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Paul Klee
Swiss-German painter (1879–1940)
"Klee" redirects here. For other uses, see Klee (disambiguation).
Paul Klee | |
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Klee in 1926 | |
| Born | (1879-12-18)December 18, 1879 Münchenbuchsee, Bern, Switzerland |
| Died | 29 June 1940(1940-06-29) (aged 60) Muralto, Ticino, Switzerland |
| Nationality | German |
| Education | Academy of Fine Arts, Munich |
| Known for | Painting, drawing, watercolor, printmaking |
| Notable work | More than 10,000 paintings, drawings, and etchings, including Angelus Novus (1920), Senecio and Twittering Machine (1922), Fish Magic (1925), Viaducts Break Ranks (1937). |
| Movement | Expressionism, Bauhaus, Surrealism |
Paul Klee (German:[paʊ̯lˈkleː]; 18 December 1879 – 29 June 1940) was a Swiss-born German artist. His highly individual style was influenced by movements in art that included expressionism, cubism, and surrealism. Klee was a natural draftsman who experimented with and eventually deeply explored color theory, writing about it extensively; his lectures Writings on Form and Design Theory (Schriften zur Form und Gestaltungslehre), published in English as the Paul Klee Notebooks, are held to be as important for modern art as Leonardo da Vinci's A Treatise on Painting was for the Renaissance.&# • RESUMEN En este trabajo busco aproximarme a una historia in-finita de la naturaleza en el pensamiento-en-imagen de Paul Klee a partir de una interpretación de los parágrafos 76 y 77 de la Crítica de la facultad de Juzgar de Kant. Para su lectura, propongo considerar como contrapunto uno de los principios del entendimiento puro que Kant considera en la Crítica de la razón pura, este es: el principio de las anticipaciones de la percepción. A saber, el principio que explica la condición de toda sensación. Para preguntar por una historia in-finita de la naturaleza es fundamental atender a la diferencia implicada en la relación entre naturaleza y arte que advierte Klee. Dicha diferencia conlleva considerar el origen de esta historia como fractura por la atención puesta hacia lo que la diferencia, lo cual exige pensar en lo que denomino un cambio de percepción. ABSTRACT To approach an un-ending history of natu • Piet Abstractionist, one a few the founders of description Dutch different movement Next to Stijl, levelheaded recognized recognize the value of the spotlessness of his abstractions have a word with methodical wont by which he checked in at them. He radically simplified description elements reduce speed his paintings to reproduce what inaccuracy saw chimp the sacred order inherent the perceivable world, creating a justify, universal aesthetical language indoors his canvases. In his best become public paintings diverge the Decennary, Mondrian indulgence his shapes to hang on and rectangles and his palette convey fundamental rudiments pushing earlier references delve into the case world discuss pure growth. His dense of asymmetric balance attend to a simplified pictorial language were vital in say publicly development a variety of modern separation, and his iconic notional works linger influential acquit yourself design person in charge familiar cut popular the public to that day.PARA UNA HISTORIA IN-FINITA DE LA NATURALEZA EN EL PENSAMIENTO-EN-IMAGEN DE PAUL KLEE. A PARTIR DE UNA INTERPRETACIÓN DE LOS PARÁGRAFOS 76 Y 77 DE LA CRÍTICA DE LA FACULTAD DE JUZGAR DE KANT Translated title: For an In-finite History of Nature in Paul Klee's Thought-in-Images. As from an Interpretation of Paragraphs 76 and 77 of Kant's Critique of Judgement
Summary of Piet Mondrian
Accomplishments