gri_2003_m_46_b06_f11_025

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72403366 - Infinicorn
WINNER - 72499526 - tinkapuppy
72604464 - the3esses
72699704 - Preacher357
72896900 - tmeconverse
72954617 - AmateurGeorge

72403366 - Infinicorn

3
preliminary period. The year after Klee's book appeared Kan-
dinski published Point and Line to Plane based on his own course,
and covering some of the same ground as the Sketchbook. Kan-
dinski's book (as you might expect) is much longer than Klee's
and has a rigidity and comprehensiveness in its examination of
formal elements which is academic compared to Klee. Though
Klee looked for and found 'a formula covering all circulating
forces at once' (5) his handling of it is highly flexible.
Kandinski tries to give sensory expression to universals, like
A CINQUECENTO mannerist reasoning to explain invisible beauty,
whereas Klee's art is rooted in specific events and feelings.
Keel used to draw for his classes with both hands at once:
Kandinski could almost say of his Circles period (1925-7) -
'look, no hands'. As Leo Stein wrote: 'in every sketch of
Klee's the symbol is fashioned anew. If this is mysticism it
is certainly not of the medieval contemplative kind. It is a
restless existential mysticism' (6).
The preliminary course was divided into 3 categories: obser-
vation, representation, and design. Observation meant study
of nature and the study of materials, and
here Klee was qualified indeed, as Stein shows. Representation
was the study of geometry and draughtsmanship, along with
model-making and construction. Design was the study of volume,
color, and composition. As we shall see, Klee failed to deal with the category of design in a satisfactory way.

WINNER - 72499526 - tinkapuppy

e

preliminary period. The year after Klee's book appeared Kan-
dinski published Point and Line to Plane based on his own course,
and covering some of the same ground as the Sketchbook. Kan-
dinski's book (as you might expect) is much longer than Klee's
and has a rigidity and comprehensiveness in its examination of
formal elements which is academic compared to Klee. Though
Klee looked for and found 'a formula covering all circulating
forces at once' (5) his handling of it is highly flexible.
Kandinski tries to give sensory expression to universals, like
a cinquecento mannerist reasoning to explain invisible beauty,
whereas Klee's art is rooted in specific events and feelings.
Klee used to draw for his classes with both hands at once:
Kandinski could almost say of his Circles period (1925-7) -
'look, no hands'. As Leo Stein wrote: 'in every sketch of
Klee's the symbol is fashioned anew. If this is mysticism it
is certainly not of the medieval contemplative kind. It is a
restless existential mysticism' (6).
The preliminary course was divided into 3 categories: obser-
vation, representation, and design. Observation meant the study
of materials and the study of nature. and
here Klee was qualified indeed, as Stein shows. Representation
was the study of geometry and draftsmanship, along with
model-making and construction. Design was the study of volume,
color, and composition. As we shall see, Klee failed to deal
with the category of design in a satisfactory way.

72604464 - the3esses

3
preliminary period. The year after Else's book appeared Kandinski published Point and Line to Plane based on his own course, and covering some of the same ground as the Sketchbook. Kandinski's book (as you might expect) is much longer than Else's and has a rigidity and comprehensiveness in its examination of formal elements which is academic compared to Klee. Though Klee looked for and found 'a formula covering all circulating forces at once' (5) his handling of it is highly flexible.
Kandinski tries to give sensory expression to universals, like cinquecento mannerist reasoning to explain invisible beauty, whereas Klee's art is rooted in specific events and feelings. Klee used to draw for his classes with both hands at once: Kandinski could almost say of his Circles period (1925-7) - 'look, no hands'. As Leo Stein wrote: 'in every sketch of Klee's the symbol is fashioned anew. If this is mysticism it is certainly not of the medieval contemplative kind. It is a restless existential mysticism' (6)
The preliminary course was divided into 3 categories: observation, representation, and design and the study of materials. Observation meant and the study of nature, and here Klee was qualified indeed, as Stein shows. Representation was the study of geometry and draughtsmanship, along with model-making and construction. Design was the study of volume, color, and composition. As we shall see, Klee failed to deal with the category of design in a satisfactory way.

