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Paul Klee. Pedagogical Sketchbook. Bauhausbücher 2. Lars Muller Publishers

Paul Klee. Pedagogical Sketchbook. Bauhausbücher 2. Lars Muller Publishers

  • In his legendary Pedagogical Sketchbook, Paul Klee takes a theoretical approach to drawing using geometric shapes and lines.
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Active at the Bauhaus between 1920 and 1931, teaching in the bookbinding, stained glass and mural-painting workshops, Paul Klee (1879–1940) brought his expressive blend of color and line to the school—and, with the second volume in the Bauhausbücher series, beyond its walls. In his legendary Pedagogical Sketchbook, Paul Klee takes a theoretical approach to drawing using geometric shapes and lines. Evincing a desire to reunite artistic design and craft, and written in a tone that oscillates between the seeming objectivity of the diagram, the rhetoric of science and mathematics, and an abstract, quasi-mystical intuition, Klee’s text expresses key aspects of the Bauhaus’ pedagogy and guiding philosophies. And while Klee’s method is deeply personal, in the context of the fundamentally multivocal Bauhaus, his individual approach to abstract form is typical in its idiosyncrasy. In this book, he presents his own theory about the relationships between line, shape, surface, and color in the visual space. In the present volume, the 1953 English translation by Sibyl Moholy-Nagy is combined with the design and physical qualities of the original German edition from 1925.
Symbol
9783037785850
Author
Paul Klee
Cover
.
Publisher
Lars Muller Publishers
Language
English
Pages
56
Format
230 x 180 (mm)
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Guide

THE BAUHAUS SERIES
In what he called his “illustrated guide to modern architecture,” which starts off the Bauhausbücher series, Gropius gives an overview of the international architecture of the mid-1920s. A preface by the author explores, briefly but in detail, the guiding principles that unite the avant-garde in all countries. This statement is followed by an extensive illustrated section showing examples of architecture from around the world. According to Gropius, these illustrations bear witness to the “development of a consistent worldview” that disposes of the prior role of the architect and expresses itself in a new language of shapes.
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