拍品专文
Klee's trip to Egypt in 1928 had a profound impact on his works for the remainder of his career. He was influenced by the polychrome geometric decorations in Islamic architecture and the luminous colors of Mediterranean mosaics. This led immediately to a series of so-called "divisionist" pictures which Klee painted in Dessau and Düsseldorf in the early 1930s. Schling-gewächse is a joyous and vital expression of this technique.
This composition may be described as rhythmic, both in form and color, since it suggests unending movement. It is enough to look at it for a short time to feel the rhythmic motion of every element changing within itself before becoming another.
If each of the oblong shapes is examined carefully it will be seen that every one contains all the colours used within the whole composition. There is a great feeling of balance. The whole impression is one of solidarity at the base and lightness at the summit--an effect achieved by flat oblong shapes which, through careful yet not mathematical grading, become tiny multi-coloured squares at the top. There is again sensitive shading to give depth to the composition. Klee was a master of effects and, no doubt, he wanted to convey, through subtle handling, the idea of movement. (N. Hulton, op. cit., p. 56)
A photo-certificate from Dr. Josef Helfenstein and Stefan Fry of the Paul Klee-Stiftung dated Bern, August 3, 1995 accompanies this gouache.
This composition may be described as rhythmic, both in form and color, since it suggests unending movement. It is enough to look at it for a short time to feel the rhythmic motion of every element changing within itself before becoming another.
If each of the oblong shapes is examined carefully it will be seen that every one contains all the colours used within the whole composition. There is a great feeling of balance. The whole impression is one of solidarity at the base and lightness at the summit--an effect achieved by flat oblong shapes which, through careful yet not mathematical grading, become tiny multi-coloured squares at the top. There is again sensitive shading to give depth to the composition. Klee was a master of effects and, no doubt, he wanted to convey, through subtle handling, the idea of movement. (N. Hulton, op. cit., p. 56)
A photo-certificate from Dr. Josef Helfenstein and Stefan Fry of the Paul Klee-Stiftung dated Bern, August 3, 1995 accompanies this gouache.