Paul Klee (1879-1940)
詹姆斯及瑪麗琳·阿爾斯多夫珍藏
保羅·克利

《東方花園》

細節
Klee
保羅·克利
《東方花園》
簽名:Klee(右下);標題、日期及編號:'1937 S. 7 Garten im Orient(藝術家製作底板)
粉彩 藝術家裝裱之棉布 紙板
畫:14 x 11吋(35.5 x 28公分)
底板:15 1/4 x 12吋(38.8 x 30.5公分)
1937年作
來源
伯爾尼莉莉·克利(繼承自藝術家本人)
伯爾尼克利公司協會(1946年購自上述收藏,直至1948年)
柏林及紐約巴克霍爾茲畫廊(柯特.瓦倫丁)(1948年)
南諾瓦克弗雷德里克·C·商(1952年可能購自上述收藏,直至至少1960年)
紐約E·V·托爾公司(購自上述收藏)
已故藏家於1964年11月18日購自上述收藏
出版
V. Hugo〈Le verger de Paul Klee〉《Cahiers d'Art》,1945至1946年,編號20至21,第65頁(插圖)
H. Devree〈The Magic of Klee〉《The New York Times》,1950年5月7日(插圖)
F.C. Schang著《Paul Klee, Collection of F.C. Schang》,南諾瓦克,1952年,編號38
F.C. Schang著《Paul Klee, Collection of F.C. Schang》,南諾瓦克,1953年,編號38
W. Grohmann著《Paul Klee》,紐約,1954年,第404及419頁,編號163及371(插圖,第404頁)
F.C. Schang著《Paul Klee, Collection of F.C. Schang》,南諾瓦克,1955年,編號34
G. di San Lazzaro著《Klee: A Study of His Life and Work》,倫敦,1957年,第276頁(插圖,圖號121)
F.C. Schang著《Paul Klee, Collection of F.C. Schang》,南諾瓦克,1957年,編號40
F.C. Schang著《Paul Klee, Collection of F.C. Schang》,南諾瓦克,1959年,編號34
M. Huggler著《Paul Klee: Die Malerei als Blick in den Kosmos》,蘇黎世,1969年,第170頁
D. Chevalier著《Klee》,紐約,1971年,第80頁(彩色插圖,第81頁)
J. Glaesemer著《Paul Klee, die farbigen Werke im Kunstmuseum Bern: Gemälde, farbige Blätter, Hinterglasbilder und Plastiken》,伯爾尼,1976年,第324頁,注釋29
M. Henle編《Vision and Artifact, New York》,紐約,1976年,第132及145頁
J. Smith Pierce著《Paul Klee and Primitive Art》,紐約,1976年,第51及166頁,注釋62
G. Monnier著《Le Pastel》,日內瓦,1983年,第87頁(彩色插圖,第86頁)
A. Bonfand著《Paul Klee, l'oeil en trop》,巴黎,1988年,第100至102頁(彩色插圖,圖號49)
The Paul Klee Foundation編《Paul Klee: Catalogue Raisonné 1934-1938》,伯爾尼,2003年,第7冊,第271頁,編號7103(插圖)
展覽
1945年 「Paul Klee」展覽 國家畫廊 倫敦 第8頁,編號117
1950年5月 「Paul Klee」展覽 巴克霍爾茲畫廊(柯特.瓦倫丁) 編號32(插圖)
1951年3月至4月 「Paintings by Paul Klee」展覽 四藝術學會 棕櫚灘 編號60
1955年6月至8月 「40 Works by Paul Klee from the Collection of F.C. Schang」展覽 美術館 明尼亞波利斯 編號34
1957年 「European Masters of Our Time」展覽 波士頓美術館 第19頁,編號57(插圖,圖號115)
1960年5月至6月 「Paul Klee: A Loan Exhibition」展覽 布蘭戴斯大學 沃爾瑟姆 編號33
1987年2月至1988年1月 「Paul Klee」展覽 紐約現代藝術博物館、克利夫蘭美術館及伯爾尼美術館 第30及272頁(彩色插圖,第272頁)
1997年1月至7月 「Paul Klee: Reisen in den Süden」展覽 哈姆古斯塔夫·呂布克博物館及萊比錫美術博物館 第105及238頁,編號90(彩色插圖,第203頁)

拍品專文

The bold, thick, graphic lines that define architectural contours and signify plant forms in Garten im Orient, while imparting structure to the flat patterning of sectioned colors that serves as their pictorial ground, are the key elements in a method that Paul Klee introduced during 1937 and became the salient characteristics of his Alterstil—an innovative late style.
This development emerged from a career-long dedication to drawing; the consummate, fine pen line of the Klee’s early and middle period draughtsmanship turned heavy, solid, and emphatic, imbuing his compositions with a sense of grandeur and monumentality that he had not previously sought in his work. The intimate fantasy and whimsy of Klee’s numerous garden-scapes during the late ‘teens and 1920s, brimming with lovingly rendered detail in their small formats, opened up into landscape vistas of memory and visionary impulse, revealing the lineaments of archetypes summoned forth from the depths of the inner self and writ large as potent, revelatory signs.
This metamorphosis of means was Klee’s brave response to a painful, existential ordeal. In 1935 he began to experience symptoms of a debilitating disease subsequently diagnosed as scleroderma, which resulted in his death in June 1940. During 1936 he created only a few pictures in his Bern studio. In 1937, however, his production astonishingly rebounded—he completed a total of 264 catalogued works in various media, his largest tally since he returned to his native Switzerland at the end of 1933 to flee Hitler’s rise to power in Germany.
An even larger sum, 489 pictures, followed in 1938. “Productivity is increasing in range and at a highly accelerated tempo,” Klee wrote to his son Felix on 29 December 1939. “I can no longer entirely keep up with these children of mine. They run away with me. There is a certain adaptation taking place, in that drawings predominate. Twelve hundred items in 1939 is really something of a record performance” (F. Klee, Paul Klee: His Life and Work in Documents, New York, 1962, p. 72).
“In Ascona I did pastel drawings to my heart’s delight,” Klee wrote his wife Lily on 27 November 1937 (ibid., p, 73). The Orient in Klee’s title refers not to the Far East, but evokes the “orientalist” fantasy of North African and Levantine subjects that Delacroix and other European painters, including Matisse, had treated since the 1830s. Klee had undertaken in 1914 a momentous journey to Tunisia, where he experienced an epiphany that transformed his art. “Color possesses me,” he wrote in his diary on 16 April. “Color and I are one. I am a painter.”
In Tunis Klee visited “superb gardens…a path with cactuses just like the ‘hohle Gasse’ [in Immensee, back home]” (F. Klee, ed., The Diaries of Paul Klee, Berkeley, 1964, pp. 293 and 297). The horseshoe arches likely allude to the grand Mosque of Uqba in Kairouan. Trips to Sicily, Corsica, and Egypt during the late 1920s rekindled Klee’s interest in Mediterranean cultures, for years afterwards yielding—in glowing chroma—pictures that are timelessly mythic in their scope and import.

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