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The more horrible this world ( as today, for instance) , the more abstract our art, whereas a happy world brings forth an art of the heare and now.  (   entry # 951-  year: 1915)
One eye sees, the other feels. ( # 937)  
Works as shaping of form in the material sense : the primitive female component.
Works as  forme-determining  sperm: the primitive male component .
My drwaings belong to the male realm.  (# 943) 
The scene which we had already taken in from the train yesterday, was so uniquely timeless  that ist was a shame to  intrude on it with our anachronistic early twentieth century costumes. ( # 926 n - in Tunasia) 
Europe's  victory over Africa, it now turned out, had been of questionable value! ( # 926 I) 
The evening is indescribable . And on top of  everyting elese  a full moon came up ...  the evening is deep inside me  forever.  Many a blond northeren moon rise, like a muted refection, will softly remind me, and remind me again and again.    it will be my bride, my alter ego.  An incentive to find myself.  I myslef am the moonrise of the South. ( # 926 K)
Do not laugh reader! Children  also have   artisitic ability and ther eis wisdom in their having it!  The more helpless they are, the more instructive  are the examples they furnish us; and they must be preserved free of corruption from an early age. Parallel phenomena are provided  by the work of mentally diseased; neither childish behavior nor madness are insulting words here, as they commonly are.  All this is to be taken seriously, more seriously than all the public galleries,  when it comes to reforming today's art.  ( # 905  -  year 1912)
The realization that there exists a line  that benefits from Impressionism and at the same time conquers it has a truly electrifying effect on me .  " Progress possible in  the line!"  ( # 899- year 1910) 
He was able to reach deep, very deep into his heart. [ about Van Gogh] ( # 899)
The longer my production moves in a definite direction, the less gaily it progresses. But just now something new seems to be happening to the stream: it is broadenning into a lake. I hope it will not lack a corresponding depth. I was the faithful image of a part of art history; I moved toward impressionism and beyound it. I don't want to say that I grew out of it; I hope this is not so. ( # 899) 
To repersent light  by means of light elements  is old stuff. Light as color movement  is somewhat newer. ( # 844) 
 .... each degree of tonal value , that is, corrsponds to one color; in other words, one must not lighten a color by adding white to it or darken it by adding black, but there must always be one color to a degree. For the next degree, the next color. Ocher, English red, caput mortuum, dark madder, etc. ( # 870)
 Limited palette: 1. white,  2. black,  3. naples yellow,  4. caput mortuum, 5.  and 6. Possibly also permanent green  and ultramarine.  Ans the grays need watching!  A warm grey: Naples yellow - black.  Coll grey: white - black. ( # 878) 
If my works sometimes produce a primitive impresssion, this"primitiveness"  is explained by my discipline, whcih consists in reducing everythig to a few steps .  It is no more than economy: that is, the ultimate professional awareness . Whcih is to say, the opposite of real primitiveness. ( # 857)
Whenever a gallery-mad Munich artist or some dauber newly arrived in the city has his erotic crisis, he composes an "Adoration of Woman."   You see a female nude, a waitress, a salesgirl, or the like, and kneeling in front of her, Herr Painter, also naked. ( # 849)
I am just not to be evalauted by bourgeois standards. ( # 757) 
Democracy with its semi-civilization sincerely cherishes junk.  The artist power should  be spiritual. But the power of  the majority is material. When these worlds meet occasionally, it is pure coincidence.   ..... the worst state of affairs is when science  begins to concern itself with art. ( #747)
I have definite feelings but have nt yet transformed  them into art  .... So now I have to struggle again, chiefly  against the inhibitions that prevent me from exploiting my original talent....  I still struggle too impetuously. ... furious surges  and fits of depression alternate in a frightful way. ( # 693)
Photography was invented at the right moment as a warning against materialistic vision. ... what does nature count for?   the real point is the law according to which  "nature"" functions  and how it is revealed  to the artist. ( # 677) 
Do  you like nature?" I amswer: "Yes, my own."   (# 681) 
The subject  in itself is certainly dead. What counts are the impressions before the subject.  The growing vogue of erotic subjects is not exclusively French, but rahter a preference for subjects which are especially likely to provoke impressions. 
