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Gradation and Color

Gradation and Color. Paul Klee. Paul Klee was an prolific artist , who for was an instructor of design at the influential Bauhaus School of Art and Design in Germany between WWI and WWII.

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Gradation and Color

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  1. Gradation and Color Paul Klee

  2. Paul Klee was an prolific artist , who for was an instructor of design at the influential Bauhaus School of Art and Design in Germany between WWI and WWII. His work is very unique, often using an underlying grid for compositional unity, with child-like drawn shape and figures over or contained within cells of the grid.

  3. The underlying grid structure, the design of the previous painting. Some areas have more pattern, more visual “busy-ness”. Look at how these areas were further activated by going back to the painting.

  4. The following 4 slides are included as suggestions for how to approach the harmonious and discordant grid assignment. • Paul Klee. • New Harmony • A virtually regular grid, but notice that the lines are not always parallel to the edge of the picture frame. • Which rectangles stand out; what are the contrasts in hue, saturation and temperature? • How are contrasting rectangles distributed in the composition?

  5. The following 4 slides by Paul Klee are included as suggestions for how to approach the harmonious and discordant grid assignment. Create a similar grid in both of your small paintings. Focus on the color- How can you express harmony through color choices and relationships. What colors (hues, values and saturations/intensities) would express disharmony or a discordant feeling in a grid painting?

  6. Paul Klee. Static-Dynamic, 1923 A much brighter palette. Notice the background (underpainting) seems to be a black or dark surface. Larger rectangles at the edges, compressed (smaller) rectangles in the center. Approximate symmetry in the balance of visual weight of the shapes and colors.

  7. The importance of value contrast in this painting as well as the relatively few shapes of highly saturated hues in a largely dark background create a visually active composition. The viewers’ eyes are engaged in movement through the composition

  8. Paul Klee. Abstract in Relation to a Flowering Tree. 1925 Cells of the grid seem to compress in the center. Here the very light values and tints are clustered off-center. Notice the middle dark value greens in center are altered, becoming lighter and less bright at the edges.

  9. The following images are variations on grid layouts. • Notice the use of slight gradations in adjacent bands or shapes in the figures (main objects or shapes) , with contrasting hue, value and/or intensity on the “ground” areas. • How much content can be suggested by abstract, non-objective shapes?

  10. The color here is predominantly a complementary color scheme- yellow and violet. The red and tint of blue green stand out because of the contrasts in hues. Notice how important the few diagonal lines are.

  11. Paul Klee: Double Tent. watercolor, 1923 Gradation of red orange to red, in tints and tones, within the triangles, with a cooler and less saturated background. The bottom ¼ of the composition moves into blue violets.

  12. Similar palette to the last composition, except here there are bands of low saturation green in tones and tints-interspersed with red orange.

  13. Paul Klee. Monument in Fertile Land, 1929/41 Watercolor on paper mounted on cardboard Inspired by fields of different crops, the changing width of the bands and diagonal lines make a dynamic composition. Notice the repetition colors and stripe patterns, as well as the alignment of horizontal edges of bands that continue on either side of solid colors of trapezoids.

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