by Tom Gurney
Tom Gurney BSc (Hons) is an art history expert with over 20 years experience
Published on June 19, 2020 / Updated on September 27, 2026
Email: tomgurney1@gmail.com / Phone: +44 7429 011000
Explore Klee’s works
“Paintings” is a useful doorway into Paul Klee's art, but it is an imperfect name for the whole room. The Zentrum Paul Klee estimates that roughly 80 per cent of his oeuvre consists of works on paper. Its own collection has a similar proportion of drawings and watercolours, alongside a smaller group it calls paintings. A visitor who expects mainly oil on canvas will miss the watercolour, gouache, oil-transfer drawing, paste colour, mounted paper, gauze, jute and artist-made borders that help make Klee's pictures distinctive. This guide uses the familiar site label while pointing to the actual material of individual works.[1][2]
Klee was born in 1879 and died in 1940. Over those decades he made about 9,600 works, in the Zentrum Paul Klee's current accounting. A number of them have more than one worked face, were cut or remounted, or passed through different titles and descriptions. That makes a one-line list of “paintings” a way to browse, not an authority on exactly what was made, how it was made or which side Klee regarded as final. The best entry point is an identified work with a collection record, a date, its materials and a source for the interpretation that follows.[2][3]
Browse Klee’s artworks
The original picture grid is retained for browsing. For the wider catalogue, use the alphabetical pages below.
Contents
- What counts as a Klee painting?
- How did his pictures change across his career?
- Why do support and reverse side matter?
- Where do work numbers and titles come from?
- How should I browse the works here?
- Artworks directory
- What can a catalogue tell us, and what can it not?
What counts as a Klee painting?
A museum's category can describe a department, a dominant technique or a practical way to catalogue a work. It is not always a literal account of every layer. MoMA, for example, files Twittering Machine under Drawings and Prints and describes it as oil-transfer drawing, watercolour and ink on paper, with gouache and ink borders on board. Its image has colour and a made frame, yet it is neither an editioned print nor an oil-on-canvas painting. The Philadelphia Museum of Art describes Fish Magic as a black layer over earlier colours, scratched to bring those colours forward, with a square of muslin glued to the canvas. One word such as “painting” cannot show all of that physical construction.[4][5]
Klee sometimes made a coloured field and drew into it; elsewhere line, wash, ground and mount remained visibly separate. Paper could be an active surface rather than a disposable sketch support. The edges of a sheet and its artist-made mount can affect the image's scale, balance and title inscription. A catalogue medium line may list every known component, while a short guide calls the same object a drawing or painting. Rather than correct one institution by imposing a new universal label, ask what each description is trying to record and inspect the work-specific evidence.[1][6]
The links on this page therefore include works that different collections place under paintings, drawings and prints. Readers interested specifically in line, transparent colour, editioned graphic work or physical technique can move to the dedicated drawings, watercolours, prints and materials and techniques pages. Those categories overlap in Klee's objects, but each asks a different question.[1][4]
How did his pictures change across his career?
Early Klee often worked through drawing, satire, dark oil experiments and experiments on glass before he became confident with brilliant colour. The 1914 Tunisia journey with August Macke and Louis Moilliet gave him a new encounter with light, architecture and translucent planes. It did not invent his interest in colour overnight. Works made during the journey, and works later developed from its memory, need to be distinguished. Hammamet with Its Mosque is a specific Met sheet whose architecture and later handling have been studied; In the Style of Kairouan exists in more than one distinct 1914 version, so title alone cannot identify the sheet. The Tunisia page treats the trip and its sources in more depth.[6][7]
From 1921 to 1931, Klee taught at the Bauhaus in Weimar and Dessau. His classes developed analyses of line, movement, tonal value and colour, but a finished work is not automatically an illustration of a particular lesson. Crystal Gradation, made in 1921, sets stepped geometry and watercolour in relation; Ancient Harmony, 1925, arranges coloured parts on a constructed support; Red Balloon, 1922, holds a city and a single hovering form in a finely balanced field. The works share concerns that he could discuss with students, but their dates, materials and pictorial choices differ. A specific formal resemblance is a starting question, not proof that the artist followed a classroom recipe.[8][9][10]
His image-making could be funny, uneasy and ambiguous at the same time. Twittering Machine joins birds, a crank and a precarious perch; its transfer line and added colour make the mechanism look both drawn and atmospheric. Cat and Bird reduces an encounter to a few charged forms, but the bird's place in the cat's head is an interpretation to test against the original. Senecio uses a mask-like face, a chalk ground and gauze; its Basel record supplies the physical object, while the association between the title and the groundsel plant is a separate linguistic and botanical matter. These are three different ways to build tension. Calling all three simply “childlike” or “abstract” would hide their method and subject.[4][11][12]
