Pedagogical Sketchbook

By Paul Klee

"One of the main well-known of contemporary artwork records - a poetic primer, ready by means of the artist for his Bauhaus students, which has deeply affected smooth considering art...This little guide leads us into the mysterious global the place technology and mind's eye fuse." ~~"The Observer"

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The sum overall is what Paul Klee calls "Resonanzverhältnis," that means a reverberation of the finite within the endless, of outer conception and internal vista. The adventure of this twin truth of the obvious and the FELT essence of nature, impels the coed towards "a unfastened construction of abstracted types which supersede di dactic rules with a brand new naturalness, the naturalness of the paintings. He produces or participates within the produc tion of works that are symptoms of the paintings of God. " 1 2 The similar line, circumscribing itself (Fig. 4): An lively line on a stroll, relocating freely, with no objective. A stroll for a walk's sake. The mobility agent, is some degree, moving its place ahead (Fig. 1): secondary strains, relocating round an imaginary major line (Fig. 5): an analogous line, followed through complementary kinds (Figs. 2 and 3): sixteen 17 An energetic line, restricted in its stream via fastened issues (Fig. 6): Passive traces that are the results of an activation of planes (line seasoned gression) (Fig. 8): A medial line that is either: element development and planar influence (Fib. 7): 18 within the technique of being created, those figures have linear personality; yet as soon as accomplished, this linearity is changed via planarity. Passive angular traces and passive round traces turn into lively as planar parts. 19 FIRST CASE: lively traces, passive planes; linear strength (cause), linear influence (effect), secondary planar influence. moment CASE: Medial traces; linear strength (cause), planar effect (effect). 3rd CASE: Fig It lively planes, passive traces; planar strength (cause), planar influence plus secondary linear impression. 20 Semantic rationalization of the phrases lively, medial, and passive: lively: I fell (the guy fells a tree together with his ax). medial: I fall (the tree falls below the ax stroke of the man). passive: i'm being felled (the tree lies felled). 21 QUANTITATIVE constitution, relocating to 2 dimensions. (Divisional Articulation. ) Horizontal and vertical sums (Fig 16): 11+10+11+10+11+10=(11+10)+(11+10)+(11+10)=21+21+21=1+1+1. Fig. thirteen: the main primitive structural rhythm in accordance with a repetition of an identical unit from left to correct, or most sensible to backside. Fig. 14: Very primitive structural rhythm in double movement best to backside and left to correct. Fig. 15: This rhythm is extra complicated. Its subject matter is: one plus (1 +2). 1 t2- 1i-2 in metric presentation 1 +2+1+2 in tension presentation If 1+2+1 + 2 are changed by way of (1+2) +(1+2) it equals 3+3+3+3 quantities to a different repetition of the 22 easy subject matter. which Fig. 17: If one considers part 17a as a unit with 6 values, one arrives on the following numerical presentation of Fig. 17: only repetitive and for this reason structural. 23 Fig. 18: either dimensions mixed, noticeable diagonally. not like structural devices, person (or summary) numerical divisions can't be diminished to I, yet needs to cease at proportions equivalent to 2:3:5 or 7:11:13:17 or a:b =b: (a+b) (Golden. Section). considering the fact that those determine preparations leisure at the precept of repetition, any variety of elements may be extra or taken away with no altering their rhythmic personality.

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