A detail of an artwork by Paul Klee, titled ein Doppel-Schreier (A double screamer), dated 1939
A detail of an artwork by Paul Klee, titled ein Doppel-Schreier (A double screamer), dated 1939

Paul Klee: Psychic Improvisation

David Zwirner is pleased to present Psychic Improvisation, an exhibition of work by Paul Klee, on view at the gallery’s 537 West 20th Street location in New York. Organized in collaboration with Alain and Doris Klee, this is the gallery’s third solo exhibition of the revered modernist’s work, following 1939, at David Zwirner New York in 2019, and Late Klee, at David Zwirner London in 2020. While those exhibitions focused on Klee’s work from the middle to late 1930s, this presentation explores his singular use of color and line, offering a concise yet instructive overview of the artist’s practice from the 1920s and 1930s.

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Image: Paul Klee, ein Doppel-Schreier (A double screamer), 1939 (detail)

Location
537 West 20th Street New York New York, 10011
Dates
May 2—June 15, 2024
Gallery Hours
Tues—Sat 10am–6pm
Artist
Paul Klee
Press Release
Psychic Improvisation
Paul Klee in seinem Atelier, Bauhaus Weimar, 1923. © Klee-Nachlassverwaltung, Hinterkappelen. Photo by Felix Klee, courtesy Zentrum Paul Klee, Bern, Bildarchiv

Paul Klee in seinem Atelier, Bauhaus Weimar, 1923. © Klee-Nachlassverwaltung, Hinterkappelen. Photo by Felix Klee, courtesy Zentrum Paul Klee, Bern, Bildarchiv

Paul Klee in seinem Atelier, Bauhaus Weimar, 1923. © Klee-Nachlassverwaltung, Hinterkappelen. Photo by Felix Klee, courtesy Zentrum Paul Klee, Bern, Bildarchiv

A pioneering modernist of unrivaled creative output, Paul Klee (1879–1940) counts among the truly defining artists of the twentieth century, exploring and expanding the terrain of avant-garde art through work that ranges from stunning colorist grids to evocative graphic productions.

He was associated with some of the most important art movements of the twentieth century, including expressionism, cubism, and surrealism, yet his practice remained highly individualistic and distinct; it was never encapsulated by the concerns of a movement or reducible to the modernist binary of abstraction and figuration.

Paul Klee and Wassily Kandinsky, August 1929. Photo: Nina Kandinsky

Paul Klee and Wassily Kandinsky, August 1929. Photo by Nina Kandinsky, courtesy Zentrum Paul Klee, Bern, Bildarchiv

Paul Klee and Wassily Kandinsky, August 1929. Photo by Nina Kandinsky, courtesy Zentrum Paul Klee, Bern, Bildarchiv

left to right: Josef Albers, Hinnerk Scheper, Georg Muche, Laslo Moholy Nagy, Herbert Bayer, Joost Schmidt, Walter Gropius, Marcel Breuer, Wassily Kandinsky, and Paul Klee on the roof of the Bauhaus in Weimar circa 1920. German Photographer. (Photo by Apic/Bridgeman via Getty Images)

Left to right: Josef Albers, Hinnerk Scheper, Georg Muche, László Moholy-Nagy, Herbert Bayer, Joost Schmidt, Walter Gropius, Marcel Breuer, Wassily Kandinsky, and Paul Klee on the roof of the Bauhaus in Weimar, December 1926. © Bauhaus-Archiv Berlin

Left to right: Josef Albers, Hinnerk Scheper, Georg Muche, László Moholy-Nagy, Herbert Bayer, Joost Schmidt, Walter Gropius, Marcel Breuer, Wassily Kandinsky, and Paul Klee on the roof of the Bauhaus in Weimar, December 1926. © Bauhaus-Archiv Berlin

This exhibition features a range of key works that visualize the artist’s immense skill as a colorist and a draftsman. Several works from the early 1920s—around the time Klee began teaching as a “form master” at the newly founded Bauhaus—feature vibrantly colored grid-like fields whose appearances vacillate between landscape and pure abstraction.

