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PROPERTY OF A EUROPEAN ESTATE

Paul Klee
HÄUSER AM PARK (HOUSES BY THE PARK)
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213

PROPERTY OF A EUROPEAN ESTATE

Paul Klee
HÄUSER AM PARK (HOUSES BY THE PARK)
JUMP TO LOT

Details & Cataloguing

Impressionist and Modern Works on Paper

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Paul Klee
1879 - 1940
HÄUSER AM PARK (HOUSES BY THE PARK)
signed Klee (lower left); titled (lower right), dated 1925 and numbered m8 (lower left) on the artist's mount
watercolour and Spritztechnik on paper laid down on the artist's mount
sheet size: 23.5 by 15.7cm., 9 1/4 by 6 1/8 in.
mount size: 25.5 by 17.2cm., 10 by 6 3/4 in.
Executed in 1925.
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Provenance

Otto Ralfs, Braunschweig (acquired from the artist)
Richard Doetsch-Benziger, Basel (a gift from the above on 24th December 1931)
Galerie Beyeler, Basel (acquired in 1967)
Acquired from the above on 23rd January 1968

Exhibited

Berlin, Nationalgalerie, Zeichnungen von Paul Klee aus der Sammlung Otto Ralfs, Braunschweig, 1930, no. 43
Kiel, Kunsthalle, Kandinsky, Klee, Rudolph, 1930
Hanover, Kestner-Gesellschaft, Paul Klee. Gemälde, Aquarelle, Graphik 1903-1930, 1931
Basel, Kunsthalle, Moderne deutsche Malerei aus Privatbesitz, 1933, no. 91
Basel, Kunsthalle, Gedächtnisausstellung Paul Klee, 1941, no. 191
Basel, Galerie d'Art Moderne, Marie-Suzanne Feigel, Paul Klee. Tafelbilder und Aquarelle aus Privatbesitz, 1949, no. 22
Basel, Kunstmuseum, Katalog der Sammlung Richard Doetsch-Benziger, 1956, no. 167, illustrated in the catalogue

Literature

Margit Bosshard-Rebmann, Paul Klee (Sammlung Richard Doetsch-Benziger), Basel, 1953, no. 40, illustrated
Jürg Spiller, (ed.), Paul Klee. Unendliche Naturgeschichte. Prinzipielle Ordnung der bildnerischen Mittel verbunden mit Naturastudium, und konstruktive Kompositionswege. Form- und Gestaltungslehre, Basel & Stuttgart, 1970, vol. II, illustrated
Paul Klee Stiftung (ed.), Paul Klee Catalogue Raisonné 1923-1926, Bern, 2000, vol. IV, no. 3719, illustrated p. 298

Catalogue Note

Klee’s distinct and methodical approach to his compositions gained him a great following at the Bauhaus, where he lectured throughout the 1920s on the importance of inner vision and individual interpretation. He completed the present work in the midst of his tenure there in 1925, and it reveals his fascination with architecture - a subject that the school inspired in his paintings and drawings of this period. The complex beauty and draftsmanship of these compositions became the basis for his reputation as one of the great intellectual artists of the 20th century. According to Andrew Kagan, “Klee’s greatness as a colorist and his gifts as a draftsman embrace a truly extraordinary range and diversity. His seemingly tireless experimentation and his astounding inventiveness are among his distinctive characteristics, but they make his mature work rather difficult to grasp and understand in its entirety. Klee may seem to be everywhere at once, with the most random approaches. It must be understood that his ultimate ambitions embraced the concept of an art that would resolve all apparent contradiction, an art that would reconcile all dualities and oppositions – in other words, an art of ultimate synthesis. 'Truth,' he declared, 'demands that all elements be present at once' " (Andrew Kagan, Paul Klee At The Guggenheim Museum (exhibition catalogue), Guggenheim Museum SoHo, New York, 1993, pp. 26-27).

Impressionist and Modern Works on Paper

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London