planes related to each other (for instance, the view of a moving stream of water) or spatial structures arising from energy-charges involving the three dimensions (fish swimming in all directions).

Through such enrichment of the formal symphony the possibilities of variation, and by the same token, the possibilities for expressing ideas, are endlessly multiplied.

It may be true that ‘in the beginning there was the deed’, yet the idea comes first. Since infinity has no definite beginning, but like a circle may begin anywhere, the idea may be regarded as primary. ‘In the beginning was the word’, according to Luther’s translation.

IV

Movement is the source of all change. In Lessing’s Laocoön