A painting by Paul Klee, titled Friedhof (Cemetery), dated 1920.

Paul Klee

Friedhof (Cemetery), 1920
Oil and pen on linen
Framed: 13 5/8 x 16 3/4 inches (34.6 x 42.5 cm)
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“[Color] penetrates so deeply and so gently into me. I feel it and it gives me confidence in myself without effort. Color has got me. I don’t have to pursue it. It will possess me always, I know it.… Color and I are one.”

—Paul Klee in his diary

Klee’s Friedhof (Cemetery) (1920) pictured in his studio, second row, second from the left.

Klee’s Friedhof (Cemetery) (1920) pictured in his studio, second row from the top, second artwork from the left. © Klee-Nachlassverwaltung, Hinterkappelen. Photo by Paul Klee, courtesy Zentrum Paul Klee, Bern, Bildarchiv

Klee’s Friedhof (Cemetery) (1920) pictured in his studio, second row from the top, second artwork from the left. © Klee-Nachlassverwaltung, Hinterkappelen. Photo by Paul Klee, courtesy Zentrum Paul Klee, Bern, Bildarchiv

In these works, Klee breaks up the picture planes into cubist-style arrangements of geometric fragments and forms. Trees and crosses rendered in dark pigment appear as pictographic signs and contrast with the artist’s sensitive application of reds, greens, yellows, and blues, which delicately fill the quadrilinear and triangular forms that structure the compositions. White highlights further enhance the tonal range of the works and give the paintings an overall sense of light emanating from behind their surface—like stained glass.

A detail of an artwork by Paul Klee, titled Wald-einsiedelei (Hermitage in the woods), dated 1921

Paul Klee, Wald-einsiedelei (Hermitage in the woods), 1921 (detail)

Paul Klee, Wald-einsiedelei (Hermitage in the woods), 1921 (detail)

“Indeed few living painters have been the object of so much speculation. For a work by Klee is scarcely subject to methods of criticism which follow ordinary formulae. His pictures cannot be judged as representations of the ordinary visual world.… Their appeal is primarily to the sentiment, to the subjective imagination.”

—Alfred H. Barr Jr., the first director of The Museum of Modern Art, New York, in the catalogue for Klee’s 1930 solo exhibition

A painting by Paul Klee, titled Wald-einsiedelei (Hermitage in the woods), dated 1921.

Paul Klee

Wald-einsiedelei (Hermitage in the woods), 1921
Oil on cardboard in original frame
Framed: 13 1/2 x 17 5/8 inches (34.3 x 44.8 cm)
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An installation view of the exhibition, Paul Klee: Psychic Improvisation, at David Zwirner in New York, dated 2024.

Installation view, Paul Klee: Psychic Improvisation, David Zwirner, New York, 2024

Installation view, Paul Klee: Psychic Improvisation, David Zwirner, New York, 2024

Complementing Klee’s high-modernist style are drawings and paintings that highlight the artist’s unique and varied approach to the human figure. In works such as Der Schutzmann vor seinem Haus (The policeman in front of his house), the titular figure appears as a mechanomorphic assembly of shapes and lines with watercolor spreading out from the graphic forms in a bright medley of soft pigments that diffuse into the paper support.

A work on paper by Paul Klee, titled Der Schutzmann vor seinem Haus (The policeman in front of his house), dated 1923.

Paul Klee

Der Schutzmann vor seinem Haus (The policeman in front of his house), 1923
Pen and watercolor on paper on cardboard
Framed: 12 1/8 x 12 1/4 inches (30.8 x 31.1 cm)
Inquire
A detail of an artwork by Paul Klee, titled Der Schutzmann vor seinem Haus (The policeman in front of his house), dated 1923

Paul Klee, Der Schutzmann vor seinem Haus (The policeman in front of his house), 1923 (detail)

Paul Klee, Der Schutzmann vor seinem Haus (The policeman in front of his house), 1923 (detail)

An artwork by Paul Klee, titled Adam and Little Eve, dated1921. The Berggruen Klee Collection, 1987

Paul Klee, Adam and Little Eve, 1921. The Berggruen Klee Collection, 1987. Courtesy The Metropolitan Museum of Art, New York

Paul Klee, Adam and Little Eve, 1921. The Berggruen Klee Collection, 1987. Courtesy The Metropolitan Museum of Art, New York

“Klee was the key encounter of my life.”

