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gri_2003_m_46_b06_f11_027

Transcribers

  1. WINNER - 72469978 - Infinicorn
  2. 72502191 - tinkapuppy
  3. 72586612 - Preacher357
  4. 72814147 - mcathzoo
  5. 73096885 - altheist
  6. 73362924 - darryluk

WINNER - 72469978 - Infinicorn

5
by means of opaque colored surfaces only. Here Klee is static
whereas his line and plane are dynamic. His signs for movement
and signs in movement are not supported by color in his theory.
On the other hand, composition, another component of the Design
section of the Bauhaus curriculum, is brilliantly, though indir-
ectly, covered, because to Klee the work of art is an image of movement. Therefore space is 'a temporal conception'. The
classes of active-medial-passive are all time-functions.
Klee wrote: 'When I came to be a teacher I had to account ex-
plicitly for what I had been used to doing unconsciously' (7).
Actually, Klee was theoretically oriented before Gropius invit-
ed him to join the Bauhaus in January, 1921. His main theo-
retical period is ca.1918-25. As I say, the Sketchbook de-
fines beautifully a dynamic world-view and offers advice on all
but one of the methods with which to express space as time.
However, Klee has omitted another quality from the Sketchbook
which is as essential to his art as color: phantasy has been
excluded from these elementary exercises. Magic in art is a
quality that, if you have it, you can't get rid of and lacking
it, you can't pick it up. The element of phantasy and the mys-
terious arrival of images, discussed in another book by Klee
in 1925, is excluded as personal. This voluntary suppression
by the artist of a part of his personality helps, I think, to
keep this book significant today. The Lady Demon, the Park near
Lu, the Stricken Town, the Magicians in Dispute are Klee's pro-

72502191 - tinkapuppy

5

by means of opaque colored surfaces only. Here Klee is static
whereas his line and plane are dynamic. His signs for movement
and signs in movement are not supported by color in his theory.
On the other hand, composition, another component of the Design
section of the Bauhaus curriculum, is brilliantly, though indir-
rectly, covered, because to Klee the work of art is an image of
movement. Therefore space is 'a temporal conception'. The
classes of active-medial-passive are all time-functions.
Klee wrote: 'When I came to be a teacher I had to account ex-
plicitly for what I had been used to doing unconsciously' (7).
Actually, Klee was theoretically oriented before Gropius invit-
ed him to join the Bauhaus in January, 1921. His main theo-
retical period is ca. 1918-25. As I say, the Sketchbook de-
fined beautifully a dynamic world-view and offers advice on all
but one of the methods with which to express space as time.
However, Klee has omitted another quality from the Sketchbook
which is as essential to his art as color: fantasy has been
excluded from these elementary exercises. Magic in art is a
quality that, if you have it, you can't get rid of and lacking
it, you can't pick it up. The element of fantasy and the mys-
terious arrival of images, discussed in another book by Klee
in 1925, is excluded as personal. This voluntary suppression
of a part of his personality by the artist helps, I think, to
keep this book significant today. The Lady Demon, the Park near
Lu, The Stricken Town, the Magicians in Dispute are Klee's pro-



72586612 - Preacher357

5
by means of opaque colored surfaces only. Here Klee is static
whereas his line and plans are dynamic. His signs for movement
and signs in movement are not supported by color in his theory.
On the other hand, compsition, another component of the Design
section of the Bauhaus curriculum, is brilliantley, though indir-
ectly, covered, because to Klee the work of art is an image of
movement. Therefore space is 'a temporal conception'. The
classes of active-medial-passive are all time-functions.
Klee wrote: 'When I come to be a teacher I had to account ex-
plicitly for what I had been used to doing unconsciously' (7).
Actually, Klee was theoretically oriented before Gropius invit-
ed him to join the Bauhaus in January, 1921. His main theo-
retical period is ca. 1916-25. As I say, the Sketchbook de-
fines beautifully a dynamic world-view and offers advice on all
but one of the methods with which to express space as time.
However, Klee has omitted another quality from the Sketchbook
which is an essential to his art as color: phantasy has been
excluded from these elementary exercises. Magic in art is a
quality that, if you have it, you can't get rid of and lacking
it, you can't pick it up. The element of phantasy and the mys-
terious arrival of images, discussed in another book my Klee
in 1925, is excluded as personal. This volutary suppression
of a part of his personality by the artist helps, I think, to
keep this book significant today. The Lady Demon, the Park near
Lu, the Stricken Town, the Magicians in Dispute are Klee's pro-

