paul klee art images
In his early years, following his parent’s wishes, he focused on becoming a musician; but he decided on the visual arts during his teen years, partly out of rebellion and partly because of a belief that modern music lacked meaning for him. He stated, “I didn’t find the idea of going in for music creatively particularly attractive in view of the decline in the history of musical achievement.” As a musician, he played and felt emotionally bound to traditional works of the eighteenth and nineteenth century, but as an artist he craved the freedom to explore radical ideas and styles. At sixteen, Klee’s landscape drawings already show considerable skill.
The release of the almanach was delayed for the benefit of an exhibition. The first Blaue Reiter exhibition took place from 18 December 1911 to 1 January 1912 in the Moderne Galerie Heinrich Thannhauser in Munich. Klee did not attend it, but in the second exhibition, occurred from 12 February to 18 March 1912 in the Galerie Goltz, 17 of his graphical works were showed. The name of this art exhibition was Schwarz-Weiß, as it only regarded graphic painting. Initially planned to be released in 1911, the release date of the Der Blau Reiter almanach by Kandinsky and Marc was delayed in May 1912, including the reproducted ink drawing Steinhauer by Klee. At the same time, Kandinsky published his art history writing Uber das Geistige in der Kunst.
The art of mentally ill people inspired Klee as well as Kandinsky and Max Ernst, after Hans Prinzhorns book Bildnerei der Geisteskranken (Artistry of the Mentally Ill) was published in 1922. In 1937, some papers from Prinzhorn’s anthology were presented at the National Socialist propaganda exhibition “Entartete Kunst” in Munich, with the purpose of defaming the works of Kirchner, Klee, Nolde and other artists by likening them to the works of the insane. 
Klee was at the peak of his creative output. His Ad Parnassum (1932) is considered his masterpiece and the best example of his pointillist style; it is also one of his largest, most finely worked paintings.   He produced nearly 500 works in 1933 during his last year in Germany.  However, in 1933, Klee began experiencing the symptoms of what was diagnosed as scleroderma after his death. The progression of his fatal disease, which made swallowing very difficult, can be followed through the art he created in his last years. His output in 1936 was only 25 pictures. In the later 1930s, his health recovered somewhat and he was encouraged by a visit from Kandinsky and Picasso.  Klee’s simpler and larger designs enabled him to keep up his output in his final years, and in 1939 he created over 1,200 works, a career high for one year.  He used heavier lines and mainly geometric forms with fewer but larger blocks of color. His varied color palettes, some with bright colors and others somber, perhaps reflected his alternating moods of optimism and pessimism.  Back in Germany in 1937, seventeen of Klee’s pictures were included in an exhibition of “Degenerate art” and 102 of his works in public collections were seized by the Nazis. 
Paul Klee (German: [paʊ̯l ˈkleː]; 18 December 1879 – 29 June 1940) was a Swiss German artist. His highly individual style was influenced by movements in art that included Expressionism, Cubism, and Surrealism. Klee was a natural draftsman who experimented with and eventually deeply explored color theory, writing about it extensively; his lectures Writings on Form and Design Theory (Schriften zur Form und Gestaltungslehre), published in English as the Paul Klee Notebooks, are held to be as important for modern art as Leonardo da Vinci’s A Treatise on Painting for the Renaissance. He and his colleague, Russian painter Wassily Kandinsky, both taught at the Bauhaus school of art, design and architecture. His works reflect his dry humor and his sometimes childlike perspective, his personal moods and beliefs, and his musicality.
Paul Klee’s was a Swiss born painter, with a unique style that was influenced by expressionism, cubism, surrealism, and orientalism. His written collections of lectures, Writings on Form and Design Theory are considered as important to modern art as Leonardo da Vinci’s written works were to the Renaissance. As a child, Klee was mainly oriented as a musician, having played the violin since he was eight, but in his teen years, he found that art allowed him freedom to explore his style and express his radical ideas. Although Klee is now considered a master of color theory, he spent a long time in his search for his sense of color. At first, Klee drew in black and white, saying he would never be a painter. But as an adult, after a visit to Tunisia, in which he was impressed by the quality of light, he had found his sense of color and began experimenting with his newfound decision to be a painter.
Klee was left-handed but he could paint with both hands. Many of his Bauhaus students were so impressed by his artistic skills that they dedicated their own works to him.
From 1899 to 1906, Paul Klee studied in Munich, first of all at a private school run by Heinrich Knirr and then at the academy of art under Franz von Stuck. His first solo exhibition took place in Switzerland in 1910. In the ensuing years, Klee developed his contacts with the artists Alfred Kubin and Wassily Kandinsky and participated in the second Der Blaue Reiter (The Blue Rider) exhibition. In 1912, he travelled to Paris and met artists of the French avant-garde, including Robert Delaunay and Henri Le Fauconnier. In 1913, Klee exhibited at Herwarth Walden’s gallery Der Sturm in Berlin and at the Erster Deutscher Herbstsalon (first German autumn salon) in Berlin. Together with August Macke and Louis Moilliet, he travelled to Tunis and Kairouan. That same year, he became co-founder of the New Munich Secession. In 1919, he was signed by the Munich gallery owner Hans Goltzand and became a member of Munich’s visual arts council and its Aktionsausschuss Revolutionäre Künstler (action committee of revolutionary artists). In 1920, the gallery Goltz held the first large solo exhibition with more than 362 works by Klee.
Paul Klee: Senecio (Baldgreis), 1922, Kunstmuseum Basel.
With his angels and machines, shiny cities and flying fish, and his enigmatic faces and artistes’ bodies, Paul Klee is indelibly inscribed in our collective conscience. As a unique fusion of the abstract and the figurative, his art gives visual form to spiritual worlds.