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The original work is dated 1930. In this painting the artist represents a man through stylized forms: the figure is reduced to simple lines, flanked by geometric elements. The position in which the subject is placed gives us an idea of movement: one of the two legs is raised, the dress is "stretched" as if the man was running and the dress left a trail behind him.
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Fir wood frame with rounded edges of cm. 3.0 thickness
2 - Characteristics and Properties
Ready to hang
3 - Characteristics and Properties
Edges are finished on the sides
4 - Characteristics and Properties
Water and UV resistant canvas
The original work is dated 1930, when Klee ended his teaching activity at the Bauhaus, where he played his role with great enthusiasm, exploiting the possibility of organizing the theoretical aspect of his art. Together with Vassily Kandinsky, Paul Klee is considered the painter who contributed most to the development of abstractionism. In this painting the artist represents a man through stylized forms: the figure is reduced to simple lines, flanked by geometric elements. The position in which the subject is placed gives us an idea of movement: one of the two legs is raised, the dress is "stretched" as if the man was running and the dress left a trail behind him. The man holds a flag, depicted by juxtaposing multiple geometric figures: a circle, a half moon, some squares. The handle of the banner crosses with a green tip arrow. Through a free composition of lines, shapes and colours, the artist tries to communicate something to us and does not borrow anything from the images already existing around us. The symbols and colours used by Paul Klee have the function of evoking something in the observer: an arrow can identify a fight, a flag, a conquest and a sense of patriotism; the warm and intense colours used symbolize strength and vigour. Paul Klee's painting is mainly based on imagination: art is not intended as a simple representation of reality, rather it must transmit perceptive information that stimulates a psychological reaction. The painter said: "All transience is only an allegory: what we see is only a proposal, a possibility, a help. The true truth lies first in the invisible fund".