Details

Autor(en) / Beteiligte

• Bischin, Maria-Roxana

Titel

Paul Klee – între masca lui Beckett şi muzica atonală a lui Henri Pousseur

Ist Teil von

• Saeculum (Sibiu, Romania), 2016, Vol.42 (2), p.138-145

Ort / Verlag

LUCIAN BLAGA University Press of Sibiu

Erscheinungsjahr

2016

Quelle

Alma/SFX Local Collection

Beschreibungen/Notizen

• Paul Klee is a very different case in the twentieth century painting. He is „a poet of the colour and master of lines” . He performed a diversity of abstraction as Chagall have done. These value systems enriches his work a lot. There are similitudes with Piet Mondrian's technique, Wassily Kandisnky's lines and Braque's technique. This personal article will follow to associate the art of the swiss painter Klee with the atonal serial music theory and with the mask-theatre of Beckett and others. Klee was part from the Blue Rider Group of Kandinsky. The idea to writing about the phenomena of the serialism in Klee's paintings is very appropiate to the phenomena of the serialism in music. The coloristic passivity is only apparent, but the repetition in series of the lines or points and colorated figures it generates dynamism. The serialism is a common phenomena of the first decades of the twentieth century starting with the Arnold Schoenberg School from Viena and continuing with Alan Berg, Pierre Henry, Pierre Boulez and Pierre Schaeffer. Herbert Eimert produces electronic music later in parallel with Dubuffet works. This music is also called „rough music” or „concrete music”. Kandinsky is the first abstract painter who associated the painting with music using the armony from Richard Wagner. Less will do the cubists, but Klee will continue to associate the music with painting as Dubuffet will do, because exists at both of them a nexus of serialism.