Das Fenster demonstrates how deeply Klee immersed himself in the theories of Delaunay, and in both his choice of subject and a similar structural organization of color he pays direct homage to Delaunay's Fenêtres paintings of 1912.
Klee had already begun to use a grid as the basis for some of the watercolors he painted in Tunisia in the spring of 1914 during a trip with his friend August Macke. As he explored Delaunay's conception of color and space, Klee began to move in his own direction, toward a flat color-theme format.
Delaunay used transparent color to create pictorial depth, but there is no real, stable structure to that depth. It is a jumble of fragments and facets, like a box of broken pieces of colored glass. Unlike eighteenth-century polyphonic music it cannot be analyzed as separate component layers. In the music that Klee so revered, each voice or independent theme constitutes a layer of the auditory depth, and each such layer can be isolated and examined independently. In Delaunay's "Windows", where the whole space is so thoroughly intermixed, there is no possibility for independent themes to exist. Though transparent color was Delaunay's means of control, he had no means of controlling transparent color depth. In other words, Delaunay's concern for a "dynamic poetry" of color had led him toward dynamic, unstable formats: Klee's intensive and rigorous grounding in musical thought was gradually leading him toward very stable, static compositional structures, in which the individual composition would provide the neccessary dynamism. (A. Kogan, Paul Klee: Art & Music, Ithaca, New York, 1983, pp. 60-61)
A photo-certificate from Dr. Jürgen Glaesemer of the Paul Klee-Stiftung dated Bern, May 26, 1975, accompanies this watercolor. An original copy of the checklist for the March, 1916 exhibition at Der Sturm, Berlin also accompanies this lot.