In the later 1920s and early 1930s, Klee used stripes, gridded colour, repeated marks and textured grounds in very different combinations. Highway and Byways connects path imagery to the stripe picture and his Egypt context; Ad Parnassum builds a large image from many small coloured marks; Fire in the Evening asks how bands of colour can hold a scene without giving the viewer a conventional perspective. Their formal kinship should not erase their distinct numbers, materials or titles. The dedicated pages let each work bear the evidential weight of the claims made about it.[13][14][15]
After Klee lost his Düsseldorf post in 1933 and returned to Bern, his art did not switch to a single “dark late style.” Some late images use broad black signs; others remain intensely coloured or formally delicate. Death and Fire, Struck from the List and Fire at Full Moon differ in support, inscription, context and degree to which a political or personal reading can be documented. A diagnosis or historical event cannot be assigned as the cause of every mark merely because it occurred in the artist's life. The late work page addresses the chronology and interpretive limits.[16][17]
Why do support and reverse side matter?
A picture is not just the face reproduced in a web thumbnail. The Zentrum Paul Klee's 2026 research identifies works on the reverse of about 600 of the roughly 9,600 works in its accounting. It describes some two-sided pictures as part of a continuing process. A reverse can be hidden by a mount or overpaint and found only through conservation. In other instances, thin paper lets a faint image show through. These are different physical situations, and a “verso” is not automatically a rejected draft.[2][3]
The museum's account of Glass Façade (1940) is a useful caution. Restoration revealed an image on the reverse that had long been covered by an overpaint. Other double-sided works were not entered by Klee in his own catalogue, and later decisions about their front or title could involve his son Felix. This is why dates, names and what a reproduction shows must be checked against object records, inscriptions and conservation findings. The press kit's images are supplied for exhibition reporting; they have not been copied into this page.[3]
Colour also depends on support. A ground may be black, chalky, absorbent or textured. A watercolour can sit transparently over earlier washes, while paste paint or gouache can obscure them. A rough weave can remain visible through the painted layer. Klee cut, mounted, bordered and sometimes worked the reverse of paper and cloth. The physical object may therefore challenge a simple division between finished painting, drawing and study. For Crystal Gradation, the current Basel material line identifies watercolour on paper with brush-and-pen border on cardboard. The reproduced work below is a comparison image, not a claim that all Bauhaus-era pictures were made by the same method.[1][8]
Where do work numbers and titles come from?
Klee maintained a handwritten work register. A notation such as 1922,151 identifies a work within one year's sequence in that artist-made system. A later scholarly Catalogue raisonné Paul Klee was issued in nine volumes; its continuous entry number is a different identifier. For Twittering Machine, MoMA's provenance cites catalogue raisonné 2975, while specialist evidence identifies Klee's annual 1922,151. MoMA's 564.1939 is its own accession number. These three numbers serve three different functions; none should silently replace the others.[2][4][19]
The annual number is not a reliable day-by-day production order. In a study based on Klee's register and its copies, Christian Rümelin shows that Klee sometimes entered works retrospectively, changed titles, and grouped paintings, coloured sheets and drawings rather than listing every stage in the order it was made. He notes Klee's own doubt over whether one work registered as 1921,182 might have been made in 1920. A year and number are vital identity evidence, but neither alone dates each layer of a revised picture or proves that a higher-numbered drawing followed the painting it helped generate.[21]
The institution holding a work may use a German title, an English translation and a shorter public label. Spelling and punctuation can vary between Klee's inscription, a contemporary catalogue and a current display. Sometimes a title was supplied or expanded after his death. A familiar English name is valuable for finding a page, but it should be joined to the original title, year and number before two similar works are assumed to be one. In the Style of Kairouan is a concrete example: the Bern and LACMA versions have the same broad title but different 1914 work numbers and dimensions.[7]
The printed catalogue itself continues to acquire documented additions and corrections. In a 2022 article, catalogue researchers Osamu Okuda and Walther Fuchs present Burg 2, 1923,107, as a work rediscovered in 2017 and publish its photograph with the related Burg 1, 1923,106. They link the first to catalogue entry 3201 and add its materials, inscription, exhibitions and ownership history. This is a good example of what later object research can supply to an older entry; it is not evidence that every unverified name in a web list is a newly discovered Klee.[22]
The Zentrum Paul Klee says its collection database continues the nine-volume catalogue and is available on site by appointment. This site's alphabetical directory is a separate browsing tool. Its legacy names and routes are being checked against artist numbers and collection records; the directory is not a substitute for the archive or the printed catalogue. An unlinked name in it should not be taken as a verified object record, and a link may lead to a short older page pending revision.[2][20]
How should I browse the works here?
