20
20

FROM GOYA TO PICASSO: WORKS FROM THE PRIVATE COLLECTION OF JAN KRUGIER

Paul Klee
MIT DEM EINGANG (WITH THE ENTRANCE)
ACCÉDER AU LOT
20

FROM GOYA TO PICASSO: WORKS FROM THE PRIVATE COLLECTION OF JAN KRUGIER

Paul Klee
MIT DEM EINGANG (WITH THE ENTRANCE)
ACCÉDER AU LOT

Details & Cataloguing

Impressionist, Modern & Surrealist Art Evening Sale

|
Londres

Paul Klee
1879 - 1940
MIT DEM EINGANG (WITH THE ENTRANCE)
signed Klee (upper right), titled, dated 1931 and numbered S. 5 on the artist's mount
watercolour on paper laid down on the artist's mount
image size: 45.5 by 35cm., 17 7/8 by 13 3/4 in.
mount size: 59.5 by 42.6cm., 23 1/2 by 16 7/8 in.
Executed in 1931.
Lire le rapport d'état Lire le rapport d'état

Provenance

Hans & Erika Meyer-Benteli, Bern

Berggruen & Cie., Paris (acquired from the above in 1956)

Hendrickx Collection, Brussels (acquired from the above in 1957)

Hamilton Galleries, London

Galerie Beyeler, Basel (acquired in 1960)

Klaus Dohrn, Frankfurt (acquired from the above in 1965)

Sale: Galerie Wolfgang Ketterer, Munich, 23rd May 1977, lot 1048a

Fridart Foundation, Amsterdam (sold: Sotheby's, London, 29th June 1988, lot 359)

Yoyoi Gallery, Japan (purchased at the above sale)

Ogawa Museum of Art, Tokyo (acquired in 1991. Sold: Christie's, New York, 19th November 1998, lot 577)

Purchased at the above sale by the late owner

Exposition

Basel, Galerie Beyeler, Klee, 1963, no. 41, illustrated in colour in the catalougue

Paris, Galerie Tarica, Paul Klee, 1963, illustrated in the catalogue

Southampton, Southampton City Art Gallery; Sheffield, Graves Art Gallery & Manchester, Manchester Art Gallery, Sounds of Colour, 1982-85, no. 18

Geneva, Galerie Jan Krugier, Ditesheim & Cie., Paul Klee. Traces de la mémoire, 1998-99, illustrated in colour in the catalogue

Berlin, Kupferstichkabinett, Staatliche Museen zu Berlin - Preussischer Kulturbesitz,  Linie, Licht und Schatten. Meisterzeichnungen und Skulpturen der Sammlung Jan und Marie-Anne Krugier-Poniatowski, 1999, no. 159, illustrated in colour in the catalogue

Venice, Peggy Guggenheim Collection, Solomon R. Guggenheim Foundation, The Timeless Eye. Master Drawings from the Jan and Marie-Anne Krugier-Poniatowski Collection,1999, no. 168, illustrated in colour in the catalogue

Madrid, Museo Thyssen-Bornemisza, Miradas sin Tiempo. Dibujos, Pinturas y Esculturas de la Coleccion Jan y Marie-Anne Krugier-Poniatowski, 2000, no. 168, illustrated in colour in the catalogue

Paris, Musée Jacquemart-André, La Passion du Dessin. Collection Jan et Marie-Anne Krugier-Poniatowski, 2002, no. 153, illustrated in colour in the catalogue

Munich, Hypo-Kulturstiftung, Das Ewige Auge - Von Rembrandt bis Picasso. Meisterwerke aus der Sammlung Jan Krugier und Marie-Anne Krugier-Poniatowski, 2007, no. 166, illustrated in colour in the catalogue

Bibliographie

The Artist's Handlist, 1931, no. 165 (S. 5)

The Artist's Handlist, 1932, no. 251 (W 11)

François Choay, 'Sur l'ambiguité fondamentale de la peinture contemporaine', in Cercle d'Art Contemporain, Zurich, 1960, illustrated p. 102

Paul Klee Foundation (ed.), Paul Klee, Catalogue raisonné, Bern, 2002, vol. 6, no. 5570, illustrated p. 119

Description

Mit dem Eingang, centred on a single rectangle of colour, and populated by dashes of bright colour overlaying a softly hued ground, possesses a lyrical quality unique to the works of Paul Klee. The artist’s experimental approach to painting sought to represent a synthesis of sound and colour - thereby becoming ‘polyphonic’. In works such as Mit dem Eingang and Polyphonie (fig. 1) Klee achieved this by reviving the Neo-Impressionist practise of pointillism. Discussing the emergence of the pointillist pictures in the early 1930s, Christine Hopfengart suggests: Their common feature is the screen-like application of coloured dots on the painted surface, similar in appearance to the divisionist works of late-Impressionist painters such as Georges Seurat or Paul Signac at the turn of the nineteenth century. […] Unlike Seurat, Klee’s concern with his pointillist experiments was not to reproduce the visible spectrum of colour in the manner of an ‘improved camera’, but to artistically exploit the investigations of simultaneous and complementary contrasts that he had intensively pursued in the context of his teaching at the Bauhaus’ (C. Hopfengart, Paul Klee. Life and Work, Bern, 2012, p. 236).

Impressionist, Modern & Surrealist Art Evening Sale

|
Londres