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
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.
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