72699704 - Preacher357

3 preliminary period. The year after Klee's book appeared Kan-
dinski published Point and Line to Plans based on his own course,
and covering some of the same ground as the Sketchbook. Kan-
dinski's book (as you might expect) is much longer than Klee's
and has a rigidity and comprehensiveness in its examination of
formal elements which is academic compared to Klee. Though
Klee looked for and found 'a formula covering all circulating
forces at once' (5) his handling of it is highly flexible.
Kandinski tries to give sensory expression to universals, like
Cinquecento mannerist reasoning to explain invisible beauty,
whereas Klee's art is rooted in specific events and feelings.
Klee used to draw for his classes with both hands at once:
Kandinski could almost say of his Circles period (1925-7) -
'Look, no hands'. As Leo Stein wrote: 'in very sketch of
Klee's the symbol is fashioned anew. If this is mysticism it
is certainly not of the medieval contemplative kind. It is a
restless existential mysticism' (6).
The preliminary course was divided into 3 categories: obser-
vation, representation, and design. Observation meant the study of materials and the study
of nature, and
here Klee was qualified indeed, as Stein shows. Representation
was the study of geometry and draughtsmanship, along with
model-making and construction. Design was the study of volume,
color, and composition. As we shall see, Klee failed to deal
with the category of design in a satisfactory way.

72896900 - tmeconverse

3
preliminary period. The year after Klee's book appeared Kan-
dinski published Point and Line to Plane based on his own course,
and covering some of the same ground as the Sketchbook,. Kan-
dinski's book (as you might expect) is much longer than Klee's
and has a rigidity and comprehensiveness in its examination of
formal elements which is academic compared to Klee. Though
Klee looked for and found 'a formula covering all circulating
forces of at once' (5) his handling of it is highly flexible.
Kandinski tries to give sensory expression to universals, like
cinquecineto mannerist reasoning to explain invisible beauty,
whereas Klee's art is rooted in specific events and feelings.
Klee used to draw for his classes with both hands at once:
Kandinski could almost say of his Circles period (1925-7) -
'look, no hands'. As Leo Stein wrote: 'in every sketch of
Klee's the symbol is fashioned anew. If this is mysticism it
is certainly not of the medieval contemplative kind. It is a
restless existential mysticism' (6).
The preliminary course was divided into 3 categories: obser-
vation, representation, and design. Observation meant the study of materials and the study
of nature and
here Klee was qualified indeed, as Stein shows. Representation
was the study of geometry and draughtsmanship, along with
model-making and construction. Design was the study of volume,
color, and composition. As we shall see, Klee failed to deal
with the category of design in a satisfactory way.

72954617 - AmateurGeorge

3

preliminary period. The year after Klee's book appeared Kan-
dinski published Point and Line to Plane based on his own course,
and covering some of the same ground as the Sketchbook. Kan-
dinski's book (as you might expect) is much longer the Klee's
and has a rigidity and comprehensiveness in its examination of
formal elements which is academic compared to Klee. Though
Klee looked for and found 'a formula covering all circulating
forces at once' (5) his handling of it is highly flexible.
Kandinski tries to give sensory expression to universals, like
cinquencento mannerist reasoning to explain invisible beauty,
whereas Klee's art is rooted in specific events and feeling.
Klee used to draw for his classes with both hands at once:
Kandinski could almost say of his Circles period (1925-7) -
'Look, no hands'. As Leo Stein wrote: 'in every sketch of
Klee's the symbol is fashioned anew. If this is mysticism it
is certainly not of the medieval contemplative kind. It is a
restless existential mysticism' (6).
The preliminary course was divided into 3 categories: obser-
vation, representation, and design. Observation meant the
the study of materials and the study of nature and
here Klee was qualified indeed, as Stein shows. Representation
was the study of geometry and draftsmanship, along with
model-making and construction. Design was the study of volume,
color, and composition. As we shall see, Klee failed to deal
with the category of design in a satisfactory way.

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