—Joan Miró, artist

A work on paper by Paul Klee, titled Landschaft mit dem Lustgarten (Landscape with pleasure garden), dated 1924.

Paul Klee

Landschaft mit dem Lustgarten (Landscape with pleasure garden), 1924
Pen and watercolor on paper on cardboard
Framed: 16 3/4 x 12 1/8 inches (42.5 x 30.8 cm)
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Created during the tumult of the interwar years in Europe, the works in this exhibition testify to Klee’s status as a pioneering figure in the history of modern art, while the formal sophistication and deeply personal nature of the works underscore why his art continues to resonate with viewers and artists today.

Paul Klee in his studio, Bauhaus Weimar, 1924. Photographer: Felix Klee

Paul Klee in seinem Atelier, Bauhaus Weimar, 1924. © Klee-Nachlassverwaltung, Hinterkappelen. Photo by Felix Klee, courtesy Zentrum Paul Klee, Bern, Bildarchiv

Paul Klee in seinem Atelier, Bauhaus Weimar, 1924. © Klee-Nachlassverwaltung, Hinterkappelen. Photo by Felix Klee, courtesy Zentrum Paul Klee, Bern, Bildarchiv

“I adore that Klee presented the accessible and what you will never know. He proffered not knowing as an invitation to (and commemoration of) great mystery, that of his creation and your own experience and existence. He draws and paints an intermittently inscrutable come-on to ‘see’ him and, maybe in the process, you.”

—Jenny Holzer, artist

A work on paper by Paul Klee, titled physiognomische Genesis (Physiognomic genesis), dated 1929.

Paul Klee

physiognomische Genesis (Physiognomic genesis), 1929
Watercolor, pen, and pencil on paper on cardboard
Framed: 27 3/4 x 20 3/4 inches (70.5 x 52.7 cm)
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“Klee was the first artist to point out that for the painter the meaning of abstraction lay in the opposite direction to the intellectual effort of abstracting: it is not an end, but the beginning. Every painter starts with elements—lines, colors, forms—which are essentially abstract in relation to the pictorial experience that can be created with them.”

—Bridget Riley, artist

An artwork by Paul Klee, titled physiognomische Genesis (Physiognomic genesis), dated 1929

Paul Klee, physiognomische Genesis (Physiognomic genesis), 1929 (detail)

Paul Klee, physiognomische Genesis (Physiognomic genesis), 1929 (detail)

Installation view of Paul Klee’s physiognomische Genesis (Physiognomic genesis) (1929), on view in Paul Klee: The Last Years, Hayward Gallery, London, 1974–1975

Installation view of Paul Klee’s physiognomische Genesis (Physiognomic genesis) (1929), on view in Paul Klee: The Last Years, Hayward Gallery, London, 1974–1975

Installation view of Paul Klee’s physiognomische Genesis (Physiognomic genesis) (1929), on view in Paul Klee: The Last Years, Hayward Gallery, London, 1974–1975

The early 1930s were a transitional time for Klee. In 1931, he left his position at the Bauhaus, Dessau, and moved to Düsseldorf, where he served as a professor at the Düsseldorf Academy. After two years, however, in response to the suppression of avant-garde art practices by the newly empowered Nazi Party, Klee left the country and returned to his native town of Bern, Switzerland, residing there for the remainder of his life.

A work on paper by Paul Klee, titled Felsengrab (Rock tomb), dated 1932.

Paul Klee

Felsengrab (Rock tomb), 1932
Indelible pencil and grease crayon on primed paper on cardboard
Framed: 21 3/8 x 27 5/8 inches (54.3 x 70.2 cm)
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Despite heightened political tensions, Klee saw continued institutional success during this time. The Museum of Modern Art, New York, presented an exhibition of Klee’s work in March of 1930, the institution’s first solo show of a living European artist.

