Landscape with Yellow Birds
When Klee visited the Paris surrealism exhibition in 1925, Max Ernst was impressed by his work. His partially morbid motifs appealed to the surrealists. André Breton helped to develop the surrealism and renamed Klee’s 1912 painting Zimmerperspektive mit Einwohnern (Room Perspective with People) to chambre spirit in a catalogue. Critic René Crevel called the artist a “dreamer”, who “releases a swarm of small lyrical louses from mysterious abysses.” Paul Klee’s confidante Will Grohmann argued in the Cahiers d’art that he “stands definitely well solid on his feet. He is by no means a dreamer; he is a modern person, who teaches as a professor at the Bauhaus.” Whereupon Breton, as Joan Miró remembers, was critical of Klee: “Masson and I have both discovered Paul Klee. Paul Éluard and Crevel are also interested in Klee, and they have even visited him. But Breton despises him.”
The art of mentally ill people inspired Klee as well as Kandinsky and Max Ernst, after Hans Prinzhorns book Bildnerei der Geisteskranken (Artistry of the Mentally Ill) was published in 1922. In 1937, some papers from Prinzhorn’s anthology were presented at the National Socialist propaganda exhibition “Entartete Kunst” in Munich, with the purpose of defaming the works of Kirchner, Klee, Nolde and other artists by likening them to the works of the insane.
(Fuente: litverve, vía the-paintrist)