Paul Klee Quotes - Page 3

Quotes about:

• 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.

  Paul Klee

  Self, Drawing, Finals

  Paul Klee, Felix Klee (1968). “The Diaries of Paul Klee, 1898-1918”, p.183, Univ of California Press

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• Every artist would like to live in the central organ of creation... Not all are destined to get there... but our beating hearts drive us deep down, right into the pit of creation.

  Paul Klee

  Heart, Artist, Desire

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• You adapt yourself to the contents of the paintbox.

  Paul Klee

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• 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.

  Paul Klee

  Fall, Writing, Hands

  Diary entry for January/February 1918, No. 1104. "The Diaries of Paul Klee, 1898-1918", p. 387, 1968.

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• Colour has taken hold of me; no longer do I have to chase after it. I know that it has hold of me forever. That is the significance of this blessed moment

  Paul Klee

  Blessed, Taken, Forever

  Paul Klee (1966). “Paul Klee : (1879 - 1940)”

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• My hand is entirely the implement of a distant sphere. It is not my head that functions but something else, something higher, something somewhere remote. I must have great friends there, dark as well as bright. They are all very kind to me.

  Paul Klee

  Dark, Hands, Spheres

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• The artist of today is more than an improved camera, he is more complex, richer, and wider. He is a creature on the earth and a creature within the whole, that is, a creature on a star among stars.

  Paul Klee

  Stars, Artist, Cameras

  Paul Klee (2012). “Paul Klee”, p.154, Parkstone International

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• Spatial art does not begin with a poetic mood or idea, but with construction of one or more figures, with the harmonizing of several colors and tones, or with the devaluation of spatial relationships and so on.

  Paul Klee

  Art, Space, Color

  Paul Klee (1967). “Paul Klee, 1879-1940: A Retrospective Exhibition”

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• 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.

  Paul Klee

  Real, Writing, Heart

  Paul Klee (2015). “Paul Klee”, p.18, Parkstone International

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• To achieve vital harmony in a picture it must be constructed out of parts in themselves incomplete, brought into harmony only at the last stroke.

  Paul Klee

  Lasts, Harmony, Achieve

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• Sometimes I dream of a work of really great breadth, ranging through the whole region of object, meaning, and style. This, I fear, will remain a dream, but it is a good thing to bear the possibility occasionally in mind.

  Paul Klee

  Dream, Style, Mind

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• By using patches of color and tone it is possible to capture every natural impression in the simplest way, freshly and immediately.

  Paul Klee

  Color, Simplicity, Way

  Paul Klee, Felix Klee (1968). “The Diaries of Paul Klee, 1898-1918”, p.232, Univ of California Press

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• I want to be as though new-born, knowing nothing, absolutely nothing. Then I want to do something modest; to work out by myself a tiny, formal motive, one that my pencil will be able to hold without technique.

  Paul Klee

  Knowing Nothing, Drawing, Work Out

  "Artists on Art, from the 14th - 20th centuries". Book edited by Robert Goldwater and Marco Treves, p. 442, 1972.

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• My hand has become the obedient instrument of a remote will.

  Paul Klee

  Hands, Ripe Fruit, Instruments

  Paul Klee, Felix Klee (1968). “The Diaries of Paul Klee, 1898-1918”, p.387, Univ of California Press

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• An active line on a walk, moving freely, without goal. A walk for a walk's sake.

  Paul Klee

  Moving, Drawing, Goal

  Pedagogical Sketchbook ch. 1 (1925)

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• Color and I are one. I am a painter.

  Paul Klee

  Art, Color, Painter

  1914 The Diaries of Paul Klee 1898-1918, entry 926.

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• 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.

  Paul Klee

  Distance, Elements, Lines

  Paul Klee (1969). “Paul Klee notebooks”

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• Be winged arrows aiming at fulfillment and goal.

  Paul Klee

  Arrows, Goal, Fulfillment

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• In my productive activity, every time a type grows beyond the stage of its genesis, and I have about reached the goal, the intensity gets lost very quickly, and I have to look for new ways.

  Paul Klee

  Goal, Looks, Way

  Paul Klee (2012). “Paul Klee”, p.115, Parkstone International

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• 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.

  Paul Klee

  Expression, Quality, Fairy

  Paul Klee (1969). “Paul Klee: Watercolors, Drawings, Writings”

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• 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.

  Paul Klee

  Beauty, Beautiful, Art

  Paul Klee, Felix Klee (1968). “The Diaries of Paul Klee, 1898-1918”, p.192, Univ of California Press

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• Kunst gibt nicht das Sichtbare wieder, sondern macht sichtbar. Art does not reproduce the visible; rather it makes visible.

  Paul Klee

  Art, Doe, Visible

  'Creative Credo' (1920) in 'Inward Vision' (1958) p. 5

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• First of all, the art of living; then as my ideal profession, poetry and philosophy, and as my real profession, plastic arts; in the last resort, for lack of income, illustrations.

  Paul Klee

  Art, Philosophy, Real

  "Klee, A Study of His Life and Work". Book by Gualtieri Di San Lazzaro, 1964.

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• 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.

  Paul Klee

  Artist, Confusion, Details

  Diary entry for 1909, No. 857. "The Diaries of Paul Klee, 1898-1918", p. 236, 1968.

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• Beauty is as relative as light and dark. Thus, there exists no beautiful woman, none at all, because you are never certain that a still far more beautiful woman will not appear and completely shame the supposed beauty of the first.

  Paul Klee

  Beauty, Beautiful, Dark

  Paul Klee (2012). “Paul Klee”, p.102, Parkstone International

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