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ELEMENTARY ART Integrated Within the Regular Classroom Linda Fleetwood NEISD Visual Art Director WAYS ART TAUGHT WITHIN NEISD
ELEMENTARY ART Integrated Within the Regular Classroom Linda Fleetwood NEISD Visual Art Director WAYS ART TAUGHT WITHIN NEISD • Woven into regular elementary classes – integration • Instructional Assistants specializing in art – taught within rotation • Parents/Volunteers – usually after school • Art Clubs sponsored by elementary teachers – usually after school • Certified Art Teachers (2) – Castle Hills Elementary & Montgomery Elementary ELEMENTARY LESSON DESIGNS • NEISD Visual Art Webpage (must be logged in) https://www.neisd.net/Page/687 to find it open NEISD website > Departments > Fine Arts > Visual Art on left • Curriculum Available K-5 • Elementary Art TEKS • Lesson Designs (listed by topic and grade level) SOURCES FOR LESSON DESIGNS • Pinterest https://www.pinterest.com/ • YouTube • Art to Remember https://arttoremember.com/lesson-plans/ • SAX/School Specialty (an art supply source) https://www.schoolspecialty.com/ideas- resources/lesson-plans#pageView:list • Blick Lesson Plans (an art supply source) https://www.dickblick.com/lesson-plans/ LESSON TODAY, GRADES K-1 • Gr K-1, “Kitty Cat with Her Bird” • Integrate with Math Shapes • Based on Paul Klee • Discussion: Book The Cat and the Bird by Geraldine Elschner & Peggy Nile and watch the “How To” video https://www.youtube.com/watch?v=tW6MmY4xPe8 • Artwork: Cat and Bird, 1928 LESSON TODAY, GRADES 2-3 • Gr 2-3, “Me, On Top of Colors” • Integrate with Social Studies with Personal Identity, Math Shapes • Based on Paul Klee • Discussion: Poem Be Glad Your Nose Is On Your Face by Jack -
At Last a Life Paul David Pdf
At last a life paul david pdf Continue Position: Forward Paul Arizin's hometown, Philadelphia, is a fertile ground for basketball players. Greats like Wilt Chamberlain, Earl Monroe and Guy Rodgers cut their hoop teeth in city playgrounds. Arizin, on the other hand, never even turned out for basketball until his final year at La Salle High School. He was cut out of the team. Sixteen years later, he retired as the second-highest scorer in NBA history. Advertising Hard-nosed 6'4 forward, Arizin (born April 9, 1928) matured into one of the best shooters of his generation. After high school, he enrolled at Villanova University without a scholarship, worked in basketball at night, and angled a spot on the team. He made it his second year, and a year later he set a school record of 85 points a game. In his final season, he was the nation's leading scorer (25.3) and the 1950 World Record. That's where the Philadelphia Warriors were. When Arizin broke into the professional ranks, most players still shot flat leg; Pitchin' Paul had already had a jump shot. His form was unusual because he hit his feet back when he fired. Her favorite area was the corner, though she was adept at pump-shaming and driving around with her man to look closely at the basket. He won the scoring championship in 1951-52, his second of the season, with 25.4 points per game, denying George Mikan the crown for the first time in Mikan's career. After two years of military service, Arizin returned for another eight seasons with the Warriors. -
Geschäftsbericht 2014 Stiftung Zentrum Paul Klee
Geschäftsbericht 2014 Stiftung Zentrum Paul Klee 2 01 Editorial Stiftungsrat 03 Bericht des Stiftungsrates 05 Editorial Direktion 08 Sammlung, Ausstellungen und Forschung 16 Musik 18 Literatur, performative Künste, Begleit- und Sonderveranstaltungen 20 Kunstvermittlung 22 Kindermuseum Creaviva 24 Sommerakademie im Zentrum Paul Klee 26 Event und Multimedia 29 Besucherdienste, Shop 29 Medien, Marketing und Kommunikation 31 Facility Management 33 Personelles 34 Organigramm 36 Jahresrechnung 2014 41 Statistiken Editorial Stiftungsrat Liebe Leserinnen, liebe Leser Wir blicken mit Freude auf das Geschäftsjahr 2014 zurück. Eine Hauptsorge galt nach wie vor den Finanzen, sodass wir mit dem positiven Geschäftsabschluss sehr zufrieden sind. Wir werten ihn auch als ein Zeichen, dass das Zentrum Paul Klee dank einer