Ahead of Tate Modern’s Paul Klee show, here’s a few reasons to read our upcoming blog series of all things Klee, starting with the delightful Seaside Resort in the South of France

Paul Klee, 'Seaside Resort in the South of France' 1927

Paul Klee
Seaside Resort in the South of France 1927
Pencil, crayon and watercolour on paper on board
support: 327 x 488 mm
Presented by Gustav and Elly Kahnweiler 1974, accessioned 1994© DACS, 2002

View the main page for this artwork

Blue skies, a waterside tower rising on the skyline… It could almost be Tate Modern in summertime – but, in fact, it’s Paul Klee’s Seaside Resort in the South of France, 1927, which, coincidentally, is headed there as part of The EY Exhibition: Paul Klee later this year.

Klee – a Swiss contemporary of Kandinsky, Picasso and Mondrian – was not only a master of line and colour but, as a violinist as well, of music. Here, painting a French beach scene in dots of colour across a structure of horizontal lines, Klee treated the page like a score of staves, bars and notes, as he did in several paintings around this time.

So what would these works sound like? Did Klee’s work relate to the dots of the French pointillists, or the colour theories of Kandinsky? Well reader, I’m glad you asked, because just such questions and more will be the subject of our upcoming Klee blog series.

To introduce the many dimensions of this artist and teacher, the exhibition’s curators, Matthew Gale and Flavia Frigeri, will be offering a rolling A-Z of Paul Klee (which would be a perfect title if it weren’t pronounced ‘klay’), exploring topics from ambidextrousness to zoos. Sorry, you’ll have to read the blog to find out what the zoo connection is.

Over the coming months, we’ll also be digging into Klee’s teaching notes from the Bauhaus to bring you a beginner’s guide to Bauhaus theory, reporting from the Zentrum Paul Klee in Bern where the largest collection of his work is held, and bringing you updates on the show as we get them.

In the meantime, make like Klee and get yourself some seaside. More soon.

The EY Exhibition: Paul Klee: Making Visible is at Tate Modern from 16 October 2013 – 9 March 2014. Visit our blogs page or follow @Tate on Twitter for updates

Gustav and Elly Kahnweiler, significant art collectors in the 1950s and 1960s, left their collection of 56 works, including this work on paper, to Tate in their Will in 1974

Comments

Hi Simon, Thanks for sharing these stories, that’s great! I hope you and the children enjoy our A-Z of Paul Klee blog series - a member of your class has written a sweet, funny story on Klee’s The Fish, this week’s topic. I’ll think of this now when I see Klee’s fishes! Susan Holtham, Assistant Blog Editor

Hello Louise, just wanted to let you know about an app for iPhone and iPad dedicated to Paul Klee, which has been recently published on the App Store. It is a jigsaw puzzle offering 45 paintings of Klee's for you to play with at different levels of complexity. It is a great way to mix Art and enjoyment/relax. I am not posting the link to the app because I don't know if this complies with this blog rules, but in case you are interested, just get in touch. Thanks! Sergio De Simone.

Visited Zentrum (then Felix Klee Foundation?) in the 1950s with expectations of more vivid wee images which were the popular view of Klee for post-war art students, but had to think again in front of big hairy welts of colour (well not huge, but hearthrug size) as well. But since there will be some or many tiny intensities, please can we have a members early start viewing at 9am on Fri-Sat-Suns?

Hi Templar, thanks for your message - how interesting to hear about the Zentrum back then. I’ll pass on your preference for an early view to our Members’ team; I believe there will be special viewing opportunities available for Members around the annual Members December Weekend - look out for details in the December/January Tate Guide. Best wishes, Louise Cohen Blogs Editor

Klee, like Picasso, is one of those artists who went on exploring and experimenting all his life. That's what makes him so interesting. I saw a comprehensive Klee exhibition some years ago: was it at the Hayward? Someone will remind me, no doubt. If the Tate one is as good, it'll be more than worth spending several hours at.

Hi Jane, thanks so much for your comment - you’re right, Klee was a boundary-pusher to the last. And you’re also right that there was a great Klee exhibition at the Hayward in 2002! I do hope you enjoy the show in October, we’d love to hear what you think. Best wishes, Louise Blogs Editor

Some artists I liked as a teenager didn't "survive" into adulthood; but Paul Klee did and I find him more and more interesting: the colours and that deceptive, subtle simplicity in his small scale works are wonderful. So excited about the exhibition.

I love Klee's use of mark making. I'm looking forward to the updates!