paul kle puppets
The first theatre that Klee created for his peforming puppets was made with picture frames that he no longer used. He would also incorporate illustrations and paintings from Blue Rider almanac.
Klee did not just create paintings, however. One of his largest projects was his large array of puppets. In total, Klee created around fifty puppets for his son, Felix.
2007. 152 pp., 182 ills.
Ed. Zentrum Paul Klee, Bern, foreword by Andreas Marti, text(s) by Christine Hopfengart, Aljoscha Klee, Felix Klee, Osamu Okuda, Tilman Osterwold, Eva Wiederkehr Sladeczek
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Fenster und Palmen, 1914, watercolor on grounding on paper on cardboard, Kunsthaus Zürich, Zurich
Klee’s artistic breakthrough came in 1914 when he briefly visited Tunisia with August Macke and Louis Moilliet and was impressed by the quality of the light there. He wrote, “Color has taken possession of me; no longer do I have to chase after it, I know that it has hold of me forever. Color and I are one. I am a painter.”  With that realization, faithfulness to nature faded in importance. Instead, Klee began to delve into the “cool romanticism of abstraction”.  In gaining a second artistic vocabulary, Klee added color to his abilities in draftsmanship, and in many works combined them successfully, as he did in one series he called “operatic paintings”.   One of the most literal examples of this new synthesis is The Bavarian Don Giovanni (1919). 
© United Puppets / Mario Hohmann
The artist Paul Klee stands at his easel, searching for a unique way to express himself. He struggles with the truth as well as the next rent payment. He’s burdened with knowledge, plagued by doubts and tormented by fate. He will paint himself into immortality until death comes calling. His figures move between life and the hereafter, reflecting the artist’s universe with humour and irony, caricaturing Klee’s contemporaries, showing the effort of self-discovery, the magnificence of his years of mastery and the tragedy of the end of his life. It is a portrayal of an artist’s life within the years marking the threshold of Modernism, viewed from the perspective of a younger [WW1] generation and a handful of puppets. A “Punch and Judy”-like work of puppetry, as Klee himself loved and fondly described it many times.