guten Planung, wirkungsvollen Kontrollinstrumenten und vertrauensvoller Unterstützung sowohl durch die öffentlichen Hände wie private Partner die Kosten im Griff hat und mit einem attraktiven Programm auch wieder steigende Umsätze erzielen kann. Dazu gehören künstlerisches Geschick in der Programmierung und das unternehmerische Zusammenspiel verschiedener Faktoren, wie beispielsweise ein gutes Führungsteam und Mitarbeitende, die mit hoher Motivation, Leistungsbereitschaft und Fachkompetenz zur 1 Erfüllung des Stiftungszweckes beitragen. Ich stelle also fest, dass sich das ZPK personell, finanziell, programmlich und strukturell heute in einer guten Verfassung befindet. Wir brin- gen somit ein gut bestelltes Haus in die Dachstiftung ein. Nicht zuletzt dank der Innova- tionskraft des noch jungen ZPK sehen wir uns als starken und wertvollen Partner in der bevorstehenden Zusammenarbeit mit dem Kunstmuseum. Die Vorbereitungen für die Errichtung der Dachstiftung KMB/ZPK konnten 2014 unter der Leitung von Dr. Marcel Brülhart produktiv weitergetrieben werden, sodass der Grün- dung der Stiftung auf Mitte 2015 nichts mehr im Wege stehen sollte. -
PAUL KLEE and COMIC MODERNISM by Jesine Lynn
PAUL KLEE AND COMIC MODERNISM By Jesine Lynn Munson A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Art History MONTANA STATE UNIVERSITY Bozeman, Montana November 2015 ©COPYRIGHT by Jesine Lynn Munson 2015 All Rights Reserved ii TABLE OF CONTENTS 1. INTRODUCTION .................................................................................................................................. 1 2. TERMINOLOGY ................................................................................................................................... 9 3. EARLY SATIRICAL WORKS ...........................................................................................................13 4. MASKS, PUPPETS, AND, PERFORMERS ...................................................................................23 5. THEATRICAL LANDSCAPE ...........................................................................................................31 6. HAND PUPPETS AND PUPPET THEATER ...............................................................................40 7. BAUHAUS THEATER WORKSHOP .............................................................................................48 8. FINAL YEARS .....................................................................................................................................54 9. CONCLUSION .....................................................................................................................................62 10. BIBLIOGRAPHY .......................................................................................................................... -
ART HISTORY Paul Klee 1879-1940 Expressionist & Bauhaus Artist Castle and Sun
ART HISTORY Paul Klee 1879-1940 Expressionist & Bauhaus Artist Castle and Sun By Paul Klee (Swiss), Expressionism (Der Blaue Reiter) & Bauhaus Art 1928 Oil on Canvas Private Collection Klee’s work focused on shapes and had a childlike quality. Paul Klee a Swiss-born painter, printmaker and draughtsman of German nationality, was originally associated with the German Expressionist group Der Blaue Reiter, and subsequently taught at the Bauhaus, the widely influential German art school of the interwar period. Klee's diverse body of work cannot, however, be categorized according to any single artistic movement, or "school." His paintings, which are at times fantastic, childlike, or otherwise witty, served as an inspiration to artists of the 20th century. Klee was fundamentally a transcendentalist who believed that the material world was only one among many realities open to human awareness. Klee was a musician for most of his life, often practicing the violin as a warm-up for painting. He naturally saw analogies between music and visual art. He even compared the visual rhythm in drawings to the structural, percussive rhythms of a musical composition. Klee challenged traditional boundaries separating writing and visual art by exploring a new expressive, and largely abstract or poetic language of pictorial symbols and signs. Klee greatly admired the art of children, who seemed to create free of models or previous examples. In his own work he often strove to achieve a similar untutored simplicity, often by employing intense colors inspired by an early trip to North Africa, and by line drawing in the unstudied manner of an everyday craftsman. -