As a result an outer form becomes extremely variable and moves along the entire scale of temperaments. Acording to the mobility of the index finger, one might say in this case.
The technical means of representaion vary accordingly.
The school of old masters has cerainly seen its day. (# 670)
Things are not quite so simple  with "pure" art as is dogmatically claimed. In the final analysis, a drawing simply is no longer a drawing, no matter how self-sufficient its execution may be.  It is a symbol, and the more profoundly the imaginary lines of projection meet higher dimensions, the better.  In this sense Ishall never be a pure artist as the dogma defines him. We higher creature are also mecanically produced children  of God,  and yet intellect and soul operate within us in completely different dimensions. Oscar Wilde: " All art is at once surface and symbol."  ( # 660)
More and more parallels between music and graphic art force themselves upon my consciousness. ( # 640)
Individuality is not an elementary sort of  thing, but an organism. Elementary things of different sorts coexist in it, inseparably. If one tried to seperate them, the components would die. My self, for instance, is a dramatic ensemble. Here a prophetic ancestor makes his appearance.  Here a brutal hero shouts. Here an alcoholic bon vivant argues with a learned professor. Here a lyric muse, chronically  love-struk, raises her eyes to heaven. Here papa steps forward uttering pedantic protests.  Here the indulgent uncle intercedes.  Here  the aunt bubbles gossip.  Here the maid giggles lasciviously.  And I look upon it all with amazement, the sharpened pen in my lefts hand.  A pregnant mother wants to join the fun.  "Pshtt!" I cry, "You don't belong here.  You are divisible." And she fades out.  ( # 638)
In ancient Rome, emetics were set on the table. Now, clothed in tails and white tie, set on chairs, they are neatly distributed among the guests. I have seen it in artistic society. ( # 637)
I personally find the monolgue form more and more attractive. For, in the end we are alone on this earth. even in our love. ( #635)
One more thing can be said about " The Comedian": the mask represents the art , and behind hides man.  The line of the mask are roads to the analysis of the work of art.  The duality of the world of art and  that of man  is organic, as  in one  of Johann Sebastian's compositions. ....
Dissertations could be written about the significance of  "ugliness" of my figures.  ( # 618) 
See "The Comedian"   on these sites:
The fragmentariness which is typical of so many Impressionist works is a consequence of their fidelity to inspiration.  Where it ends, the work must stop too.  And so the Impressionist actually has become more human than the sheer materialist.  The notion of sober, practical craft ceases to be valid at any cost. (# 615) 
War on intellect!  I may say this, having gone through it. ... I must strive father , or else I shall grow poor in this clean orderliness.  Or else it will turn into an idyl. 
What was recorded is no longer  alive.  Amidst such surroundings I must not settle  in the long run.  Or else I shall lose myself.  ( # 611)
" The Threatening Head"  is a gloomy conclusion to this set of engravings.  A thought more destructive  than action.  Pure negation as demon.  The physiognomy  for the msot part resigned.  ( # 610)
  Now comes   The Threatening Head" ;
I am almost inclined to believe that this will be
the last print in the strict style and that something
entirely new will follow. I turn my eyes toward
Spain where Goyas grow. ( # 602) 
Others have interpreted the "Comedian"   long before me.  Gogol, Dead  Souls, I, Chapter 7. " ... that there  exists a kind of laughter  which is worthy to be ranked with the higher lyric emotions and is infinitely different form the twitchings of a mean marrymaker." 
He calls this novel  " a world of visible laughter and invisible tears ...."  Further on, the Russian saying:  "To carry the laughing ter emlazoned on one's scutcheon"  [ escutcheon]  ( # 607) 
I have developed a cunning practical strategy .  I know exactly how to recognize all the dangers; during the years   when  I was still halfway childish, some few moments gave me fleeting glimpses of the hell, and that was enough.
