Paul Klee

The Visible and the Legible

Nonfiction, Art & Architecture, General Art, Individual Artist, Art History
Cover of the book Paul Klee by Annie Bourneuf, University of Chicago Press
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Author: Annie Bourneuf ISBN: 9780226233604
Publisher: University of Chicago Press Publication: July 20, 2015
Imprint: University of Chicago Press Language: English
Author: Annie Bourneuf
ISBN: 9780226233604
Publisher: University of Chicago Press
Publication: July 20, 2015
Imprint: University of Chicago Press
Language: English

The fact that Paul Klee (1879–1940) consistently intertwined the visual and the verbal in his art has long fascinated commentators from Walter Benjamin to Michel Foucault. However, the questions it prompts have never been satisfactorily answered—until now. In Paul Klee, Annie Bourneuf offers the first full account of the interplay between the visible and the legible in Klee’s works from the 1910s and 1920s.

Bourneuf argues that Klee joined these elements to invite a manner of viewing that would unfold in time, a process analogous to reading. From his elaborate titles to the small scale he favored to his metaphoric play with materials, Klee created forms that hover between the pictorial and the written. Through his unique approach, he subverted forms of modernist painting that were generally seen to threaten slow, contemplative viewing. Tracing the fraught relations among seeing, reading, and imagining in the early twentieth century, Bourneuf shows how Klee reconceptualized abstraction at a key moment in its development.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

The fact that Paul Klee (1879–1940) consistently intertwined the visual and the verbal in his art has long fascinated commentators from Walter Benjamin to Michel Foucault. However, the questions it prompts have never been satisfactorily answered—until now. In Paul Klee, Annie Bourneuf offers the first full account of the interplay between the visible and the legible in Klee’s works from the 1910s and 1920s.

Bourneuf argues that Klee joined these elements to invite a manner of viewing that would unfold in time, a process analogous to reading. From his elaborate titles to the small scale he favored to his metaphoric play with materials, Klee created forms that hover between the pictorial and the written. Through his unique approach, he subverted forms of modernist painting that were generally seen to threaten slow, contemplative viewing. Tracing the fraught relations among seeing, reading, and imagining in the early twentieth century, Bourneuf shows how Klee reconceptualized abstraction at a key moment in its development.

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