Start with a question. For transparent colour and built space, compare Hammamet with Its Mosque, Crystal Gradation and Ancient Harmony. For drawn line entering a coloured field, try Twittering Machine, Cat and Bird and Fish Magic. For a title that makes a picture's identity unusually important, read In the Style of Kairouan or Ad marginem. For late signs and historical pressure, compare Death and Fire with Struck from the List. These are routes into distinct object histories, not statements that one work caused another.[4][5][7][8][11][16]
The selected works below lead to the site's object pages. The older alphabetical lists remain available at A–G, H–S and T–Z. They are useful for finding legacy names, but title and route verification is still underway. When a work has a dedicated researched page, its own references and owner record should govern its date, medium and interpretation.[20]
Explore selected works from Klee’s much larger oeuvre. Titles without a link have an authenticated catalogue identity but no reviewed article yet.
Artworks directory
| Name | Date | Medium |
|---|---|---|
| A Gate | 1939 | Painting and mixed media |
| A Woman for Gods | 1938 | Watercolour and mixed media |
| Ab Ovo | 1917 | Watercolour and mixed media |
| Above Mountain Summit | 1917 | Drawing and mixed media |
| Abstract Trio | 1923 | Drawing and mixed media |
| Acrobats | 1915 | Watercolour and mixed media |
| Actor's Mask | 1924 | Painting and mixed media |
| Ad Marginem | 1930 | Drawing and mixed media |
| Ad Parnassum | 1932 | Painting and mixed media |
| Adventurer Ship | 1927 | Drawing and mixed media |
| Affected Place | 1922 | Drawing and mixed media |
| After a Sketch from Zurich | 1914 | Watercolour and mixed media |
| After Drawing | 1919 | |
| After The Floods | 1936 | Watercolour and mixed media |
| All Souls' Picture | 1921 | |
| Ancient Harmony | 1925 | Painting and mixed media |
| Angel Applicant | 1939 | Drawing and mixed media |
| Angel Serves the Desired | 1920 | |
| Angel, Still Female | 1939 | Painting and mixed media |
| Angelus Novus | 1920 | Drawing and mixed media |
| Animal Terror | 1926 | Painting and mixed media |
| Arab Song | 1932 | Painting and mixed media |
| Archangel | 1938 | Painting and mixed media |
| Architecture | 1923 | Painting and mixed media |
| Architecture of the Plain | 1923 | Drawing and mixed media |
| Around the Fish | 1926 | Painting and mixed media |
| Arrival of the Air Steamer | 1921 | Drawing and mixed media |
| Asiatic God | 1924 | Painting and mixed media |
| Astrological Fantasy Portrait | 1924 | Drawing and mixed media |
| Athlete's Head | 1932 | Watercolour and mixed media |
| Aufgehender Stern | 1931 | Painting and mixed media |
| Autumn Flower | 1922 | Painting and mixed media |
| Bad Band | 1920 | Drawing and mixed media |
| Baroque Centaur | 1939 | Painting and mixed media |
| Before the Blitz | 1923 | Drawing and mixed media |
| Before the Snow | 1929 | Drawing and mixed media |
| Besessenes Madchen | 1924 | Watercolour and mixed media |
| Bird Garden | 1924 | |
| Bird Wandering Off | 1926 | Watercolour and mixed media |
| Blossoms in the Night | 1930 | Watercolour and mixed media |
| Blue-Bird-Pumpkin | 1939 | Painting and mixed media |
| Boats in the Flood | 1937 | Painting and mixed media |
| Botanical Theatre | 1934 | Drawing and mixed media |
| Boy in Fancy Dress | 1931 | Watercolour and mixed media |
| Broken Key | 1938 | |
| Brother and Sister | 1930 | Watercolour and mixed media |
| But the Red Roof | 1935 | Painting and mixed media |
| C - C = Fisch | 1931 | Watercolour and mixed media |
| Cacti | 1912 | Painting and mixed media |
| Camel (in Rhythmic Landscape with Trees) | 1920 | Drawing and mixed media |
| Captive Pierrot | 1923 | Drawing and mixed media |
| Castle and Sun | 1928 | Drawing and mixed media |
| Cat and Bird | 1928 | Drawing and mixed media |
| Cathedrals | 1925 | Watercolour and mixed media |
