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Junger Garten (Rhythmen) Young Garden (Rhythms)
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About the object

Following the architect Walter Gropius’ invitation to teach at the Bauhaus, Klee moved to Weimar in 1921, and to Dessau five years later, and the time spent working and teaching there was to be the most innovative and productive of his career.  Inspired by the Bauhaus belief in constructivist art, Klee’s work became increasingly abstract and geometricized, and Junger Garten (Rhythmen) is a magnificent example of this new direction in his art, coupled with the poetic quality always present in his work.  Here, the artist has combined the technique of oil painting with incision marks, creating the effect of a script-like pattern that evokes a mystical, unknown pictorial language.  By depicting symbols and geometric patterns against a flat, nearly monochromatic background, Klee created a combination of pictorial and linguistic signs, characteristic of Egyptian hieroglyphs and other ancient scripts.\n\nVerging between abstraction and figuration, Klee’s delicately incised lines create a rhythmic, poetic pattern combining abstract lines with shapes evocative of nature.  The artist’s son Felix Klee described his father’s favorite outing to Wörlitz near Dessau, which inspired his depictions of plants and gardens: it was “…surrounded by an enchanting park full of lakes and watercourses that made the visitor forget the monotony of the surrounding Elbe flatlands.  We strolled past Aeolian harps and exotic giant trees, across rickety footbridges, and took the ferries to the islands.  Here Paul Klee was thoroughly in his element, and many of his pictures with plant or water subjects were the outcome of visits to this wonderful park” (Felix Klee, quoted in Roland Doschka, Paul Klee, Munich, 2001, p. 210).\nSigned Klee (upper left) dated and numbered 1927 L5  (upper right)
US
NY, US
US

medium

Oil and incision marks on canvas

creator

Paul Klee

dimensions

25 1/2 by 20 5/8 in.

exhibition

Dresden, Akademie and Staatliche Gemäldegalerie, Werke Deutscher Künstler.  Malerei Plastik, 1927, no. 151 Dresden, Galerie Neue Kunst Fides, Paul Klee, Alexej van Jawlensky, 1928, no. 19 Berlin, Galerie Alfred Flechtheim, Paul Klee, 1928, no. 37 Berlin, Galerie Alfred Flechtheim, Paul Klee, 1929, no. 86 New York, Buchholz Gallery, Contemporary European Painters and Sculptors, 1939, no. 9 New York, Buchholz Gallery and Willard Gallery, Paul Klee, 1940, no. 56 Los Angeles, Stendahl Galleries Providence, Museum of Art, Rhode Island School of Design, Private Collections, 1980-89 (long-term loan)

literature

Karl Jakob Hirsch, "Malír  Paul Klee," Musaion 9, December 1929, illustrated p. 209 Carl Einstein, Die Kunst des 20. Jahrhunderts, Berlin, 1931, illustrated p. 541 Robert J. Goldwater, Primitivism in Modern Paintings, New York and London, 1938, p. 154 "A Memorial to Paul Klee," The New Yorker, New York, October 1940, p. 94 "New York Sees Paul Klee Memorial Show," Art Digest, 1940 Carola Giedion-Welcker, Paul Klee in Selbstzeugnissen und Bilddokumenten, Hamburg, 1961, p. 110 Max Huggler, "Paul Klee," Künstler Lexikon der Schweiz XX, vol. 1, Frauenfeld, 1961, p. 525 Will Grohmann, Der Maler Paul Klee, Cologne, 1966, p. 106 Max Huggler, Paul Klee.  Die Malerei als Block in den Kosmos, Frauenfeld and Stuttgart, 1969, p. 102 Christian Geelhaar, Paul Klee und das Bauhaus, Cologne, 1972, pp. 94 and 107 Annegret Janda, Paul Klee und Nationalgalerie, 1919-1937, Dresden, 1986, p. 50 Christine Hopfengart, Klee, Vom Sonderfall zum Publikumsliebling.  Stationen seiner öffentlichen Resonanz in Deutschland, 1905-1960, Mainz, 1989, p. 101 Christina Houstian, Minister, Kindermädchen, Little Friend: Galka Scheyer und "Der Blaue Vier," Bern and Dusseldorf, 1997, p. 48 Christine Hopfengart, Klee an den deutschen "Museen der Gegenwart," 1916-1933, Bern, 2000, p. 81 and 89 The Paul Klee Foundation, Paul Klee, Catalogue Raisonné, vol. 5, 2001, Bern, no. 4238, illustrated p. 45

provenance

Rudolf Probst (Galerie Neue Kunst Fides; Das Kunsthaus), Dresden and Mannheim (by 1928) Alfred Flechtheim, Dusseldorf, Berlin, Paris and London (1928-1929) Staatliche Gemäldegalerie, Dresden (1929-1937) Curt Valentin (Buchholz Gallery), New York (acquired from the above in 1937) Galka E. Scheyer, Braunschweig, New York, San Francisco, Hollywood (1939) Acquired from the above on January 9, 1940

signedDate

Signed Klee (upper left) dated and numbered 1927 L5  (upper right)

consignmentDesignation

Property from the Collection of Ruth McClymonds Maitland

creator_nationality_dates

1879 - 1940


*Note that the price is not recalculated to the current value, but refers to the actual final price at the time the product was sold.

*Note that the price is not recalculated to the current value, but refers to the actual final price at the time the product was sold.


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