The Nazis had transformed Klee’s beloved land of Goethe and Mozart into an alien and threatening environment.
In this time of self-isolation and social distancing, shouldn’t the art world consider celebrating artists who don’t require expensive materials or run up high production costs?
In Walter Gropius: Visionary Founder of the Bauhaus, author Fiona MacCarthy attempts to debunk the myth that the German pioneer of modernist architecture is somehow an unsexy subject for biographical study.
London 1938: Defending “Degenerate” German Art tells the story of a monumental British exhibition of artists persecuted by the Nazis.
Much of the artworks for sale emanated a darkly satirical message this past weekend.
A sense of irrepressible exuberance that makes Klee’s work singular in the history of modern art infuses two current exhibitions of his work in Switzerland.
PARIS — The key to Paul Klee’s wonderfully shaped energy is not ironic detachment, as the title of the Centre Pompidou’s current retrospective suggests, but rather the playful and idyllic emotion he transmits through masterly line and dusty color.
Der Sturm, the title of the arts magazine that served as the mouthpiece for German Expressionism during the Weimar Republic, translates to “the storm.”
For Alfred Barr, Director of MoMA, “not even Picasso approaches [Klee] in sheer inventiveness,” so this 20-artist exhibition, Paul Klee, is worth a look.
In 1923, a flurry of colorful postcards heralded the first major Bauhaus school exhibition.
Clare Grill is a painter based in Queens. She has shown consistently, if not quietly, over the last few years.
At about the same time Abstract Expressionist painter Jackson Pollock was losing himself to depression, Matisse’s longterm relationship with his wife was unwinding, and when Mondrian was discovering Cubism, Miró was delving into Surrealism. All these little landmarks of 10 abstract painters’ lives have been charted into infographic form, so you can contrast the timelines of what it takes to be an artist.