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gri_2003_m_46_b06_f11_028

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  1. 71849106 - the3esses
  2. WINNER - 72269166 - Preacher357
  3. 72308185 - Eboo
  4. 72490204 - jesseytucker
  5. 72921185 - not-logged-in-5fbf8813031fa0ac562b
  6. 73023182 - Zooniverse2017

71849106 - the3esses

perty or nobody's. Magic is not transmissable. Formal means are transmissable.
There are two kinds of statements about art that artists make.
There are close personal statement whose referents lie away in the artist's work. There are also pedagogic statements (occasionally successful) in which the personal experience of the artist connects with impersonal matters. Some people regard the Sketchbook as a document permitting insight into Klee's art. Up to a point it does that, of course, but I have already mentioned important personal omissions. I might add, too,that the art of Klee's last period in the 1930's, is not contained by his statements. The Sketchbook is not a paraphrase of Klee's art, it is the outline of a method. The crucial point is to decide whether or not what Klee wrote in 1925 is still relevant. The Sketchbook is at the heart of 20c. ideas of space-time and I see no real evidence that motion-studies are being replaced by another art-form. That is to as an art critic. From the point of view of art-education, I think that Klee's compound of precision and adventurousness would be a public service.

WINNER - 72269166 - Preacher357

6 perty or nobody's. Magic is not transmissable. Formal means
are transmissable.
There are two kinds of statements about art that artists make.
There are close personal statements whose referents lie away
in the artist's work. There are also pedagogic statements
(occasionally successful) in which the personal experience of
the artist connects with impersonal matters. Some people re-
gard the Sketchbook as a document permitting insight into Klee's
art. Up to a point it does that, of coarse, but I have already
mentioned important personal omissions. I might add, too, that
the art of Klee's last period in the 1930s , is not contained by
his statements. The Sketchbook is not a paraphrase of Klee's
art, it is the outline of a method. The crucial point is to de-
cide whether or not what Klee wrote in 1925 is still relevant.
The Sketchbook is at the heart of 20c. ideas of space-time and I
see no real evidence that motion-studies are being replaced by
another art-form. That is to as an art-critic. From the
point of view of art-education, I think that Klee's methods may
still be potent, also: to replace the incoherent mixture of in-
tuitives and academics in British art schools by Klee's compound
of precision and adventurousness would be a public service.

72308185 - Eboo

6
perty or nobody's. Magic is not transmissable. Formal means
are transmissable.
There are two kinds of statements about art that artists make.
There are close personal statements whose referents lie away
in the artist's work. There are also pedagogic statements
(occasionally successful) in which the personal experience of
the artist connects with impersonal matters. Some people re-
gad the Sketchbook as a document permitting insight into Klee's
art. Up to a point it does that, of course, but I have already
mentioned important personal omissions. I might add, too, that
the art of Klee's last period in the 1930s, is not contained by
his statements. The Sketchbook is not a paraphrase of Klee's
art, it is the outline of a method. The crucial point is to de-
cide whether or not what Klee wrote in 1925 is still relevant.
The Sketchbook is at the heart of 20c. ideas of space-time and I
see no real evidence that motion-studies are being replaced by
another art-form. That is to as an art-critic. From its
point of view of art-education, I think that Klee's methods may
still be potent, also: to replace the incoherent mixture of in-
tuitives and academies in British art schools by Klee's compound
of precision and adventurousness would be a public service.

72490204 - jesseytucker

6
perty or nobody's. Magic is not transmissable. Formal means
are transmissable.
There are two kinds of statements about art that artists make.
There are close personal statements whose referents lie away
in the artist's work. There are also pedagogie statements
(occasionally successful) in which the personal experience of
the artist connects with impersonal matters. Some people re-
gard the Sketchbook as a document permitting insight into Klec's
art. Up to a point it does that, of course, but I have already
mentioned important personal omissions. I mights add, too, that
the art of Klee's last period in the 1930s, is not contained by
his statements. The Sketchbook is not a paraphrase of Klee's
art, it is the outline of a method. The crucial point is to de-
cide whether or not what Klee wrote in 1925 is still relevant.
The Sketchbook is at the heart of 20c. ideas of space-time and I
see not real evidence that motion-studies re being replaced by
another art-form. That is to as an art-critic. From the
point of view of art-education, I think that Klee's methods may
still be potent, also: to replace the inchoherent mixture of in-
tuitives and academics in British art schools by Klee's compound
of precision and adventurousness would be a public service.

72921185 - not-logged-in-5fbf8813031fa0ac562b

Ti

73023182 - Zooniverse2017

6

perty or nobody's. Magic is not transmissable. Formal means
are transmissable.
There are two kinds of statements about art that artists make.
There are close personal statements whose referents lie away
in the artist's work. There are also pedagogic statements
(occassionally successful) in which personal experiences of
the artist connects with impersonal matters. Some people re-
gard the Sketchbook as a document permitting insight into Klec's
art. Up to a point is does that, of course, but I have already
mentioned important personal omissions. I might add, too, that
the art of Klee's last period in the 1930s, is not contained by
his statements. The Sketchbook is not a paraphrase of Klee's
art, it is the cutline of a method. The crucial point is to de-
cide whether or not what Klee wrote in 1925 is still relevant.
The Sketchbook is at the heart of 20c. ideas of space-time and I
see no real evidence that motion-studies are being replaced by
another art-form. That is to as an art-critic. From the
point of view of art-education, I think that Klee's methods may
still be potent, also: to replace the incoherent mixture of in-
tuitives and academics in British art schools by Klee's compound
of precision and adventurousness would be a public service.

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