| Chalice of the Heart | 1937 | Painting and mixed media |
| Characters in Yellow | 1937 | Painting and mixed media |
| Chosen Site | 1927 | Mixed media |
| Christmas Picture | 1923 | Drawing and mixed media |
| City of Towers | 1916 | Painting and mixed media |
| Clarification | 1932 | Painting and mixed media |
| Collection of Figurines | 1926 | Painting and mixed media |
| Colorful Architecture | 1917 | Painting and mixed media |
| Comedians' Handbill | 1938 | |
| Comic Opera Singer | 1927 | Painting and mixed media |
| Composition | 1939 | Painting and mixed media |
| Composition with Figures | 1915 | Drawing and mixed media |
| Composition with the Yellow Half-Moon and the Y | 1918 | Watercolour and mixed media |
| Conch–Still Life II | 1939 | Watercolour and mixed media |
| Cosmic Composition | 1919 | Painting and mixed media |
| Crystal Gradation | 1921 | Drawing and mixed media |
| Dance of the Grieving Child | 1922 | Painting and mixed media |
| Dancing Girl | 1940 | Painting and mixed media |
| Das Licht und Etliches | 1931 | Mixed media |
| Death and Fire | 1940 | Painting and mixed media |
| Death for the Idea | 1915 | |
| Demon as Pirate | 1926 | Watercolour and mixed media |
| Diana | 1931 | Painting and mixed media |
| Diavolo Player | 1923 | Drawing and mixed media |
| Die Kapelle | 1917 | Watercolour and mixed media |
| Die Vase | 1938 | Painting and mixed media |
| Doctor | 1930 | Drawing and mixed media |
| Dredger and Sailboat | 1931 | Watercolour and mixed media |
| Ein Tor | 1939 | Painting and mixed media |
| Ein Weib fur Gotter | 1938 | Mixed media |
| Embrace | 1939 | Watercolour and mixed media |
| Episode before an Arab Town | 1923 | |
| Equals Infinity | 1932 | Painting and mixed media |
| Eros | 1923 | Drawing and mixed media |
| Error on Green | 1930 | Watercolour and mixed media |
| Evening Figure | 1935 | Drawing and mixed media |
| Falling Bird | 1919 | |
| Fermata | 1932 | Watercolour and mixed media |
| Fire Clown | 1921 | Watercolour and mixed media |
| Fire Full Moon | 1933 | Watercolour and mixed media |
| Fire in the Evening | 1929 | Painting and mixed media |
| Fish in the Harbour | 1916 | Watercolour and mixed media |
| Fish Magic | 1925 | Watercolour and mixed media |
| Flock of Birds | 1917 | Drawing and mixed media |
| Flora on Sand | 1927 | Watercolour and mixed media |
| Flower Myth | 1918 | |
| Flower Stand with Watering Can and Bucket | 1910 | Watercolour and mixed media |
| Flowering Tree (Abstraction with Reference to a Flowering Tree) | 1925 | Painting and mixed media |
| Flowers in Pots | 1923 | |
| Flowers in Stone | 1939 | Painting and mixed media |
| Forest Witch | 1938 | Painting and mixed media |
| Fright of a Girl | 1922 | Drawing and mixed media |
| Fruits on Red | 1930 | Drawing and mixed media |
| Full Moon | 1919 | Mixed media |
| Föhn Wind in Franz Marc's Garden | 1915 | Watercolour and mixed media |
| Garden in St Germain, The European Quarter near Tunis | 1914 | Watercolour and mixed media |
| Ghost Chamber with the Tall Door (New Version) | 1925 | |
| Ghost of a Genius | 1922 | Drawing and mixed media |
| Girl in Mourning | 1939 | Painting and mixed media |
| Glance of a Landscape | 1926 | Watercolour and mixed media |
| Gluht Nach | 1939 | Drawing and mixed media |
| Golden Fish | 1925 | Watercolour and mixed media |
| Goldfish Wife | 1921 | Watercolour and mixed media |
| Green Plant, Blood, Louse | 1924 | Drawing and mixed media |
| Hafenbild | 1918 | Mixed media |
| Hammamet with Mosque | 1914 | Watercolour and mixed media |
| Harbour with Sailing Ships | 1937 | Painting and mixed media |
| Hauptweg und Nebenwege | 1929 | Painting and mixed media |
| Heavenly and Earthly Time | 1927 | Drawing and mixed media |
| Heroic Fiddling | 1938 | Painting and mixed media |
| Heroic Roses | 1938 | Painting and mixed media |
| Heroic Strokes of the Bow | — | Mixed media |
