Michael Baumgartner

Paul Klee

Henie-Onstad kunstsenter

"For Paul Klee, both as an artist and as a teacher, nature was an inexhaustible source of inspiration; a large part of his oeuvre depicts gardens and parks - from reallocations such as the Garden Kingdom of Dessau-Worlitz or Hammamet in Tunisia to imaginary, sometimes dreamlike and sometimes exotic, products of fantasy portraying ominous plant worlds. Klee (1879-1940) also paid special attention to plant structure and growth; on walks he would often collect flowers, evergreens, and leaves, expertly identifying and storing them in a herbarium." "With over one hundred and forty color illustrations, this publication reveals the multifaceted temperament of Klee's lifelong "dialogue with nature." His complex approach, on the one hand analytically objective and on the other radically subjective, is also explored, as is his understanding of art as a process of creation similar to nature itself."--BOOK JACKET.

Exhibition , Bergen Art Museum, January 8 - March 15, 2009 ; Henie Onstad Art Centre, Oslo, October 2 - December 7, 2008 ; Zentrum Paul Klee, Bern, May 17 - August 31, 2008

In Paul Klee's Enchanted Garden

Ewelina Boczkowska

Music, Authorship, Narration, and Art Cinema in Europe: 1940s to 1980s investigates the function of music in European cinema after the Second World War up to the fall of the Berlin wall, a period when composers and directors embraced experimentation. Through analyses of music and sound in a wide range of iconic films from across Europe, the essays in this book provide a nuanced reconsideration of three core themes: auteur theory, art house film, and national cinema. Chapters written by an international array of contributors focus on case studies of music in the cinema of Carlos Saura, Jean-Pierre Melville, the Polish School, and Romanian directors, as well as collaborations between directors and composers, including Michelangelo Antonioni and Giovanni Fusco, Federico Fellini and Nino Rota, Leo Arnshtam and Dmitry Shostakovich, and Peter Greenaway and Michael Nyman. The contributors shift the emphasis from a director-centered view to the working relationship between director and composer, and from the visual component to the sonic aspects of these films, without ignoring the close correlation between soundtrack and visual elements. Enriching our understanding of the complex, intertwined nature of authorship in film, the role of film music, and sound, nation-state and art cinema, and European cinematic history, this volume offers a valuable addition to research across music and film studies.

1940s to 1980s

Music, Authorship, Narration, and Art Cinema in Europe

Fabienne Eggelhöfer

Christine Hopfengart

Paul Klee (1879-1940) is one of the most important representatives of modern art. His oeuvre is as universal as it is individual, standing tall among all of the currents and "isms" of his day. His overwhelming body of paintings, drawings, and other visual works; his letters, journal entries, and, last but not least, his teaching notes form the background for this pointed depiction of the life and work of the meditative artist and visual thinker. This richly illustrated volume traces Klee's eventful biography, ranging from his artistic beginnings with caricature-like drawings and nudes, his encounter with the avant-garde and the famous watercolors from his journey to Tunisia, the abstract color compositions from the Bauhaus era, to the mysterious, inventive images of his last years in Bern.

Life and Work

"This monograph explores the under-researched use of music in Jean-Luc Godard's films and video essays from the early 1960s to the late 1990s. While Godard is largely hailed as a leading innovator of visual montage, unique storytelling style, and ground-breaking cinematography, his achievements as a leading pioneer in sculpting complex soundtracks altering the familiar relationship between sound and image have been mainly overlooked. On these soundtracks, music assumes the unique role of metafilm music. Metafilm music self-consciously refers to its own role as film music and disrupts the primary function of film music as an essential filmic device creating cinematic illusion. The concept of metafilm music describes how Godard thinks with film music about film music. Metafilm music manifests itself in Godard's work in four distinct manners: as fragmentized musical cues; as the same fragment verbatim repeated several times; as extrapolated, short excerpts from classical or popular music; and as music mixed unusually loudly into the soundtrack. With a detailed analysis of these parameters, the book explores fragmented and repeated music as Godard's critique of the leitmotif technique. Godard further self-reflexively investigates genre-specific music in musical comedies, films noir, and melodramas, as well as prototypical film music as arguably its own musical genre. His last foray into metafilm music entails music-making as a metaphor for filmmaking. By thinking with music about the function of film music, Godard has created throughout his career multi-layered soundtracks which challenge the conventional norms of film music and sound"--