A work on paper by Paul Klee, titled Stromfahrt (Journey down river), dated 1937.

Paul Klee

Stromfahrt (Journey down river), 1937
Watercolor on cardboard
Framed: 13 x 18 1/2 inches (33 x 47 cm)
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A number of the works on view in this exhibition have been featured in many of the canonical retrospectives of Klee’s work, both during his lifetime and subsequently. These include extensive presentations at the Schlossmuseum Braunschweig (1926); Kunsthalle Bern (1940); The Tate Gallery in the National Gallery, London (1945–1946); Stedelijk Museum Amsterdam (1957); Musée National d’Art Moderne, Paris (1969–1970); Museum of Modern Art, Oxford, England (1983); Malmö Konsthall, Sweden (1991); The National Museum of Modern Art, Kyoto (2011); Centre Pompidou, Paris (2016); and many more.

Paul Klee in his studio, Kistlerweg 6, Bern, 1939. © Zentrum Paul Klee, Bern, Schenkung Familie Klee, photo by Felix Klee

Paul Klee in his studio, Kistlerweg 6, Bern, 1939. © Zentrum Paul Klee, Bern, Schenkung Familie Klee. Photo by Felix Klee

Paul Klee in his studio, Kistlerweg 6, Bern, 1939. © Zentrum Paul Klee, Bern, Schenkung Familie Klee. Photo by Felix Klee

Paul Klee with Hermann and Margrit Rupf, both generous patrons and early proponents of avant-garde art in Switzerland, and artist Albert Schnyder and his wife, Les Bois, 1935. © Zentrum Paul Klee, Bern, Schenkung Familie Klee, photo by Lily Klee

Paul Klee with Hermann and Margrit Rupf, both generous patrons and early proponents of avant-garde art in Switzerland, and the artist Albert Schnyder and his wife, in Les Bois, 1935. © Zentrum Paul Klee, Bern, Schenkung Familie Klee. Photo by Lily Klee

Paul Klee with Hermann and Margrit Rupf, both generous patrons and early proponents of avant-garde art in Switzerland, and the artist Albert Schnyder and his wife, in Les Bois, 1935. © Zentrum Paul Klee, Bern, Schenkung Familie Klee. Photo by Lily Klee

Lily and Paul Klee with Ida Bienert, German collector and patron, in Dresden, 1930. copyright Zentrum Paul Klee, Bern, Schenkung Familie Klee

Lily and Paul Klee with Ida Bienert, a German collector and patron, in Dresden, 1930. © Zentrum Paul Klee, Bern, Schenkung Familie Klee

Lily and Paul Klee with Ida Bienert, a German collector and patron, in Dresden, 1930. © Zentrum Paul Klee, Bern, Schenkung Familie Klee

Paul Klee with Gertrud and Will Grohmann, a German art critic and art historian specialized in German Expressionism and abstract art, in their car in Bern, 1935. copyright Zentrum Paul Klee, Bern, Schenkung Familie Klee

Paul Klee with Gertrud and Will Grohmann, a German art critic and art historian who specialized in German expressionism and abstract art, in their car in Bern, 1935. © Zentrum Paul Klee, Bern, Schenkung Familie Klee

Paul Klee with Gertrud and Will Grohmann, a German art critic and art historian who specialized in German expressionism and abstract art, in their car in Bern, 1935. © Zentrum Paul Klee, Bern, Schenkung Familie Klee

One can
never ac
cuse Klee
of taking

himself
overseri
ously no
matter

how sure
precise
labored
he was

—An excerpt from a poem by Richard Tuttle

A work on paper by Paul Klee, titled neue Orden (New medals), dated 1938.

Paul Klee

neue Orden (New medals), 1938
Colored paste on paper on cardboard
Framed: 20 5/8 x 29 1/8 inches (52.4 x 74 cm)
Inquire

From 1935 until his death in 1940, Klee continually struggled with illness, which at times affected his ability to make art. Yet toward the end of the 1930s, against the backdrop of immense sociopolitical turmoil and the outbreak of war, Klee worked with a vigor and inventiveness that rivaled even the most productive periods of his youth.

