Paul Klee

Catalogue raisonné: Paul Klee Foundation 3263



Provenance:

Lili Klee, Bern, 1940 –1946;

Klee-Gesellschaft, Bern, 1946 –1947;

Karl Nierendorf, Cologne / Berlin / New York, 1947;

Estate Karl Nierendorf, New York, 1947 –1948;

Solomon R. Guggenheim Museum, New York, 1948 –1971;

Galerie Beyeler, Basel, 1942 –1973;

Galerie Jan Krugier, Ditesheim & Cie., Geneva, 1985 –1986;

Kunsthandel Wolfgang Werner, Bremen, 1986 –1989;

Helen Serger (La Boetie, Inc.), New York, since 1989;

Private collection, New York (by descent)



Exhibitions:

Basel, Galerie Beyeler, Klee, Kunst ist ein Schöpfungsgleichnis, 1973, Nr. 26 illustrated.

Cologne, Kunsthalle Köln, Paul Klee, Das Werk der Jahre 1919-1933, Gemälde, Handzeichnungen, Druckgraphik, 1979, Nr 110

Venice, Museo d’Arte Moderna , Ca’ Pesaro & Milan, Palazzo Reale, Paul Klee nele collezioni private, 1986, Nr. 66 illustrated.

New York; Moeller Fine Art Ltd., Paul Klee: Paintings and drawings, 1987, Nr. 9A

Budapest, Nationalgalerie; Madrid, Centro de Arte Reina Sofiá & Köln, Kölnischer Kunstverein, Bauhaus Utopien – works on paper, 1988, illustrated.

Bad Frankenhausen, Panoramamuseum “Surrealism in Germany “, 3. Juli bis 10. Oktober 2021, illustrated p. 89



Literature:

Will Grohmann, Paul Klee, Handzeichnungen 1921-1930, Potsdam & Berlin, 1934, Nr. 12

Paul Klee: das graphische und plastische Werk: mit Vorzeichnungen, Aquarellen und Gemälden (Exhibition catalogue) Wilhelm-Lehmbruck-Museum der Stadt Duisburg, 1974-75, p. 55

Picasso und seine Zeit, Die Sammlung Berggruen (Exhibition catalogue) Staatliche Museen zu Berlin, Berlin, 1996, p. 234

Paul-Klee-Stiftung, Kunstmuseum Bern, 2000, Paul Klee, Catalogue Raisonée, Band 4, p. 118, Nr. 3263

Eberhard W. Kornfeld, Paul Klee, Verzeichnis des graphischen Werkes, Verlag Galerie Kornfeld Bern, Bern 2005, p. 248



Klee possessed a deep wisdom and astounding knowledge. A timeless human of indeterminable age, but for whom all sensory experiences, of the eyes and ears, of touch and taste, were permanently captivating and new like an attentively child (…)

In Klee’s studio there were always several of his paintings standing on easels, under observation so to speak, as they gradually unfolded toward completion before us, while Klee himself stood in the middle of this seeming – but in fact carefully organized – disorder (as he was quite meticulous in his habits). We remember what a close friend who had the privilige of studying Klee’s work in his studio once told us: how Klee could often sit in a corner for hours with a pipe in his mouth, smoking, seemingly preoccupied with nothing – but fully alert on the inside – and then stand up to add a color to a painting with unerring certainty or to draw a line, and thus slowly bring these magical creations toward their completion



Lyonel Feininger on Paul Klee

Quoted from: Ludwig Grote, Erinnerungen an Paul Klee, Munich 1959, p. 71-75

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