Since then what is most intimate for me remains most sacredly locked up. By this I mean not only love - for it is easy for me  to talk about this - but all the exposed positions  around it, upon which the assaults of fate in one form or other have some prospect of success. 
Whether this strategy may not lead to a certain impoverishment will appear in time. I did not choose it freely, it developed early in me. 
Perhaps it is because my instinct as a creative artist are more important for me.  Or perhaps the whole matter should not be interpreted so rationally: perhaps an ageless philosophic spirit holds sway, who overcomes this world. even if it means leading us into wilderness. 
One thing is quite certain: in creative moments I have  the great privilege of feeling thoroughly calm, completely naked before myself, not the self of a day  but the whole sum of self, totally a working instrument.  A self that is subject to quiverings and convulsions cheapens its style and steps out of the frame wearing a top hat.
One sometimes feels like saying to a "work of art" :  "Good day Herr self, what kind of necktie did you put on today?"
This I stand armed , should an Opus 2 come upon me.
Should nothing new come, I shall have nothing to say anymore. As an omen, I break off relations with everything that lies behind me.  ( # 605) 
The  "Aged Phoenix" does not represent an ideal figure; he is really 500 years old, as it can be seen, all sorts of things happened to him during that time.  This cross between realism and fable is what produces  the comic effect. Its expression is not without a tragic side, and the thought that this creature will soon be reduced to parthenogenesis doesn’t open my cheering perspectives.  The rhythm of failure, with a 500- year periodicity, is a sublimely comical notion.( # 602)
What does an artist crate? Forms and spaces! How does he crate them? In certain chosen proportions …. o satire, you plague of intellectuals! ( # 599) 
This fellow will burn himself out prematurely, if he undertakes everything with the same unstrained energy.   The fire that burns in him also burns with thought about .  the purpose of the project.
A peculiar person with imposing gifts.  But this without grace. And all intellect.  I am beginning to realize that this is onesidedness.  For me, as a creative artist, it would even be a hindrance  I have just enough of it.
Yes, the follow who plays the second fiddle understands many things quite well. ( # 592)
 Last Saturday  two Russian greyhounds violently attacked a local dog pulling a cart.  The people at once sided with the one that was working for the dairy  business. Now were they taking sides against the foreigners ( strange riff –raff), I asked myself or with the proletarian? This problem constantly preoccupies me.  Moilliet is not real ally, foe he said : “ Let them bite each other's assess!”  Moilliet is a man of the world, and becoming more so every day. (#591)
When looking at any significant work of art, remember that a more significant one has had to be sacrificed. (# 583) the time a slight  fear seizes me. Is a further broadening of my realm to come? ( 559) 
I was somewhat constipated.  What especially hindered my emancipation was my copying from nature,  which I did sometimes consciously and sometimes involuntarily. ( # 556)
There are two mountains on which the weather is bright and clear, the mountain of the beasts and the mountain of the gods. But between them lies the crepuscular valley of men. If perchance one of them gazes upward, he is seized by a premonitory, unquenchable yearning, he who knows that he does not know, for those that do not know that they do not know and those who know that they know. ( # 539)
Striving toward the purification and the isolation of the masculine type in me. In spite of a readiness for marriage, to reduce oneself completely to oneself, to prepare  oneself for the greatest solitude. Distaste for procreation ( ethical supersensitivity). ( # 538)
 Our initial perplexity before nature is explained by our seeing at first the small outer branches and not penetrating to the main branches and or the trunk.  But once this is realized, one will perceive a repetition of the whole law even in the outermost leaf and turn it to good use.  
The first fruitful period is interrupted. The danger mentioned in 513 became apparent . Nature lured me onto paths which did not agree with the simple abstraction of the first successful works.  These contains  the germ of further works, which, for the time being, were not yet in the realm of the creative possible.  Nature had already became a useful crutch which I was then forced to sue too long, I would say until the year of 1911, inclusively.  The engraving that followed were executed from an accumulation of knowledge that no longer fitted the latest experiments, and therefore already  contained the germ of death.  After then came the loosening and the contact with the impressionistic world ( 1908- 1910) .  ( # 536) 

More on Klee (from the web)
To emphasize only the beautiful seems to me to be like a mathematical system that only concerns itself with positive numbers.