A detail for an artwork by Paul Klee, titled neue Orden (New medals), dated 1938

Paul Klee, neue Orden (New medals), 1938 (detail)

Paul Klee, neue Orden (New medals), 1938 (detail)

“Klee seems to have derived a paradoxical vitality from the conscious, profound process of coming to terms with disease and the approach of death, a vitality that significantly transformed his art.… 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, author

A work on paper by Paul Klee, titled ein Doppel-Schreier (A double screamer), dated 1939.

Paul Klee

ein Doppel-Schreier (A double screamer), 1939
Watercolor on paper on cardboard
Framed: 21 5/8 x 15 3/4 inches (54.9 x 40 cm)
Inquire

Some representations from this period are more diaristic and at times caricaturish—accomplished with an economy of means that makes them evocative and ambiguous. Another standout composition exemplifying Klee’s colorism from the artist’s late period, ein Doppel-Schreier (A double screamer) embodies a dual sense of humor and terror, in the form of two abutting heads—rendered in red and orange tones—with mouths agape and terrified expressions, set against a deep lapis blue ground.

A work on paper by Paul Klee, titled Klopfen Teppich Orient (Beat carpet orient), dated 1939.

Paul Klee

Klopfen Teppich Orient (Beat carpet orient), 1939
Watercolor on paper on cardboard
Framed: 14 1/4 x 20 7/8 inches (36.2 x 53 cm)
Inquire
A detail of artwork by Paul Klee, titled Klopfen Teppich Orient (Beat carpet orient), dated 1939

Paul Klee, Klopfen Teppich Orient (Beat carpet orient), 1939 (detail)

Paul Klee, Klopfen Teppich Orient (Beat carpet orient), 1939 (detail)

In the later works, Klee used pencil, colored paste, tempera, chalk, adhesive, grease, oil, and watercolor, among other means, to create both graphic arrangements and more dreamlike or metaphorical figures and forms that often reflect the strain of working in his final years. Color—which Klee had previously used sparingly—became stronger and was used to invest figurative shapes with greater force.

A work on paper by Paul Klee, titled Mesalliance (Misalliance), dated 1939.

Paul Klee

Mesalliance (Misalliance), 1939
Colored paste, watercolor, and chalk on paper on cardboard
Framed: 21 5/8 x 14 5/8 inches (54.9 x 37.1 cm)
Inquire
An installation view of the exhibition, Paul Klee: Psychic Improvisation, at David Zwirner in New York, dated 2024.

Installation view, Paul Klee: Psychic Improvisation, David Zwirner, New York, 2024

Installation view, Paul Klee: Psychic Improvisation, David Zwirner, New York, 2024

A work on paper by Paul Klee, titled Unfug (Mischief), dated 1940.

Paul Klee

Unfug (Mischief), 1940
Grease crayon on paper on cardboard
Framed: 21 5/8 x 15 3/4 inches (54.9 x 40 cm)
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“I am beginning to see a way to provide a place for my line.… With new strength … I may dare to enter my prime realm of psychic improvisation again. Bound only very indirectly to an impression of nature, I may again dare to give form to what burdens the soul.”

—Paul Klee

Paul Klee, 1929. © 2019 The Josef and Anni Albers Foundation/Artists Rights Society (ARS), New York

Paul Klee, 1929. © The Josef and Anni Albers Foundation/Artists Rights Society (ARS), New York

Paul Klee, 1929. © The Josef and Anni Albers Foundation/Artists Rights Society (ARS), New York

Inquire About Works by Paul Klee
A work on paper by Paul Klee, titled Stromfahrt (Journey down river), dated 1937.

Paul Klee

Stromfahrt (Journey down river), 1937
Watercolor on cardboard
Framed: 13 x 18 1/2 inches (33 x 47 cm)
Inquire
A work on paper by Paul Klee, titled Landschaft mit dem Lustgarten (Landscape with pleasure garden), dated 1924.