| Highway and Byways | 1929 | Drawing and mixed media |
| Houses near the Gravel Pit | 1913 | Watercolour and mixed media |
| Howling Dog | 1928 | Painting and mixed media |
| In the Current Six Thresholds | 1929 | Painting and mixed media |
| In the Style of Kairouan | 1914 | Drawing and mixed media |
| Individualized Altimetry of Stripes | 1930 | Painting and mixed media |
| Insula Dulcamara | 1938 | |
| Interior with the Clock | 1913 | Watercolour and mixed media |
| Irma Rossa the Animal Tamer | 1918 | Drawing and mixed media |
| Journey in Corsica | 1927 | Drawing and mixed media |
| Landscape with Bluebirds | 1919 | Watercolour and mixed media |
| Legend of the Nile | 1937 | Painting and mixed media |
| Lemon Harvest | 1937 | Watercolour and mixed media |
| Likeness in the Bower | 1930 | Watercolour and mixed media |
| Limits of Reason | 1927 | Painting and mixed media |
| Little Hope | 1938 | Watercolour and mixed media |
| Magdalena before the Conversion | 1938 | Drawing and mixed media |
| Mask of Fear | 1932 | Painting and mixed media |
| May Picture | 1925 | Painting and mixed media |
| Monument in a Cemetery | 1922 | Watercolour and mixed media |
| Monuments at G | 1929 | Watercolour and mixed media |
| Municipal Jewel | 1917 | Watercolour and mixed media |
| Mural from the Temple of Longing Thither | 1922 | |
| Nach der Uberschwemmung | 1936 | Watercolour and mixed media |
| New Harmony | 1936 | Painting and mixed media |
| New House in the Suburbs | — | Mixed media |
| Old Steamboat | 1922 | Drawing and mixed media |
| On the Edge | 1930 | Drawing and mixed media |
| Once Emerged from the Gray of Night | 1918 | Drawing and mixed media |
| One Who Understands | 1934 | Painting and mixed media |
| Oriental Pleasure Garden | 1925 | Painting and mixed media |
| Park of Idols | 1939 | Watercolour and mixed media |
| Passing by Red Pillars | 1928 | Watercolour and mixed media |
| Persian Nightingales | 1917 | Drawing and mixed media |
| Popular Wall Painting | 1922 | Painting and mixed media |
| Prestidigitator | 1927 | Watercolour and mixed media |
| Rainy Day | 1931 | Watercolour and mixed media |
| Red and White Domes | 1914 | Watercolour and mixed media |
| Red Balloon | 1922 | Drawing and mixed media |
| Redgreen and Violet-Yellow Rhythms | 1920 | Drawing and mixed media |
| Refuge | 1930 | Watercolour and mixed media |
| Rhythmic Rythmical | 1930 | Painting and mixed media |
| Saint of the Inner Light | 1921 | |
| Scaffolding of a New Building | 1930 | Painting and mixed media |
| Scholar in Dealing with Stars | 1926 | Watercolour and mixed media |
| Seated Woman | 1930 | Drawing and mixed media |
| Senecio | 1922 | Painting and mixed media |
| Separation in the Evening | 1922 | Drawing and mixed media |
| Sinbad the Sailor | 1923 | Drawing and mixed media |
| Skeptically Smiling | — | Mixed media |
| Small House in the Garden City | 1928 | Watercolour and mixed media |
| Small Portrait of a Girl in Yellow | 1925 | Painting and mixed media |
| Southern Gardens | 1919 | Watercolour and mixed media |
| Static-Dynamic Gradation | 1923 | Drawing and mixed media |
| Still Life | 1927 | Painting and mixed media |
| Still Life with Gladioli | 1932 | Watercolour and mixed media |
| Strange Garden | 1923 | Drawing and mixed media |
| Stricken City | 1936 | Painting and mixed media |
| Strong Dream | 1929 | Watercolour and mixed media |
| Struck from the List | 1933 | Drawing and mixed media |
| Structural I | 1924 | Drawing and mixed media |
| Sumpflegende | 1919 | Painting and mixed media |
| Temple Gardens | 1920 | Drawing and mixed media |
| The Arrow before the Target | 1921 | Drawing and mixed media |
| The Barbed Noose with the Mice | 1923 | Watercolour and mixed media |
| The Flora of the Heath | 1925 | Watercolour and mixed media |
| The Goldfish | 1925 | Watercolour and mixed media |
| The Hour Before One Night | 1940 | Painting and mixed media |