Nature can afford to be prodigal in everything, the artist must be frugal down to the last detail.

It is interesting to observe how real the object remains, in spite of all abstractions.

We construct and keep on constructing, yet intuition is still a good thing.
My mirror probes down to the heart. I write words on the forehead and around the corners of the mouth. My human faces are truer than the real ones.
The main thing now is not to paint precociously but to be, or at least become, an individual. The art of mastering life is the prerequisite for all further forms of expression, whether they are paintings, sculptures, tragedies, or musical compositions. (# 136) 
The beautiful, which is perhaps inseparable from art, is not after all tied to the subject, but to the pictorial representation. In this way and in no other does art overcome the ugly without avoiding it.(# 583- 1904)
To emphasize only the beautiful seems to me to be like a mathematical system that only concerns itself with positive numbers.(December 1905), # 733
He has found his style, when he cannot do otherwise, i.e., cannot do something else.(March 1906), # 759,
Nature can afford to be prodigal in everything, the artist must be frugal down to the last detail.
Nature is garrulous to the point of confusion, let the artist be truly taciturn (Munich, 1908), # 825
All the things an artist must be: poet, explorer of nature, philosopher!(Munich, 1909), # 857,
These are primitive beginnings in art, such as one usually finds in ethnographic collections or at home in one's nursery. Do not laugh, reader! Children also have artistic ability, and there is wisdom in their having it! The more helpless they are, the more instructive are the examples they furnish us; and they must be preserved from corruption at an early age. Parallel phenomena are provided by the works of the mentally diseased; neither childish behaviour nor madness are insulting words here, as they commonly are. All this is to be taken very seriously, more seriously than all the public galleries, when it comes to reforming today's art.
Diary entry (January 1912), # 905, quoting his "Munich Art Letter" in the journal Die Alpen
Colour possesses me. It will always possess me. That is the meaning of this happy hour: colour and I are one. I am a painter.
Diary entry Tunisia, (16 April 1914), # 926
Polyphonic painting is superior to music in that there, the time element becomes a spatial element. The notion of simultaneity stands out even more richly.
Statement of 1917, as quoted in Abstract Art (1990) by Anna Moszynska, p. 96
We document, explain, justify, construct, organize: these are good things, but we do not succeed in coming to the whole ... But we may as well calm down: construction is not absolute. Our virtue is this: by cultivating the exact we have laid the foundations for a science of art, including the unknown X.
Statement of 1917, as quoted in Teaching at the Bauhaus (2000) by Rainer Wick and Gabriele Diana Grawe, p. 231
Everything vanishes around me, and works are born as if out of the void. Ripe, graphic fruits fall off. My hand has become the obedient instrument of a remote will. (January/February 1918), # 1104, The Diaries of Paul Klee, 1898-1918 (p. 387)
Diesseitig bin ich gar nicht fassbar. Denn ich wohne grad so gut bei den Toten, wie bei den Ungeborenen. Etwas näher dem Herzen der Schöpfung als üblich. Und noch lange nicht nahe genug.
I cannot be grasped in the here and now. For I reside just as much with the dead as with the unborn. Somewhat closer to the heart of creation than usual. But not nearly close enough.
Exhibition catalogue, Galerie Goltz, Munich, published in the gallery's house journal Der Ararat (May 1920). These words were later used as Klee's epitaph.
As quoted in Paul Klee : His Work and Thought (1991) by Marcel Franciscono, p. 5
Color is primarily Quality. Secondly, it is also Weight, for it has not only color value but also brilliance. Thirdly, it is Measure, for besides Quality and Weight, it has its limits, its area, and its extent, all of which may be measured.