Von Der Fuge in Rot Bis Zur Zwitschermaschine Von Der Fuge in Rot Bis Zur Zwitschermaschine Paul Klee Und Die Musik Paul Klee Und Die Musik
VON DER FUGE IN ROT BIS ZUR ZWITSCHERMASCHINE VON DER FUGE IN ROT BIS ZUR ZWITSCHERMASCHINE PAUL KLEE UND DIE MUSIK PAUL KLEE UND DIE MUSIK Paul Klee gehört nicht nur zu den prägendsten Malerpersönlichkeiten des 20. Jahrhunderts, Thomas Gartmann (Hg.) sondern hatte auch eine starke Affinität zur Musik. So schrieb er unter anderem Musik- kritiken, spielte als Amateur hervorragend Geige und verkehrte mit vielen Komponisten. PAUL KLEE UND DIE MUSIK DIE UND KLEE PAUL Mit seinen Werken und seinen theoretischen Schriften wie den Unterrichtsmaterialien am Bauhaus inspiriert er bis heute zahlreiche Komponistinnen und Komponisten. Dieser Band präsentiert Texte über musikalisch beeinflusste und die Musik beeinflussende Werke Klees, insbesondere seine Beschäftigung mit Johann Sebastian Bach sowie die Re- (Hg.) zeption seines gestalterischen Denkens im aktuellen Musikschaffen von Pierre Boulez bis Harrison Birtwistle. Bisher unbekannte Quellen, zahlreiche Abbildungen und Neuinter- pretationen verhelfen dabei zu neuen Sichtweisen. Thomas Gartmann studierte Musikwissenschaft und promovierte zu Luciano Berio. Er leitet heute die Forschung an der Hochschule Thomas Gartmann der Künste in Bern sowie das Doktoratsprogramm « Studies in the Arts ». Schwerpunkte seiner Forschung sind Beethoven-Interpretationen, Musik und Politik, Librettistik, Jazz. www.schwabe.ch Hochschule der Künste Bern, 2020 Mit freundlicher Unterstützung durch: www.hkb.bfh.ch ERNST GÖHNER STIFTUNG Die Druckvorstufe dieser Publikation wurde vom Schweizerischen Nationalfonds zur Förderung -
PAUL KLEE the Visible and the Legible
PAUL KLEE The Visible and the Legible ANNIE BOURNEUF PAUL KLEE e Visible and the Legible ANNIE BOURNEUF e fact that Paul Klee (1879–1940) consistently intertwined the visual and the verbal in his art has long fascinated commentators from Walter Benjamin to Michel Foucault. However, the questions it prompts have never been satisfac- torily answered—until now. In Paul Klee, Annie Bourneuf oers the rst full account of the interplay between the visible and the legible in Klee’s works from the 1910s and 1920s. Bourneuf argues that Klee joined these elements to invite a manner of viewing that would unfold in time, a process analogous to reading. From his elaborate ti- tles to the small scale he favored to his metaphoric play with materials, Klee cre- ated forms that hover between the pictorial and the written. rough his unique approach, he subverted forms of modernist painting that were generally seen to threaten slow, contemplative viewing. Tracing the fraught relations among seeing, reading, and imagining in the early twentieth century, Bourneuf shows how Klee reconceptualized abstraction at a key moment in its development. Annie Bourneuf is assistant professor of art history at the School of the Art Institute of Chicago. 7 x 9, 256 pages, For a review copy or other To place orders in the United 32 color plates, 35 halftones publicity inquiries, please States or Canada, please contact: Rose Rittenhouse, contact your local Univer- ISBN 13: 978-0-226-09118-1 Promotions Manager, Univer- sity of Chicago Press sales sity of Chicago Press, 1427 representative or contact the Publication Date: May 2015 East 60th Street, Chicago, IL University of Chicago Press 60637. -
Paul Klee. Poet and Thinker “‘Should All Be Known? Oh, I Think Not’ – Those Were the Words Paul Klee Inscribed on One of His Very Last – Never Completed – Works
