In the “Modernism Walk” exhibition held jointly by the Ullens Art Center in Shanghai and Beijing, the works of renowned artist Paul Klee are being showcased, providing Chinese audiences with a comprehensive display of his artistic talent. While Klee is recognized as a master of modernist art alongside Picasso and Matisse in the Western world, his name may be unfamiliar to many in China. This article aims to shed light on Klee’s significance in art history and provide insights into how his works should be interpreted.
The exhibition features over 30 representative works of Klee, making it the most extensive display of his art in China so far. Klee’s popularity in the Western world surpasses that in China, making it crucial to understand how his works should be viewed and appreciated, especially regarding his mastery of color. When it comes to color in art, names like Monet and Van Gogh often come to mind, but Klee’s approach to color is distinct.
Klee’s artistic style cannot be judged using traditional art history standards. He did not adhere to any classical techniques and did not consider oil paint on canvas as his strong suit. Instead, he used cardboard and watercolor to express his endless self-dialectical thinking. This experimentation with materials and techniques aligns with the characteristics of art during the modernist period. In his early career, Klee was influenced by the European art avant-garde movement, particularly artists like Robert Delaunay and Henri Rousseau. However, Klee developed his own unique approach to color. Rather than being a master of color, he can be seen as a color researcher and a philosopher of art. For Klee, what mattered was understanding the laws and operations of nature and how they revealed themselves to the artist.
The article highlights Klee’s unconventional daily life and artistic process. He would take long walks alone, collecting various objects like butterfly wings, shells, and stones of different colors. These found objects would then find their way into his studio, where he utilized them in his paintings. Klee experimented with different techniques, such as using seals to stamp colors or using scissors, needles, and knives to “destroy” the painting. He would cut off certain parts of the artwork and later collage them into other paintings when needed. This approach differentiated Klee from the collages of Berlin Dada or Matisse’s famous paper-cuttings. Klee’s process was deeply rooted in his artistic exploration and philosophical speculation.
Klee’s artworks often exhibit deductive logic, which is evident in his “lattice paintings” from the Weimar period. These works coincide with the teaching practices of the Bauhaus, a school where Klee was a faculty member. The experimental creations visually confirmed his theoretical construction, and his theoretical basis was further explained through his artworks. Klee’s thinking is evident in both his art and his writings, allowing readers to perceive the trajectory of his thoughts. Klee once remarked that the creation of a visual work is akin to building a house, done piece by piece.
Although Klee was regarded as a German avant-garde artist during his time as a member of the “Blue Rider” group, his calm and rigorous paintings may not exhibit the same rebellious power as his contemporaries. Nevertheless, Klee’s pioneering consciousness and dialectical mindset informed his highly personalized artworks. His paintings often feature a dark background, which he used to contrast and highlight the subjects in the center. This approach reveals the rebellious and contrary nature of Klee’s artistic practice.
To better understand Klee’s works, one can delve into the rich documentary heritage he left behind. His “Teaching Notes” collected by Gropius, the founder of Bauhaus, and his own diary supplemented by his son Felix provide invaluable insights into his life and artistic theories. Italian art historian Giulio Carlo Argan considers Klee’s writings as significant to modern art as Leonardo da Vinci’s writings were to Renaissance art. Klee observed and studied the works of the great masters in art museums, synthesizing their techniques and ideas into his own exploration of form and logic.
In conclusion, the exhibition featuring Paul Klee’s works in China offers a rare opportunity for Chinese audiences to appreciate his artistic prowess. While Klee may be unfamiliar to many in China, this article aims to provide a deeper understanding of his significance in art history and his unique approach to color and form. Klee’s works encapsulate his continuous exploration and philosophical thinking, making them not only visually striking but also intellectually stimulating.