Frieze Masters
Paul Klee
David Zwirner is pleased to participate in the Frieze Masters Viewing Room with a presentation of late works by the Bauhaus master, Paul Klee. The works, which are highly diaristic and personal, highlight the diversity of Klee's practice and his skill as a colourist. Ranging in subject matter and style, the works all testify to Klee's restless drive to experiment with forms and materials, resulting in surfaces that are tactile, original and visually striking.
“Art is like Creation: it holds good on the last day as on the first.” —The Diaries of Paul Klee, 1898–1918
“Klee’s art is so unique because he can make a complete composition out of accidents, of oddities, which neither obeys the Renaissance nor the classical models....Every work is both fragment and whole.”—Dawn Ades, Paul Klee’s Late Work, Paul Klee: 1939
Paul Klee
Besessen (Possessed), 1939
Watercolor, tempera, and pencil on paper on cardboard
Sheet: 10 5/8 x 8 1/2 inches
27 x 21.5 cm
Cardboard: 17 7/8 x 13 3/4 inches
45.5 x 35 cm
Framed: 20 1/8 x 15 7/8 inches
51.1 x 40.3 cm
27 x 21.5 cm
Cardboard: 17 7/8 x 13 3/4 inches
45.5 x 35 cm
Framed: 20 1/8 x 15 7/8 inches
51.1 x 40.3 cm
“Klee managed the seemingly impossible. Out of the physical and emotional suffering of his exile he took his art through a final metamorphosis, achieved one last pinnacle. Like only Matisse and Picasso among modern artists, Klee created a late work of singular rank.” —Matthias Bärmann, Erfüllung im Spätwerk
Movement in the process of ‘form-creation’ was a constant preoccupation of Klee’s, including all aspects of movement—both that of the object in question, and also that of the ‘reading eye.’”—Dawn Ades, Paul Klee’s Late Work, Paul Klee: 1939
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