A Quote by Terry Teachout
I should also mention that the Neue Galerie is piping music into the galleries where "Klee and America" is hanging, a practice for which vulgar is not even close to the word. Yes, I like Schumann's Carnaval, but I'm damned if I know why anybody thinks the paintings of Paul Klee profit from being viewed with Carnaval playing in the background.
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My inspiration came from the land, ... and, of course, from Paul Klee . . . and the poetics of his paintings.
Paul Klee seems to handle colors and dreams as if they both came out of a box of children's toys. He plays and dreams with whatever he finds.
The function of the artist is the mythologization of the culture and the world. In the visual arts there were two men whose work handled mythological themes in a marvelous way: Paul Klee and Pablo Picasso.
Theoretical scientists who probe the secrets of the universe and philosophers who seek answers to existence, as well as painters such as Paul Klee who find the thoughts of men of science compatible with art, influence me far more than most photographers.
Already in 1915, Sophie Tauber divides the surface of her aquarelle into squares and rectangles which she then juxtaposes horizontally and perpendicularly as Mondrian, Itten and Paul Klee did in the same period, fh). She constructs them as if they were masonry work. The colors are luminous, ranging from the raw yellow to deep red or blue.
I love going to museums, especially the Met, because there's always room for discovery, or the Neue Galerie. It's a great jewel box.
I am trying like Klee, to create something that will have a life of its own, that can put me in real danger, a danger which I willingly take on myself.
The question before me, now that I am old, is not how to be dead, which I know from enough practice, but how to be alive, as these worn hills still tell, and some paintings of Paul Cezanne, and this mere singing wren, who thinks he's alive forever, this instant, and may be.
I love dogs. I have a Golden Doodle and an Alaskan Klee Kai.
I went to the Academy and studied with Stuck who was then a big man. But didn't interest me. I didn't know that before me there was Kandinsky and Klee who had also studied with Stuck. He had a good name at that time.
[On John Tunnard:] One day a marvelous man in a highly elaborate tweed coat walked into the gallery. He looked a little like Groucho Marx. He was as animated as a jazz-band leader, which he turned out to be. He showed us his gouaches, which were as musical as Kandinsky's, as delicate as Klee's, and as gay as Miró's.
Sometime when I was in my mid-twenties I noticed, "Hey, even I don't go into too many art galleries. Why? Because I don't like the vibe in them. If even I'm not going into galleries, then who goes into art galleries in the first place?" It's just a certain, very narrow percentage of the population.
We can mention only one point (which experience confirms), namely, that next to the Word of God, music deserves the highest praise. No greater commendation than this can be found — at least not by us. After all, the gift of language combined with the gift of song was only given to man to let him know that he should praise God with both word and music, namely, by proclaiming [the Word of God] through music.
In a way, the Nobel Prize has been something of a pain in the neck, though there was at least one time that I got some fun out of it, Shortly after I won the Prize, Gweneth and I received an invitation from the Brazilian government to be the guests of honor at the Carnaval celebrations in Rio.
The artist has some internal experience that produces a poem, a painting, a piece of music. Spectators submit themselves to the work, which generates an inner experience for them. But historically it's a very new, not to mention vulgar, idea that the spectator's experience should be identical to, or even have anything to do with, the artist's. That idea comes from an over-industrialized society which has learned to distrust magic.
Unlike the background in many of the paintings that I was inspired by or paintings that I borrowed poses from - the great European paintings of the past - the background in my work does not play a passive role.
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