| The Man in Love | 1923 | |
| The Mask with the Flag | 1925 | Mixed media |
| The Pathos of Fertility | 1921 | |
| The Rhine at Duisburg | 1937 | Painting and mixed media |
| The Way to the Citadel | 1937 | Painting and mixed media |
| Three Houses and a Bridge | 1922 | Watercolour and mixed media |
| Tightrope Walker | 1923 | |
| Tomb in Three Parts | 1923 | Watercolour and mixed media |
| Tomcat's Turf | 1919 | Watercolour and mixed media |
| Tower in Orange and Green | 1922 | Drawing and mixed media |
| Tree and Architecture - Rhythms I | 1920 | Watercolour and mixed media |
| Tree and Architecture - Rhythms II | 1920 | Painting and mixed media |
| Tropical Dawn with the Owl | 1921 | Mixed media |
| Tropische Dammerung | 1921 | Painting and mixed media |
| Twittering Machine | 1922 | Drawing and mixed media |
| Variations (Progressive Motif) | 1927 | Watercolour and mixed media |
| Ventriloquist and Crier in the Moor | 1923 | |
| Viaducts Break Ranks | 1937 | Drawing and mixed media |
| Villa R | 1919 | Painting and mixed media |
| Village Carnival | 1926 | Painting and mixed media |
| Vor dem Blitz | 1923 | Drawing and mixed media |
| Wald-Hexen | 1938 | Painting and mixed media |
| Young Forest | 1925 | Drawing and mixed media |
What can a catalogue tell us, and what can it not?
A catalogue makes discovery possible. Klee's own register is evidence of decisions he made about naming and counting during his lifetime; the later published catalogue brings dispersed works into a scholarly sequence; an owning museum can document the material and condition of a particular object; a site directory helps a reader move among pages. Each has a different purpose and a different chance of being corrected or expanded. Treating any one list as a perfect final answer would make the other evidence disappear.[2][3][19]
The Zwitscher-Maschine editors' later addenda extend that point beyond a single case: they report newly located or identified works and, in one issue, two pieces that Klee separated from earlier compositions and recorded as independent works. Their research changes the evidence available for particular objects, even when Klee's own annual number was already known. The practical task for this site is to follow those specific identifications as they are published and match them to owner records and images, rather than infer a work's identity from a translated title alone.[22]
This is particularly important with works that have been cut, revised or worked on both sides. One reproduction may show only the face chosen for display, and one title may reflect a later curator's convenience. Research can change the account of a work without changing what the thumbnail looks like. The practical habit is simple: read the object page, compare the owner record, note the work's number and material, then consider the interpretation. Klee's diversity comes into focus when those specifics stay visible.[2][3]
Explore related guides to colour, the Bauhaus, Tunisia, late work and materials and techniques.
Discussion
Klee’s works reward looking at both image and material record.
A catalogue number or title is useful only when its source is clear.
Reader Insights
Which work led you to look again at its support or technique?
Where did a collection record change your understanding of a work?
Which object page or archive record would you want to check next?
Join the Conversation
Share the specific page, figure or source behind your reading.
References
- Zentrum Paul Klee, collection overview (English; Italian version). The institution states that around 80% of the oeuvre is work on paper and distinguishes the proportions of its own collection. These translations are one source family.
- Zentrum Paul Klee, archive and research (German; French version). Identifies Klee's handwritten oeuvre catalogue, the nine-volume scholarly catalogue and the successor database available on site by appointment.
