gri_2003_m_46_b06_f11_026

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72177524 - Preacher357
72402012 - highc51239
72476004 - Mirsandia
WINNER - 72566747 - Infinicorn
72775955 - altheist
73030272 - k.h.pot

72177524 - Preacher357

4 Klee's incisive diagrams and pointed captions in the Sketch-
book express his dynamic world-view. he defines line as a
point shifting its position and plane as the progression or
a line. He develops this aesthetic of movement step by step
through more complex formal elements. He applies categories
of active, medial, and passive to a range of phenomena, such
as the relationship of muscle and bone, to the blood stream,
a waterfall, a plant. These categories are not fixed: for
example, the waterfall is active because it turns the water-
wheel but medial because it moves as it does owing to the active
forces of gravity and obstructing mountain. By extension,
the world can be defined as an endless series of manifold func-
tions. Form, therefore, is the result of change and growth.

The Pedagogical Sketchbook represents this aspect of Klee's
thought brilliantly and it is, of course, a point of fundament-
al importance in modern art. The Sketchbook is only a frag-
ment, however: perhaps that is the reason for the disappoint-
ment of the last section. Or, it may be that because, in the
1920's, drawing was an important to Klee as painting, color lag-
ged behind line in his formulae. Color has always been the
most intractable element in aesthetics. From a colorist of
Klee's genius it was legitimate to hope for more than a convent-
ional circle of the spectrum. Not only is this a serious let-
down after the preceeding original diagrams it is a contradiction
of Klee's dynamic world-view. The color-wheel symbolises light

72402012 - highc51239

Klee's incisive diagrams and pointed captions in the Sketchbook express his dynamic world-view. He defines line as a point shifting its position and a plane as the progression of a line. He develops this aesthetic of movement step by step through move complex formal elements. He applies categories of active, medial, and passive to a range of phenomena, such as the relationship of muscle and bone, to the blood stream, a waterfall, a plant. These categories are not fixed; for example, the waterfall is active because it turns the waterwheel but medial because it moves as it does owning to the active forces of gravity and obstructing mountain. By extension, the world can be defined as an endless series of manifold functions. Form, therefore, is the result of change and growth.
The Pedagogical Sketchbook represents this aspect of Klee's thought brilliantly and it is, of course, a point of fundamental importance in modern art. The Sketchbook is only a fragment, however: perhaps that is the reason for the disappointment of the last section. Or, it may be that because, in the 1920s, drawing was as important to Klee as painting, color lagged behind line in his formulae. Color has always been the most intractable element in aesthetics. From a colorist of Klee's genius it was legitimate to hope for more than a conventional circle of the spectrum. Not only is this a serious letdown after the preceding original diagrams it is a contradiction of Klee's dynamic world-view. The color-wheel symbolises light

72476004 - Mirsandia

4
Klee's incisive diagrams and pointed captions in the Sketch-
book express his dynamic world-view. He defines line as a
point shifting its position and plane as the progression of
a line. Hedevelops this aesthitic of movement step by step
through more complex formal elements. He applies categories
of active, medial, and passive to a range of phenomena, such
as the relationship of muscle and bone, to the blood stream,
a waterfall, a plant. These categories are not fixed: for
example, the waterfall is active because it turns the water-
wheel but medial because it moves as it does owing to the active
forces of gravity and obstructing mountain. By extension,
the world can be defined as an endless series of manifold fune-
tions. Form, therefore, is the result of change and growth.
The Pedagogical Sketchbook represents this aspect of Klee's
thought brilliantly and it is, of course, a point of fundament-
al importance in modern art. The Sketchbook is only a frag-
ment, however: perhaps that is the reason for the disappoint-
ment of the last section. Or, it may be that because, in the
1920s, drawing was as important to Klee as painting, color lag-
ged behind line in his formulae. Color has always been the
most intractable element in his aesthetics. From a colorist of Klee's genius it was legitimate to hope for more than a convent-
ional circle of the spectrum. Not only is this a serious let-
down after the preceeding oriinal diagrams it is a contradiction
of Klee's dynamic world-view. The color-wheel symbolises light