Metafilm Music in Jean-Luc Godard's Cinema

Vivian Endicott Barnett

Annegret Hoberg

Paul Klee and Wassily Kandinsky, two of the most influential figures in the modernist movement, are the subject of this illuminating book that opens a dialogue between their work, friendship, and influence on each other. Klee and Kandinsky were towering figures of the modernist movement and were close, both as friends and artists. For a time they lived next door to one another, and exchanged their artistic ideas on a daily basis. This unique book explores their 30-year relationship, from the time of the Blue Rider group around 1912, to the Bauhaus years in Weimar and Dessau until the late 1930s. With the culture of the Weimar Republic as a backdrop, this book traces the eventful history of an artistic friendship. Kandinsky's idealism is juxtaposed with Klee's irony, and we learn that their relationship was characterized in equal measure by friendship and competitiveness, mutual influence and the need to establish distance. The focus is on the artistic dialogue they enacted through their art. They were joined by an aspiration to spiritualize art and explore its intrinsic laws. At the same time, Kandinsky's commitment to abstraction contrasted strongly with Klee's allegiance to natural models.

Neighbors, Friends, Rivals

Klee and Kandinsky

"The realization that children have their own type of childish creativity and the potential to express themselves through art was a crucial driving force in Paul Klee's own creative work: from pieces displaying the spontaneous texture of finger painting to his Dada-esque puppets made of found materials. Animated by Klee, after World War II painters from the group of artists known as CoBrA in turn lighted on the child's visual world as a source of inspiration for their new, revolutionary artistic departure. This publication sheds light on the little known history of the reception of Klee by CoBrA artists Asger Jorn, Karel Appel, Constant, Corneille, and others. In a dialogue and confrontation with the eruptive works of the CoBrA artists, we see Klee's oeuvre from a new, surprisingly wild side. The visual exchange is marked by expressivity and divided into thematic fields, such as play and mischief, imaginary worlds of animals and plants, or grotesque faces and masks."--Publisher's website.

Klee and Cobra : a Child's Play

In the wake of World War II, the arts and culture of Europe became a site where the devastating events of the 20th century were remembered and understood. Exploring one of the most integral elements of the cinematic experience—music—the essays in this volume consider the numerous ways in which post-war European cinema dealt with memory, trauma and nostalgia, showing how the music of these films shaped the representation of the past. The contributors consider films from the United Kingdom, Poland, the Soviet Union, France, Italy, Germany, Sweden, Austria, and the Netherlands, providing a diverse and well-rounded understanding of film music in the context of historical memory. Memory is often underrepresented within scholarly musical studies, with most of these applications found in the disciplines of ethnomusicology, popular music studies, music cognition, and psychology and music therapy. Likewise, trauma has mainly been studied in relation to music in only a few historical contexts, while nostalgia has attracted even less academic attention. In three parts, this volume addresses each area of study as it relates to the music of European cinema from 1945 to 1989, applying an interdisciplinary approach to investigate how films use music to negotiate the precarious relationships we maintain with the past. Music, Collective Memory, Trauma, and Nostalgia in European Cinema after the Second World War offers compelling arguments as to what makes music such a powerful medium for memory, trauma and nostalgia.

Music, Collective Memory, Trauma, and Nostalgia in European Cinema after the Second World War

Stiftung Im Obersteg

Öffentliche Kunstsammlung Basel

Betr. u.a. Werke von Cuno Amiet, Ferdinand Hodler und Paul Klee.

Die Sammlung Im Obersteg im Kunstmuseum Basel

Paul Klee-Stiftung

Seedamm-Kulturzentrum

die Kunst des Sichtbarmachens : Materialien zu Klees Unterricht am Bauhaus

Christian Rauch

Unter den veränderten Voraussetzungen von Globalisierung, Klimawandel, Rohstoffverknappung sowie eines stärkeren Umwelt- und Verantwortungsbewusstseins wird Wachstum künftig aus einer neuen Mischung von Ökonomie, Ökologie und gesellschaftlichem Engagement generiert. Umweltschutz, Ressourcenschonung, CO2-Reduktion, Corporate Social Responsibility - der Megatrend Neo-Ökologie verändert auf radikale Weise die Märkte und in der Folge auch Unternehmen, ihre Prozesse und Produkte.

Die Zukunft der Umwelt : Auf dem Weg zur Green Economy

Ernst-Gerhard Guse

Ursula Heiderich

Erich Franz

When Paul Klee and his fellow painters Auguste Macke and Louis Moilliet left for Tunisia in April 1914, a cornucopia of impressions awaited them. Their surprising images are a highlight of early Modernism.

Michael Baumgartner

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