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.
… Full of wily small-scale watercolors like “Signs in the Field” (1935), with its joyously inscrutable cloud of glyphs, ovals and eyes.
… 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.”
(Jason Farago, “Tefaf Brings Masterpieces (and Tulips) to the Armory,” NYTimes, 5-2-19; links to his article “How Klee’s ‘angel of history’ took flight,” BBC Culture, 4-6-16)
(c) 2019 JMN