Transdisciplinary Excursions Trip Report: Excursion to the Zentrum Paul Klee Bern, 28. October 2017 The Exhibits: Paul Klee. Poet and Thinker “‘Should all be known? oh, I think not’ – Those were the words Paul Klee inscribed on one of his very last – never completed – works. The exhibition takes a fresh look at Klee, the painter who was also a poet, word acrobat, philosopher – and much more besides.” 10 Americans. After Paul Klee “The exhibition 10 Americans is the very first substantial show to illustrate the impact of Paul Klee’s work on mid- twentieth-century U.S. art. Ten selected American artists, including notables such as Jackson Pollock, Robert Motherwell and Mark Tobey, will bear eloquent and impressive testimony to the extent to which these artists were inspired by Klee’s artistic concepts and practices.” We met at the Zentrum Paul Klee to learn about the Swiss artist and his international legacy, as well as to experience the museum building, built by the Italian architect Renzo Piano in 2005. I was fascinated by the building, which consists of three “hills,” raised areas with space for the above-ground galleries (much of the museum is below-ground). It works together with the landscape in the background and the lawn in the front more like a geographical formation than like architecture. That the museum building is integrated into the surrounding nature made sense after having visited the exhibition Paul Klee. Poet and Thinker , which featured writings by Klee about the indispensible role of nature in his personal and artistic life. The exhibit included many of Klee’s drafts and sketches, as well as finished paintings. -
Paul Klee and His Illness, Scleroderma
Paul Klee and his illness, scleroderma Richard M. Silver, MD The author (AΩA, Vanderbilt University, 1975) is profes- sor of Medicine and Pediatrics and director of the Division of Rheumatology and Immunology at the Medical University of South Carolina. t has been said that the viewing and analyzing of fine art from a medical perspective increases one’s appreciation of the in- dividual’s suffering and teaches us an important lesson of the humanI aspects of medicine.1 It is likely that few artists suffered as greatly as did Paul Klee, one of the pioneers of modern art. Klee suffered personal loss, intellectual and political persecution, and, finally, a devastat- ing illness, scleroderma. Scleroderma (systemic sclerosis) is characterized by autoimmunity, microvascular injury, and an overproduction of collagen and other extracellular matrix components, often leading to profound changes in personal appearance, significant morbidity, and, in many cases, reduced survival. Despite his fatal illness, Klee’s adaptation and artistic productivity provide a window through which one can appreciate the indomitable spirit of human creativity. Paul Klee was born on December 18, 1879, in the small town of Münchenbuchsee near Bern, Switzerland.2,3 His mother, Ida Maria Frick, was a trained singer, and his father, Hans Klee, taught music for fifty years at the Cantonal School for Teachers near Bern.4 Both envisioned a musical career for Paul, who indeed was a talented violinist, earning a seat with the Bern City Orchestra. From a very early age, though, it was drawing and art that captured the imagination of Paul Klee, although music accompanied him throughout his life and in his art. -
Tradition, Innovation, Wholeness, and the Future in the Art of Paul Klee By
Tradition, Innovation, Wholeness, and the Future in the Art of Paul Klee By Andrea L. Bush A thesis submitted in partial fulfillment of the requirements for the degree Master of Philosophical Foundations Institute for Christian Studies Toronto, Ontario 1993 Upon seeing a tree: the little birds excite envy, they shun thinking about trunk and roots and have self-satisfied fun all day with their swinging nimbly on the newest-sprouted twigs, and singing. (Paul Klee, Diaries, no. 466, p. 132, 1902) Open thyself, thou gate in the depths, Cell underground, release me who senses light. And bright hands come and seize me, and friendly words are spoken joyously: Forth, you beautiful pictures, wild beasts, spring forth from thy cage that fingers may glide lovingly on flaming hide. And all is one as once in God's garden: day and night, and sun and splendor of stars, the paradise of those trembling with poetry). (Paul Klee, Diaries. no. 863, p. 239, 1909) TABLE OF CONTENTS INTRODUCTION...................................................... 