Tone value is primarily Weight, but in its extent and its boundaries, it is also Measure.
Line, however, is solely Measure.
"On Modern Art," lecture, Kunstverein, Jena (26 January 1924), trans. Paul Findlay in Paul Klee: On Modern Art (London, 1948)
It is interesting to observe how real the object remains, in spite of all abstractions.
Statement of mid-1920s, as quoted in Abstract Art (1990) by Anna Moszynska, p. 100
It is possible that a picture will move far away from Nature and yet find its way back to reality. The faculty of memory, experience at a distance produces pictorial associations.
Statement of mid-1920s, as quoted in Abstract Art (1990) by Anna Moszynska, p. 100
The longer a line, the more of the time element it contains. Distance is time whereas a surface is apprehended more in terms of the moment.
Exact Experiments in the Realm of Art (1927)
We construct and keep on constructing, yet intuition is still a good thing.
Statement of 1928, as quoted in Abstract Art (1990) by Anna Moszynska, p. 98
§Creative Credo (1920)
Creative Credo [Schöpferische Konfession] (1920)
Kunst gibt nicht das Sichtbare wieder, sondern macht sichtbar.
Art does not reproduce the visible; rather, it makes visible.
A tendency toward the abstract is inherent in linear expression: graphic imagery being confined to outlines has a fairy-like quality and at the same time can achieve great precision.
The pictorial work was born of movement, is itself recorded movement, and is assimilated through movement (eye muscles).
Formerly we used to represent things visible on earth, things we either liked to look at or would have liked to see. Today we reveal the reality that is behind visible things, thus expressing the belief that the visible world is merely an isolated case in relation to the universe and that there are many more other, latent realities. Things appear to assume a broader and more diversified meaning, often seemingly contradicting the rational experience of yesterday. There is a striving to emphasize the essential character of the accidental.
§Attributed from posthumous publications
Art should be like a holiday: something to give a man the opportunity to see things differently and to change his point of view.
As quoted in the film Der Bauhaus, produced by TV-Rechte in Germany (1975)

How to Be an Artist, According to Paul Klee
Artsy Editorial
By Sarah Gottesman
Dec 21st, 2016 10:23 pm
One of the most celebrated artists of the 20th century, Paul Klee was also a prolific teacher, serving as a faculty member of the Bauhaus school between 1921 and 1931. Promoting a theoretical approach to artmaking, the painter taught a variety of courses across disciplines, from bookbinding to basic design, and left behind over 3,900 pages in lecture notes. These documents, partly compiled in Klee’s Pedagogical Sketchbook (1925), reveal the artist’s innovative and unusual lesson plans, which often provided students with a step-by-step approach to artistic expression. We’ve pulled some of his key lessons about art and design. Let’s start with the basics.
Lesson #1: Take a Line for a Walk



Pages from Paul Klee’s notes. Images via Zentrum Paul Klee.
“An active line on a walk, moving freely, without goal.” So begins Klee’s Pedagogical Sketchbook, which served as something of a textbook for many Bauhaus students. Five pages follow this famous description of the most basic of human marks, outlining the various types of lines, from those that circumscribe themselves to others that contain fixed points. Each example is accompanied by a diagram, which Klee likely drew on the blackboard during his lectures.
Many of Klee’s lessons center around this type of categorization, demonstrating the multiple ways in which a point can become a line, a line can become a plane, and so on. Beginning with the fundamentals, Klee modeled his teaching methods after the way children learn to read. “First letters, then symbols, then, finally, how to read and write,” he explained. Just as you can rearrange a series of letters to make different words, Klee would ask his students to repeat the same form in as many positions as possible. Such painstaking tasks would lay the groundwork for future works of art and design, and needed to be mastered before tone and color entered the picture.
Lesson #2: Observe a Fishtank

When Klee hosted classes in his home, he often required that students spend time observing the tropical fish in his large aquarium. The artist would turn the lights on and off, coaxing the fish to swim and hide, while encouraging students to carefully take note of their activity.
