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PAUL KLEE
Ad Parnassum (1932)
Oil on canvas, 100cm X 126cm/39 in X 49 in

Paul Klee was undoubtedly one of painting's most inventive technicians. He was an astonishingly prolific artist; photographs of his various studios, taken throughout Klee's career, reveal a virtual forest of easels with dozens of works at various stages of development being executed in a wide variety of media. These included, for example, oil on cardboard moun-ted on wood, oil on plaster-coated gauze on cardboard, oil on canvas mounted on card-board, oil on canvas coated with white tempera mounted on wood, and even pastel, water-color and oil on cotton, damask and silk mounted on cardboard. This astonishing tech-nical variety can be explained by Klee's stated belief that a painting should grow like a living organism - 'Art', he wrote, 'is a simile of Creation', and its function 'is to reveal the reality that is behind things'.

Klee's studies in the related fields of natural history, comparative anatomy and anthropol-ogy had brought Klee to the belief that nature was characterized by the permutation and movement of fundamental units of construction. He wanted to achieve an equivalent way of working in painting. In addtition to his interest in the natural world, Klee also turned to theories of both color and music. As he worked on the basis of units of construction taken from nature, Klee tried to create linear improvisations which he likened to the melody of the work. Klee evolved a system of color organization in which all the colors of the spectrum were conceived of as moving around a central axis dominated by the three pigmentary colors - red, yellow and blue.

From 1923 Klee created a series of imagin-ative color constructions which he called 'magic squares' in which he applied his theories. This series came to a conclusion in 1932 with Ad Parnassum. Klee likened each element in the painting to a theme in a polyphonic composition. He defined polyphony as 'the simultaneity of several independent themes'. In addition, each artistic element in Ad Parnassum is itself a distillation of several ideas and personal experiences. For example, the graphic element illustrates the gate to Mount Parnassus, the home of Apollo and the Muses, and also may refer to the Pyramids which Klee saw in 1928, and to a mountain near Klee's home.

Ad Parnassum is by far the largest work which Klee painted before 1937, and, in many ways, it sums up his previous achievements. The color scheme moves between poles of light and dark, between orange and blue in two distinct layers. There are three main elements in the painting - the grid of muted colors which was laid first, the superimposed layer of mosaic-like shapes, each individually painted in, and the linear element which was painted in last.

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