1 I. KLEE'S EARLY MILIEU......................................... 6 Historical background 6 Klee's advent 10 Klee's artistic crisis 15 II. FROM THE ROMANTICS: IRONY AND ORGANICISM................. 17 Romantic irony 17 Organicism and "biological thinking" 22 Klee's early work 2 5 III. KLEE AVOIDS DILEMMA OF FORM VS. PROCESS.................. 30 Process in the product 3 0 Works from imagination and isomorphic form 3 4 Viewing in time: visual analogs of music 37 "Literary" painting 44 IV. THE DILEMMA OF ABSTRACT VS. FIGURATIVE ART................ 4 8 "The urge to abstraction" 48 Abstract forms become analogs of experience 50 V. -
Paul Klee : Philosophical Vision, from Nature To
edited by John Sallis McMullen Museum of Art, Boston College [This blank page deliberately inserted by Boston College Digital Libraries staff to preserve the openings of the analog book.] edited by John Sallis McMullen Museum of Art, Boston College Distributed by The University of Chicago Press 0 2 This publication is issued in conjunction with the exhibition Paul Klee: Philosophical Vision; From Nature to Art at the McMullen Museum of Art, Boston College, September 1 - December 9, 2012. Organized by the McMullen Museum, in collaboration with the Zentrum Paul Klee, Bern, Paul Klee: Philosophical Vision; From Nature to Art has been curated by John Sallis in consultation with Claude Cernuschi and Jeffery Howe. The exhibition has been underwrit- ten by Boston College, the Patrons of the McMullen Museum, and the Newton College Class of 1967, with additional support from swissnex Boston and Swiss International Air Lines Ltd. S* ^3Swiss Library of Congress Control Number: 2012939001 ISBN: 978-1-892850-19-5 Distributed by The University of Chicago Press Printed in the United States of America © 2012 by the McMullen Museum of Art, Boston College, Chestnut Hill, MA 02467 Copyeditor: Kate Shugert Book designer: John McCoy Front cover: Paul Klee, Wall Plant ( Mauerpflanze ), 1922/153. Watercolor and pen on paper on cardboard, 25.8 x 30.2 cm, Museum of Fine Arts, Boston, Seth K. Sweetser Residuary Fund, 64.526. Photograph © 2012 Museum of Fine Arts, Boston. Back cover: Paul Klee, Eidola: Erstwhile Philosopher (EIAQAA: weiland Philosoph ), 1940/101. Chalk on paper on cardboard, 29.7 x 21 cm, Zentrum Paul Klee, Bern, PKS Z 2128. -
Cosmos of Color
EN 30.11.2012 – 01.04.2013 cosmos of color EXHIBITION GUIDE Floorplan 7 8 9 6 10 11 1 5 4 3 2 Ground Floor 1 Academy and Studying from Nature 2 Discovering Color 3 Color Theory 4 Color and Abstraction 5 Dynamization of Color 6 Rationalization of Color 7 Color between Abstraction and Realism 8 Esoteric Meaning of Color 9 Autonomy of the Elements of Art 10 Elementarization and Order of Colors 11 The Universe of Color Introduction Johannes Itten and Paul Klee are leading figures in 20th century art due to their famous and far-reaching theories about color. Both of them firmly believed that the order of colors presents a self-con- tained universe that obeys set principles. Newly discovered docu- ments show that both artists drew on a mutual source of intellec- tual history and that they shared, to a degree, an interest in esoteric teachings, while reciprocally inspiring one another too. Both devel- oped their ideas on color over decades of reflection and work, ex- ploring and applying them comprehensively in their art as well. The lives and careers of Paul Klee who was born in Münchenbuchsee near Bern and Johannes Itten who grew up in the Bernese Oberland converged at many points: For example, Paul Klee’s father was the first to inspire Johannes Itten in his artistic pursuits, and converse- ly, Paul Klee acquired a teaching appointment at the Bauhaus in Weimar chiefly through Itten’s support. Well-nigh simultaneously in 1914/1915, both artists began their lifelong investigation of color theory and the order of the universe of color – in Klee’s case on a trip to Tunisia, in Itten’s while in Stuttgart through Adolf Hölzel’s art theory.