72814147 - mcathzoo

5
by means of opaque colored surfaces only. Here Klee is static
whereas his line and plane are dynamic. His signs for movement
and signs in movement are not supported by color in his theory.
On the other hand, composition, another component of the Design
section of the Bauhaus curriculum, is brilliantly, though indir-
ectly, covered, becuase to Kless the work of art is an image of
movement. Therefore space is 'a temporal conception'. The
classes of active-medial-passive are all time-functions.
Klee wrote: 'When I come to be a teacher I had to account ex-
plicitly for what I had been used to doing unconsioucly' (7).
Actually, Klee was theoretically oriented before Gropins invit-
ed him to join the Bauhaus in January, 1921. His main theo-
retical period is ca.1916-25. As I say, the Sketchbook de-
fines beautifully a dynamic world-view and offers advice on all
but one of the methods with which to express space as time.
However, Klee has omitted another quality from the Sketchbook
which is as essential to his art as color: phantasy has been
excluded from these elementary exercises. Magic in art is a
quality that, if you have it, you can't get rid of and lacking
it, you can't pick it up. the element of phantasy and the mys-
terious arrival of images, discussed in another book by Klee
in 1925, is excluded as personal. This voluntary suppression
of a part of his personality by the artist helps, I think, to
keep this book significant today. The Lady Demon, the Park near
Lu, the Stricken Town, the Magicians in Dispute are Klee's pro-

73096885 - altheist

5

by means of opaque colored surfaces only. Here Klee is static whereas his line and plane are dynamic. His signs for movement and signs in movement are not supported by color in his theory. On the other hand, composition, another component of the Design section of the Bauhaus curriculum, is brilliantly, though indirectly, covered, because to Klee the work of art is an image of movement. Therefore space is "a temporal conception". The classes of active-medial-passive are all time-functions.

Klee wrote: "When I came to be a teacher I had to account explicitly for what I had been used to doing unconsciously" (7). Actually. Klee was theoretically oriented before Gropius invited him to join the Bauhaus in January, 1921. His main theoretical period is ca.1918-25. As I saw, the sketchbook defines beautifully a dynamic world-view and offer advice on all but one of the methods with which to express space as time.

However, Klee has omitted another quality from the Sketchbook which is an essential to his art as color: phantasy has been excluded from these elementary exercises. Magic in art is a quality that, if you have it, you can't get rid of and lacking it, you can't pick it up. The element of phantasy and the mysterious arrival of images, discussed in another book by Klee in 1925, is excluded as personal. This voluntary suppression of a part of his personality by the artist helps, I think, to keep this book significant today. The Lady Demon, the Park near Lu, the Stricken Town, the Magicians in Dispute are Klee's pro-

73362924 - darryluk

by means of opaque colored surfaces only. Here Klee is static whereas his line and plane are dynamic. His signs for movement and signs in movement are not supported by color in his theory. On the other hand, composition, another component of the Design section of the Bauhaus curriculum, is brilliantly, though indirectly, covered, because to Klee the work of art is an image of movement. Therefore space is 'a temporal conception'. The classes of active-medial-[assive are all time-functions.

Klee wrote: 'When I came to be a teacher I had to account explicitly for what I had been used to doing unconsciously' (7). Actually, Klee was theoretically oriented before Gropius invited him to join the Bauhaus in January, 1981. His main theoretical period is ca. 1918-25. As I say, the Sketchbook defines beautifully a dynamic world-view and offers advice on all but one of the methods with which to express space as time. However, Klee has omitted another quality from the Sketchbook which is as essential to his art as color: fantasy has been excluded from these elementary exercises. Magic in art is a quality that, if you have it, you can't get rid of and lacking it, you can't pick it up. The element of fantasy and the mysterious arrival of images, discussed in another book by Klee in 1925, is excluded as personal. This voluntary suppression of a part of his personality by the artist helps, I think, to keep this book significant today. The Lady Demon, the Park near Lu, the Stricken Town, the Magicians in Dispute are K;ee's pro-

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