Work by Klee always gives me a boost. I also enjoy the critic’s sprightly accounting of it, which I excerpt here.

… David Zwirner [Gallery] has nabbed a heavyweight: Paul Klee, the splendidly cagey Swiss-German modernist and Bauhaus professor.

Paul Klee’s “Signs in the Field,” from 1935, at David Zwirner. Credit Artists Rights Society (ARS), New York, via David Zwirner.

… Full of wily small-scale watercolors like “Signs in the Field” (1935), with its joyously inscrutable cloud of glyphs, ovals and eyes.

Klee’s “The Singer L. as Fiordiligi,” from 1923, at David Tunick. Credit Artists Rights Society (ARS), New York, via David Tunick.

… A knockout 1923 portrait of the soprano Lilli Lehmann, goggle-eyed and adrift in a sea of beige… executed… with a unique blend of oil and watercolor… almost… a comedic double of his imposing “Angelus Novus.”

“A storm is blowing from Paradise,” wrote [Walter] Benjamin. “It has got caught in his wings with such violence the angel can no longer close them.” (Credit: The Israel Museum, Jerusalem).

(c) 2019 JMN