Red Balloon (Red Balloon or Roter Ballon) by Paul Klee turns 100 years old. In 1922 the Swiss artist gave the world one of the most loved and known works of art. In this work Paul Klee develops abstract urban landscape scenes. Preserved at the Guggenheim Museum in New York. Red balloon and an oil on canvas mounted on cardboard. The dimensions of the painting are 12 1/2 x 12 1/4 inches (31.7 x 31.1 cm). The background of the urban landscape of the painting respects the vision of the vibrant shades of red, yellow, blue and green.
Balloon Rosso is the explicit manifesto of Paul Klee’s will not to be included in any artistic current, while allowing himself to be influenced by all of them and in some ways harmonizing them. In Red Balloon geometric shapes are mixed that recall the Cubist experience and geometric abstractionism but also the memory of a city landscape, revisited through the experience of the soul and those warm colors that Klee had learned to dominate, a few years earlier, in Tunisia. Red Balloon (1922) and Paul Klee’s love of color
The painting demonstrates Klee’s superb command of color theory. His skilful use of color harmonizes with lines and shapes, which have contributed to giving life to a painting with an immediate impact whatever the viewer’s culture. It is a global work due to the expressive simplicity of the painting. Cubist technique, abstract style and structure create whimsical images that entertain the viewers.
The colors do not sound in one voice … but in a kind of three-part chord.
This was stated by Klee during his lecture courses between 1921 and 1922 at the Bauhaus in Weimar. In January 1921 the Swiss artist had become Meister at the Bauhaus school called by the founder of the school Walter Gropius. Paul KleeI begin to apply myself to teaching by beginning to teach Theory of shape and color. Always curious and eager to understand and know himself and the reality that surrounded him, Klee developed a style transmitted on every canvas. For the artist, the human figure played a very important role, but it was always filtered through his inner world and his motto was that in which he affirmed that
art does not focus on reproducing what is visible, but manages to make that visible. which is not always the case “.
Early in his career as an artist, Klee did not paint much and his use of color was quite discreet. But starting from 1913-14 his palette begins to light up.
Color owns me … color and I are one. I am a painter.
This is what Paul Klee writes in his diary during the very important trip to Tunisia in 1914. In the North African country, Klee discovered the emotional intensity of color, also thanks to the direct experience of the sensuality of southern light. was Swiss, the intensity and contrast that intense sunlight manages to give the artist’s eyes becomes harmony, poetry. Red Balloon possesses children’s poetry
Klee’s works are full of dreams, music and poetry. And in Ballooncino Rosso, children’s art is mixed, primitive together with surrealism and cubism. Klee disliked being artistically classified. He kept changing content, technique and style. In this Klee has always been recognized, as a unique artist in style, regardless of the attempts of other artists to copy him.
Thanks to Balloon Rosso, Paul Klee manages to realize the dream of transfiguring all kinds of experiences. The harmony that exists between forms, ideas, places and colors merges with a new expressive language in which the abstract and the figurative, the descriptive and the symbolic intertwine. It is enough to immerse yourself in the Red Balloon to understand the great gift that the artist makes to the observer.
A composition in which the atmosphere and the sensations of the objects and figures, while being easily identifiable, are immersed in a dreamlike atmosphere. The evocative world of childhood and the mysterious universe of mental illness is immediately expressed in a work that despite its 100 years appears without space and time.
The magical approach to reality, typical of that world carefully studied by Klee, translates into a lyrical-poetic transfiguration that takes shape in a painting that seems to fluctuate. In the painting the need for continuous research emerges, which manifests itself in the elimination of perspective and in the use of arbitrary colors deriving from the mood of the moment, just like children and subjects with mental disorders do.
Balloon Rosso and also contextualized at the entrance, in January 1921, of Paul Klee as Meister at the Bauhaus. A period of great ferment for the artist, who manages to give his students the magical world of spiritual harmony and his admirers the typical essence of the style of the School, reinterpreted in the unique vision of a great artist.
I will be found

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