WINNER - 72566747 - Infinicorn

4
Klee's incisive diagrams and pointed captions in the Sketch-
book express his dynamic world-view. He defines line as a
point shifting its position and plane as the progression of
a line. He develops this aesthetic of movement step by step
through more complex formal elements. He applies categories
of active, medial, and passive to a range of phenomena, such
as the relationship of muscle and bone, to the blood stream,
a waterfall, a plant. These categories are not fixed; for
example, the waterfall is active because it turns the water-
wheel but medial because it moves as it does owing to the active
forces of gravity and obstructing mountain. By extension,
the world can be defined as an endless series of manifold func-
tions. Form, therefore, is the result of change and growth.

The Pedagogical Sketchbook represents this aspect of Klee's
thought brilliantly and it is, of course, a point of fundament-
al importance in modern art. The Sketchbook is only a frag-
ment, however: perhaps that is the reason for the disappoint-
ment of the last section. Or, it may be that because, in the
1920s, drawing was as important to Klee as painting, color lag-
ged behind line in his formulas. Color has always been the
most intractable element in aesthetics. From a colorist of
Klee's genius it was legitimate to hope for more than a convent-
ional circle of the spectrum. Not only is this a serious let-
down after the preceding original diagrams it is a contradiction
of Klee's dynamic world-view. The color-wheel symbolises light

72775955 - altheist

4

Klee's incisive diagrams and pointed captions in the Sketchbook express dynamic world-view. He defines line as s point of shifting its position and plane as the progression of a line. He develops this aesthetic of movement step by step through more complex formal elements. He applies categories of active, medial, and passive to a range of phenomena, such as relationship of muscle and bone, to the blood stream, waterfall, a plant. These categories are not foxed; for example, the waterfall is active because it turns the waterwheel but medial because it moves as it does owing to the active forces of gravity and obstructing mountain. By extension, the world can be defined as an endless series of manifold functions. Form, therefore, is the result of change and growth.

The Pedagogical Sketchbook represents this aspect of Klee's thought brilliantly and it is, of course, a point of fundamental importance in modern art. The Sketchbook is only a fragment, however: perhaps that is the reason for the disappointment of the last section. Or, it may be that because, in the 1920's, drawing was as important to Klee as painting, color lagged behind line in his formulae. Color has always been the most intractable element in aesthetics. From a colorist of Klee's genius it was legitimate to hope for more than a conventional circle of the spectrum. Not only is this a serious let-down after the preceding original diagrams it is a contradiction of Klee's dynamic world-view. The color-wheel symbolizes light

73030272 - k.h.pot

4
Klee's incisive diagrams and pointed captions in the Sketch-
book express his dynamic world-view. He defines line as a
point shifting its position and plane as the progression of
a line. He develops this aesthetic of movement step by step
through more complex formal elements. He applies categories
of active, medial, and passive to a range of phenomena, such
as the relationship of muscle and bone, to the blood stream,
a waterfall, a plant. These categories are not fixed; for
example, the waterfall is active because it turns the water-
wheel but medial because it moves as it does owing to the active
forces of gravity and obstructing mountain. By extension,
the world can be defined as an endless series of manifold func-
tions. Form, therefore, is the result to change and growth.

The Pedagogical Sketchbook represents this aspect of Klee's
through brilliantly and it is, of course, a point of fundament-
al importance in modern art. The Sketchbook is only a frag-
ment, however: perhaps that is the reason for the disappoint-
ment of the last section. Or, it may be that because, in the
1920s, drawing was as important to Klee as pointing, color lag-
ged behind line in his formulae. Color has always been the
most intractable element in aesthetics. From a colorist of
Klee's genius it was legitimate to hope for more than a convent-
ional circle of the spectrum. Not only is this a serious let-
down after the preceding original diagrams it is a contradiction
of Klee's dynamic world-view. The color-wheel symbolises light

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