PAUL KLEE (1879-1940)
PAUL KLEE (1879-1940)

PALSTE

细节
PAUL KLEE (1879-1940)
PALSTE
SIGNED LOWER RIGHT 'KLEE', DATED, NUMBERED AND TITLED ON THE MOUNT '1940 K16 PALSTE'
GOUACHE AND WATERCOLOR ON PAPER MOUNTED BY THE ARTIST ON PAPER
IMAGE SIZE: 12.1/8 X 18.5/8IN. (31 X 47.5CM.) MOUNT SIZE: 13.3/8 X 19IN. (34 X 49.5CM.)
PAINTED IN 1940
来源
LILY KLEE, BERN (1940-1946)
KLEE-GESELLSCHAFT, BERN (1946-1948)
BUCHHOLZ GALLERY (CURT VALENTIN), NEW YORK (1948-1951)
CURT VALENTIN GALLERY, NEW YORK (1951-1954)
CURT VALENTIN GALLERY/KLEEMAN GALLERIES, NEW YORK (1954-1955); SALE, STUTTGARTER KUNSTKABINETT (R. N. KETTERER), STUTTGART, MAY 25, 1955, LOT 1410
SAIDENBERG GALLERY, INC., NEW YORK (ACQUIRED AT THE ABOVE SALE; ACQUIRED BY WILLIAM RAND, 1958)
出版
OEUVRE-KATALOG KLEE, 1940, NO. 296 (K16)
S. FREY AND J. HELFENSTEIN, PAUL KLEE, VERZEICHNIS DER WERKE DES JAHRES 1940, STUTTGART, 1991, NO. 296 (ILLUSTRATED, P. 181)
展览
NEW YORK, BUCHHOLZ GALLERY (CURT VALENTIN), PAUL KLEE, APRIL-MAY, 1948, NO. 35 (ILLUSTRATED)
NEW YORK, SAIDENBERG GALLERY, INC., PAUL KLEE, OCT.-NOV., 1955, NO. 48
NEW YORK, SAIDENBERG GALLERY, INC., PAUL KLEE: THIRD BI-ANNUAL EXHIBITION OF PAINTINGS AND DRAWINGS, NOV.-DEC., 1957, NO. 47
BERN, KUNSTMUSEUM, PAUL KLEE: DAS SCHAFFEN IM TODESJAHR, AUG.-NOV., 1990, NO. 277 (ILLUSTRATED, P. 249)

拍品专文

KLEE'S WORK BECAME WIDELY KNOWN IN AMERICA DURING THE 1940S THROUGH EXHIBITIONS AT CURT VALENTIN'S BUCHHOLZ GALLERY AND THE NIERENDORF GALLERY, CULMINATING IN 1949-1950 IN A MAJOR RETROSPECTIVE AT THE MUSEUM OF MODERN ART, NEW YORK. IN 1944, SIDNEY JANIS, WHO HAD BEEN RESEARCHING HIS SURVEY ABSTRACT AND SURREALIST ART IN AMERICA, DISCOVERED THAT "A REALIZATION EMERGES PERHAPS A LITTLE UNEXPECTEDLY... IF THERE IS ANY ARTIST AFTER PICASSO, THE CHARACTER OF WHOSE WORK RUNS THROUGH TWENTIETH CENTURY AMERICAN PAINTING... IT IS KLEE". (QUOTED IN C. LANCHNER, "KLEE IN AMERICA", PAUL KLEE, EXH. CAT., THE MUSEUM OF MODERN ART, NEW YORK, 1987, P. 106)

KLEE'S PAINTING WAS INFLUENTIAL IN TWO WAYS. SOME WERE INTERESTED IN HIS PERSONAL AND INTENSELY IMAGINATIVE MANNER OF FORMING HIS SUBJECT MATTER, WHICH SEEMED ALLIED TO THE METHODS OF THE SURREALISTS. OTHERS WERE DRAWN TO KLEE'S ABSTRACT AND PAINTERLY APPROACH TO FORM, ESPECIALLY IN LATE WORKS SUCH AS THE PRESENT WATERCOLOR. BOTH OF THESE ASPECTS WERE VERY MUCH ON THE MINDS OF AMERICAN ARTISTS AT THE TIME, WHO WERE ATTEMPTING TO UNITE THE SURREALIST INTEREST IN THE SUBSCONSCIOUS WITH A MORE PAINTERLY MANNER OF EXPRESSION. BY 1950 KLEE'S INFLUENCE WAS SIGNIFICANT IN THE WORK OF SUCH MAJOR FIGURES AS FRANZ KLINE, BRADLEY WALKER TOMLIN AND ADOLPH GOTTLIEB, AND EXTENDED INTO THE NEXT GENERATION AS WELL.

A PHOTO-CERTIFICATE DATED BERN, DECEMBER 22, 1997 FROM JOSEF HELFENSTEIN AND MICHAEL BAUMGARTNER OF THE PAUL KLEE-STIFTUNG ACCOMPANIES THIS GOUACHE.