Paul Klee

Landschaft mit dem Lustgarten (Landscape with pleasure garden), 1924
Pen and watercolor on paper on cardboard
Framed: 16 3/4 x 12 1/8 inches (42.5 x 30.8 cm)
Inquire
A work on paper by Paul Klee, titled Wege zum Knoten (Paths to the knot), dated 1930.

Paul Klee

Wege zum Knoten (Paths to the knot), 1930
Pen on paper on cardboard
Framed: 14 7/8 x 21 3/4 inches (37.8 x 55.3 cm)
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A work on paper by Paul Klee, titled Härten in Bewegung (Hardnesses in motion), dated 1927.

Paul Klee

Härten in Bewegung (Hardnesses in motion), 1927
Grease crayon on paper on cardboard
Framed: 21 1/4 x 27 5/8 inches (54 x 70.2 cm)
Inquire
A work on paper by Paul Klee, titled physiognomische Genesis (Physiognomic genesis), dated 1929.

Paul Klee

physiognomische Genesis (Physiognomic genesis), 1929
Watercolor, pen, and pencil on paper on cardboard
Framed: 27 3/4 x 20 3/4 inches (70.5 x 52.7 cm)
Inquire
A work on paper by Paul Klee, titled weitere Studie nach drei Dimensionen (Further study in three dimensions), dated 1930.

Paul Klee

weitere Studie nach drei Dimensionen (Further study in three dimensions), 1930
Impression of charcoal on paper on cardboard
Framed: 21 1/2 x 27 5/8 inches (54.6 x 70.2 cm)
Inquire
A work on paper by Paul Klee, titled neue Orden (New medals), dated 1938.

Paul Klee

neue Orden (New medals), 1938
Colored paste on paper on cardboard
Framed: 20 5/8 x 29 1/8 inches (52.4 x 74 cm)
Inquire
A work on paper by Paul Klee, titled dynamisch-polyphone Gruppe (Dynamic-polyphonic group), dated 1931.

Paul Klee

dynamisch-polyphone Gruppe (Dynamic-polyphonic group), 1931
Pencil and colored pencil on paper on cardboard
Framed: 21 x 27 5/8 inches (53.3 x 70.2 cm)
Inquire
A work on paper by Paul Klee, titled Felsengrab (Rock tomb), dated 1932.

Paul Klee

Felsengrab (Rock tomb), 1932
Indelible pencil and grease crayon on primed paper on cardboard
Framed: 21 3/8 x 27 5/8 inches (54.3 x 70.2 cm)
Inquire
A painting by Paul Klee, titled Ohne Titel (Zwei Fenster in rot-grüner Komposition) (Untitled [Two windows in a red-green composition]), dated 1921.

Paul Klee

Ohne Titel (Zwei Fenster in rot-grüner Komposition) (Untitled [Two windows in a red-green composition]), 1921
Oil on muslin on cardboard
Framed: 19 1/4 x 15 inches (48.9 x 38.1 cm)
Inquire
A work on paper by Paul Klee, titled zweite Zeichng. zum exotischen Klang (Second drawing for exotic harmony), dated 1930.

Paul Klee

zweite Zeichng. zum exotischen Klang (Second drawing for exotic harmony), 1930
Pen and charcoal on paper on cardboard
Framed: 21 5/8 x 27 5/8 inches (54.9 x 70.2 cm)
Inquire
A work on paper by Paul Klee, titled Gegend bei H (Region near H), dated 1938.

Paul Klee

Gegend bei H (Region near H), 1938
Watercolor on paper on cardboard
Framed: 29 7/8 x 20 7/8 inches (75.9 x 53 cm)
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A work on paper by Paul Klee, titled Zwei Menschen in der Landschaft (Two people in the landscape), dated 1929.

Paul Klee

Zwei Menschen in der Landschaft (Two people in the landscape), 1929
Grease crayon on paper on cardboard
Framed: 27 1/2 x 21 1/2 inches (69.8 x 54.6 cm)
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A work on paper by Paul Klee, titled bescheidener Ort (Modest village), dated 1929.

