As an off-site exam, each member of the study group needs to log a response to this posting. You will each enter a three-part set of observations to the: Form, theme and contextual aspects of a painting by Paul Klee. You will first select the work, then as you cite your textbook and class handout materials, you will each offer your personal observations to the work of art.Under form, you will first note the title of the work, date it was created, media, and actual size, then you will proceed to make observations: about how it's size impacts it's expressive character, why the media works to heighten the mood, like-wise, the use of line, use of color, contrast, atmospheric treatments, general composition, brushwork and unique iconographic elements and so on.
Under theme, you will offer ideas about the meanings of the work and how these meaning emerge from the formal language of the work. Here we are after [content] in a work of art and how content is given a unique visual structure by Klee's knowing use of the elements of form. You should cite the text handouts as they offer a unique look into Klee's thematic interests, put these citings into "quote marks" and note the page and source.
Finally, under context you will again need to briefly cite the text and handouts discussing Paul Klee's artistic world view. You will offer insights into his personality and how Klee's personal view of life/reality/metaphysics etc. informed his formal language and his thematic choices. To make this simple this is where [in a biographical manner] you talk about Klee's artistic influences, childhood, love of narrative, story-telling, music, opera etc. In other words in this final part you will all offer thoughts on how Klee became- Klee the painter/story-teller.
In commenting on this blogsite, please leave your full name-- so that I can easily identify each group member and read their contributions to this off-site group exam.
Regards and enjoy the process,
Bill
2 comments:
Form
Legend of the Nile,1937 Pastel on cotton cloth mounted on burlap, 27 1/8 x 24
While I am truly smitten by many if not most of Paul Klee's works, I must admit I was not moved by this image.... initially. I first saw it as an odd exercise in color theory and shape. A potpourri of awkward shapes floating above a patchwork of cool blue encased within a golden frame. A less than tasty Klee omelet with a smattering of crude yet recognizable objects peppered throughout.
My initial indifference to the image is what intrigued me to look deeper. The scattering of shapes are accented by a thin white line, and consist of a warm brown that lifts them from the cool blues of the mosaic background, creating a distinct illusion of distance. This distance is played with in several areas where the foreground objects interact, rest on, or cut into the background shapes. Throughout the image, three distinct objects can be recognized. Near the center of the image is a boat carrying four figures. One figure stands at the bow of the boat with outstretched arms, while the other three appear to be rowing. Just below and to the left of the boat is a fish aiming at a slight diagonal towards the boat. Below the fish a plant sprouts up from the bottom border of the painting. The rest of the shapes are up for interpretation, but there are several horizontal lines in various locations that suggest the shape of a boat. Some are embellished with a pyramid shape or short pole, while others adorn a square or long sliver resembling a sail.
Theme & a bit of Context
Klee's interests in nature and cycles of life are present here. In his unusual yet skillful fashion Klee manages to capture and express the essence of every day life on the Nile. He conveys the busy bustling of the people that rely on the river for food, transportation, and even tourism. Shapes resembling simplified boats drift left and right. A large circle near the top of the image possibly represents the sun,(echoed by the golden boarder) which works with the water to provide life to the fish and plants that in turn providing life to the people.
It would seem Klee resisted the expected and somewhat cliché implementation of recognizable hieroglyphics. Perhaps this was to insure that people would be able to relate to his image without feeling distanced by a foreign language. Instead, Klee manipulates a variety of seemingly random shapes into his own language achieving a sense of chaotic order. Organic as well as geometric objects are everywhere, yet they all seem to be in the right place, or know where they are going. Nothing alone clearly represents life on the Nile, yet together, in some strange way, it all works. Just below the boat a mixture of odd shapes prance about in a fashion that appears to be influenced by the movement of the boat, suggesting sound, music, or the displacement of water.
Everything is viewd through a golden window which frames the image, but does not contain the objects; allowing them to pass behind giving them the freedom to go about their business, entering and exiting at will.
Perhaps the figure at the bow of the boat is Klee himself, marveling at the wonders of another culture, observing everything with his unique eye and developing an emotional connection to the environment. Klee's interest in symbolism and the merging of storytelling with abstracted shapes leaves much up for interpretation, but never fails to intrigue.
When you say study group, do you mean everyone individually in the class or did we break up into groups that I am not aware of?
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