Paul Klee - Scheinbar fest verankert. 1927, 148 (E 8)
Scheinbar fest verankert. 1927, 148 (E 8)
Black reed pen drawing on ivory-coloured Ingres laid paper (30.1/30.7 x 46.2 cm), mounted on light card support by the artist 43.6/44.7 x 63.2/63.5 cm Framed under glass. Signed 'Klee' on the sheet upper right and on the card at bottom in pen dated, inscribed with the work number after the date and titled '1927 E.8 scheinbar fest verankert'. - In fine condition; the paper slightly wavy. The card edge slightly irregularly cut.
The present sheet was created in the context of a great number of delicate reed-pen drawings in which Paul Klee occupied himself with the essence of the line. From a formal perspective, these works provide highly revealing evidence of his sustained interest in the multidimensionality of space.
From 1920 to 1930 Klee taught at the Bauhaus in Weimar and Dessau. Pioneering texts were published there in 1926 and 1927: these include Wassily Kandinsky's “Punkt und Linie zur Fläche” as well as Kazimir Malevich's “Die gegenstandslose Welt”. Klee's spatial investigations were aimed at a systematic consideration of space as a geometrical idea constructed and delimited through movement. While the intertwined triangles seem to indicate the sailing ships' movement, the ship at the right edge of the image appears "seemingly anchored fast" through the horizontal line and the downward-pointing arrow. Based on the fragile state of this anchorage, the poetically paraphrasing title can be understood as a suggestive commentary on the complex relationship between line and plane, which is characterised by constant variation in Klee's oeuvre. This delicate drawing is an outstanding example of his hybrid oeuvre situated between artistic practice and theory.
Cat. Rais. Paul Klee 4362 (without dimensions, "Standort: unbekannt" (whereabouts unknown); erroneously depicted at 4360)
Curt Valentin (Buchholz Gallery; Valentin Gallery), Berlin/New York; New Gallery, New York; Collection Bernard M. Douglas, New Jersey; American private collection (since 1959, present from the former owner); German private possession
Will Grohmann, Paul Klee, Handzeichnungen II 1921-1930, Potsdam/Berlin 1934, no. 105; Christina Kröll, Die Bildtitel Paul Klees. Eine Studie zur Beziehung von Bild und Sprache in der Kunst des zwanzigsten Jahrhunderts (Diss.), Bonn 1968, p. 40
Munich 1954 (Haus der Kunst), Paul Klee, cat. no. 113 (owner "Curt Valentin Gallery New York")