Paul Klee

bescheidener Ort (Modest village), 1929
Grease crayon on paper on cardboard
Framed: 27 7/8 x 20 3/4 inches (70.8 x 52.7 cm)
Inquire
A painting by Paul Klee, titled Mädchen am Fenster (Girl at the window), dated 1920.

Paul Klee

Mädchen am Fenster (Girl at the window), 1920
Oil and pen on linen
Framed: 14 3/4 x 11 1/2 inches (37.5 x 29.2 cm)
Inquire
A painting by Paul Klee, titled Friedhof (Cemetery), dated 1920.

Paul Klee

Friedhof (Cemetery), 1920
Oil and pen on linen
Framed: 13 5/8 x 16 3/4 inches (34.6 x 42.5 cm)
Inquire
A painting by Paul Klee, titled Wald-einsiedelei (Hermitage in the woods), dated 1921.

Paul Klee

Wald-einsiedelei (Hermitage in the woods), 1921
Oil on cardboard in original frame
Framed: 13 1/2 x 17 5/8 inches (34.3 x 44.8 cm)
Inquire
A work on paper by Paul Klee, titled Der Schutzmann vor seinem Haus (The policeman in front of his house), dated 1923.

Paul Klee

Der Schutzmann vor seinem Haus (The policeman in front of his house), 1923
Pen and watercolor on paper on cardboard
Framed: 12 1/8 x 12 1/4 inches (30.8 x 31.1 cm)
Inquire
A work on paper by Paul Klee, titled Mesalliance (Misalliance), dated 1939.

Paul Klee

Mesalliance (Misalliance), 1939
Colored paste, watercolor, and chalk on paper on cardboard
Framed: 21 5/8 x 14 5/8 inches (54.9 x 37.1 cm)
Inquire
A work on paper by Paul Klee, titled ausbrechender Bock (Billy-goat breaking out), dated 1939.

Paul Klee

ausbrechender Bock (Billy-goat breaking out), 1939
Watercolor on paper on cardboard
Framed: 15 1/4 x 17 1/2 inches (38.7 x 44.5 cm)
Inquire
A work on paper by Paul Klee, titled einäugige Maske (One-eyed mask), dated 1932.

Paul Klee

einäugige Maske (One-eyed mask), 1932
Watercolor on paper on cardboard
Framed: 21 5/8 x 27 5/8 inches (54.9 x 70.2 cm)
Inquire
A work on paper by Paul Klee, titled Klopfen Teppich Orient (Beat carpet orient), dated 1939.

Paul Klee

Klopfen Teppich Orient (Beat carpet orient), 1939
Watercolor on paper on cardboard
Framed: 14 1/4 x 20 7/8 inches (36.2 x 53 cm)
Inquire
A work on paper by Paul Klee, titled ein Doppel-Schreier (A double screamer), dated 1939.

Paul Klee

ein Doppel-Schreier (A double screamer), 1939
Watercolor on paper on cardboard
Framed: 21 5/8 x 15 3/4 inches (54.9 x 40 cm)
Inquire
A work on paper by Paul Klee, titled seitenblickend I (Glancing sideways I), dated 1928.

Paul Klee

seitenblickend I (Glancing sideways I), 1928
Pencil on paper on cardboard
Framed: 21 7/8 x 14 7/8 inches (55.6 x 37.8 cm)
Inquire
A work on paper by Paul Klee, titled Unfug (Mischief), dated 1940.

Paul Klee

Unfug (Mischief), 1940
Grease crayon on paper on cardboard
Framed: 21 5/8 x 15 3/4 inches (54.9 x 40 cm)
Inquire
A work on paper by Paul Klee, titled es kommt noch mehr (There is more to come), dated 1939.

Paul Klee

es kommt noch mehr (There is more to come), 1939
Pencil on paper on cardboard
Framed: 21 7/8 x 15 7/8 inches (55.6 x 40.3 cm)
Inquire

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          Psychic Improvisation

          Paul Klee

            Paul Klee

            Psychic Improvisation

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