For those who know Klee as the “father of abstract art,” this lesson may seem surprising. However, Klee was deeply concerned with creating movement in his compositions. And he asserted that all artworks—even the most abstract—should be inspired by nature. “Follow the ways of natural creation, the becoming, the functioning of forms,” he taught his students. “Then perhaps starting from nature you will achieve formations of your own, and one day you may even become like nature yourself and start creating.”
Lesson #3: Draw the Circulatory System

Paul Klee
Park near Lu, 1938
The EY Exhibition: Paul Klee - Making Visible, Tate Modern, London
Klee studied nature obsessively, and took a particular interest in the branching forms of plants, organ systems, and waterways. In his lectures, he described these patterns with scientific specificity, mapping mathematical equations and arrow-filled diagrams on the board. He explored how seeds sprout, how leaves develop ribs, and how lakes break off into streams, almost always ending with an awe-inspiring assertion about the magic contained in nature’s growth and development.
In one of these lessons, Klee explored the circulatory system, sketching on the chalkboard the movement of blood through the body. He claimed that this bodily process reflected the manner in which art is created. Afterwards, Klee asked his students to draw the circulatory system themselves. Their renderings, he insisted, should portray the transition of blood from stage to stage, shifting from red to blue, using line and density to represent shifts in weight, nutrients, and force. Go ahead, give it a try.
Lesson #4: Weigh the Colors

Left: Paul Klee’s color chart, from his notes. Image via Zentrum Paul Klee; Right: Goethe’s color wheel, published in Theory of Colours. Image via Wikimedia Commons.
Only after students grasped the intricacies of lines and planes—and could find these forms in nature—did Klee introduce color. Like much of his teachings, Klee’s lessons about color combined scientific precision with a deep sense of mysticism. His theories primarily drew upon Johann Wolfgang von Goethe’s color wheel, put forth a century earlier, in 1809, which proposed the idea that red opposed green, orange opposed blue, and yellow opposed violet.
Klee added a new dimension to this diagram, turning it into a sphere, with white at the top and black at the base. This framework, he taught, should encompass all aspects of color, including hue, saturation, and value. Klee required his students to create color diagrams of their own, including one assignment in which they visually weighed one color against another—the color red, as it turns out, is heavier than the color blue.
While grounded in science, Klee was also a romantic when it came to color. He often made connections between color and music, explaining that combinations of colors (much like musical notes) can be harmonious or dissonant depending on the pairing. He would sometimes even play the violin for his students. Klee’s most existential statement about color, however, came from beyond the classroom. “Color and I are one,” he declared in his diary in 1914. “I am a painter.”
Lesson #5: Study the Greats
Related Article
What You Need to Know about Paul Klee
When discussing the work of other artists, Klee used the following metaphor. If a new product like a toothpaste or a laundry detergent was popular with customers, its competitors should research the item’s chemical elements so that they could replicate the success. Or if a food induced illness, scientists should strive to determine which specific ingredients were poisonous and which were benign.
As such, artists should break down the artworks of their peers and predecessors into the most elementary components—line, form, and color—to determine what makes an image successful or problematic. “We do not analyze works of art because we want to imitate them or because we distrust them,” he once said. Instead, we do so “as to begin to walk ourselves.”
In his later years at the Bauhaus, Klee provided students with feedback on their works in his home. Students would bring in their fresh paintings and place them on empty easels, as Klee’s unfinished works hung in the background. Klee would sit, gliding back and forth in his rocking chair, and inspect the images in silence. Only then would he provide an analysis of the works, albeit in his famously lofty fashion, speaking to a larger problem in the field of painting or identifying a subconscious idea that manifested itself in the work. Afterward, the class would sit around a large, glazed clay pot, smoke cigarettes, and discuss artmaking. Of all the Bauhaus masters, Klee was the only one who did not give grades. 
—Sarah Gottesman
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From the "Diaries of Paul Klee ( 1898- 1918) Edited with an introduction by Fleix Klee. 

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