- Zentrum Paul Klee, Fokus. Klee's versos and 2026 press kit (English), pp. 2–3. Source of the approximate 9,600/600 figures and qualified two-sided object examples; exhibition image permissions are restricted to reporting.
- Museum of Modern Art, Twittering Machine (English). Current material, accession and departmental records, 2019 published interpretation and provenance citing catalogue raisonné 2975; the image has an ARS/VG notice and was not newly copied, View source.
- Philadelphia Museum of Art, Fish Magic (English). Own-object description of the scratched black layer and muslin square. The museum limits its images to educational use absent further permission; no new image was copied, View source.
- Zentrum Paul Klee, Paul Klee. Ich bin Maler (German), for early technical development and layered watercolour; see also the researched Tunisia manuscript and source packet.
- Metropolitan Museum of Art, object evidence and Roger Benjamin's research assembled on Hammamet with Its Mosque; Zentrum Paul Klee and LACMA records distinguished on In the Style of Kairouan. These internal pages are cross-references to their separately cited primary records.
- Kunstmuseum Basel, owner record and scholarship assembled on Crystal Gradation; work 1921,88, inv. 1968.407. The exact image is from Rawpixel's item-level CC0 page; source/master/derivative ledger kept in this project.
- Kunstmuseum Basel, owner record and scholarly reading on Ancient Harmony. Original Alter Klang, 1925,236, with its physical support rather than an inferred musical code, View source.
- Solomon R. Guggenheim Museum, owner and provenance evidence on Red Balloon; its medium remains qualified in the researched page, View source.
- Kunstmuseum Basel, owner record on Senecio; Museum of Modern Art, own record on Cat and Bird. The dedicated pages separate object fact from psychological reading.
- MoMA, Twittering Machine record; Kunstmuseum Basel, Senecio record; see references 4 and 11. Distinct object accounts underlie the comparison, not a general style label.
- Museum Ludwig and specialist sources assembled on Highway and Byways. Its original title and 1929 number are kept distinct from other path works, View source.
- Kunstmuseum Bern, Ad Parnassum (English); work-specific research and image boundaries on the object page.
- Kunstmuseum Basel and related sources assembled on Fire in the Evening. This is a bounded cross-work comparison, not a shared-medium claim, View source.
- Zentrum Paul Klee and owning institutions assembled on Death and Fire, Struck from the List and late work. Distinguishes documented context from suggested meaning.
- Museum Folkwang, current record and historical source comparison on Fire at Full Moon. Its medium and dating qualifications are kept in the work page, View source.
- Rawpixel, Crystal Gradation item, marked CC0/free for personal and business use; original 300 dpi master, 1024 px/144 dpi/JPEG-80 derivative and visual match logged in the project image-rights ledger. Public credit remains useful despite no required licence credit, View source.
- Christoph Zuschlag, “Paul Klee und die ‘Entartete Kunst’”, Zwitscher-Maschine 4 (2017; German), for annual no. 1922,151. Compare MoMA provenance's published-catalogue no. 2975 and accession 564.1939; the printed catalogue entry itself remains unread, View source.
- The History of Art, local catalogue-entry audit, 26 September 2026 (project record), of A–G, H–S and T–Z display names, active links and legacy redirects. It records site structure, not object identity. Representative live redirect chains still require designated release-lane verification.
- Christian Rümelin, “Klees Umgang mit dem eigenen Œuvre”, in Roland Doschka, ed., Paul Klee: Jahre der Meisterschaft 1919–1933 (2001), pp. 21–37, 215–22 (German full text): Klee's register, duplicate copies, retrospective entries, changing titles and work-process chronology. The author-uploaded transcription has some OCR errors; specific examples were checked in context. This study draws on the published catalogue project but is not a substitute for directly reading its nine volumes, View source.
- Osamu Okuda and Walther Fuchs, “Neu entdeckte/identifizierte/publizierte Werke: Addenda zum Catalogue raisonné Paul Klee”, Zwitscher-Maschine 11 (2022), pp. 122–123 (German), DOI 10.5281/zenodo.6406689: direct online text and object data for the rediscovered Burg 2, 1923,107, catalogue no. 3201, with a comparison to Burg 1. The editors' account for issue 12 describes further addenda, including two works separated by Klee from earlier compositions. These accessible updates do not amount to direct reading of the nine printed volumes.