Paul Klee: Creative Confession

By Paul Klee

"Creative Confession" brings together three short critical texts written by Paul Klee, one of the most distinctive artists of the early twentieth century. Reflective and often lyrical, the essays exemplify Klee's artistic thinking and his relationship with the creative process.Entitled "Graphic Art" (published as Creative Confession, 1920), "Ways of Nature Study" (1923) and "Exact Experiments in the Realm of Art" (1928), the texts arch into each other through a number of common and overlapping concerns: the alliance between what Klee terms his graphic art, nature, and abstraction, and the role of the artist in this triumvirate; the notion of genius, equating creativity with Genesis as well as nature; and the importance of the process as well as the outcome of art. The practical function of these writings was to draw a wider public into a dialogue that Klee was already having with the world around him through his art. Indeed, he said Art does not reproduce what is visible, instead it makes it visible, and it is with this philosophy that he talks us through his own creative confessions. With a postscript by Matthew Gale, Head of Display at Tate Modern, on the origins and context of the essays, this compact new edition is a must for any Klee fan, as well as those wishing to explore Modern artistic ideas.

• Language: English
• Publisher: Tate Publishing
• Release date: Oct 3, 2013
• ISBN: 9781849762670

Book preview

Paul Klee, Comedy 1921

Paul Klee

Creative

Confession

and other

writings

Tate Publishing

Contents

Title Page

Creative Confession, 1920

Ways of Nature Study, 1923

Exact Experiments in the Realm of Art, 1928

Postscript: Reflections on Klee’s Early Writings Matthew Gale

References

Copyright

Creative Confession, 1920

[1]

I

Art does not reproduce the visible; rather, it makes visible. A tendency towards the abstract is inherent in linear expression: graphic imagery being confined to outlines has a fairytale quality and at the same time can achieve great precision. The purer the graphic work – that is, the more the formal elements underlying linear expression are emphasised – the less adequate it is for the realistic representation of visible things.

The formal elements of graphic art are dot, line, plane, and space – the last three charged with energy of various kinds. A simple plane, for instance – that is, a plane not made up of more elementary units – would result if I were to draw a blunt crayon across the paper, thus transferring an energy-charge with or without modulations. An example of a spatial element would be a cloud-like vaporous spot, usually of varying intensity, made with a full brush.

II

Let us develop this idea, let us take a little trip into the land of deeper insight, following a topographic plan. The dead centre being the point, our first dynamic act will be the line. After a short time, we shall stop to catch our breath (the broken line, or the line articulated by several stops). I look back to see how far we have come (counter-movement). Ponder the distances thus far travelled (sheaf of lines). A river may obstruct our progress: we use a boat (wavy line). Further on there might be a bridge (series of curves).

On the other bank we encounter someone who, like us, wishes to deepen his insight. At first we joyfully travel together (convergence), but gradually differences arise (two lines drawn independently of each other). Each party shows some excitement (expression, dynamism, emotional