Tate Modern’s freshest exhibition traces the artistic career of Paul Klee, commonly considered one of the most highly regarded artists of the early twentieth century. Beginning in Munich in the years 1912-13 through to the artist’s last years in Switzerland around thirty years later, the exhibition brings together works that exemplify Klee’s idiosyncratic pictorial constructions and use of line and colour in painting.
Curator and Courtauld alumnus Matthew Gale has carefully selected fascinating works by the German-Swiss artist, many of which are rarely given attention in the paradigmatic visual histories of Klee’s artistic developments. The most striking examples are perhaps found in Room 10 – where one can see how Klee combined drawing and sprayed or splattered paint in Sacred Islands or Clouds (both 1926) – and in Room 13 – where works such as Clarification and Memory of a Bird (both 1932) exemplify the artist’s use of pointillism.
The chronological principle privileged throughout the exhibition – which, in other contexts, sometimes feels reductive or simplifying – has the merit of organizing a quite diverse and, at times, not obviously reconcilable body of work, and of helpfully juxtaposing it – never too simplistically – to historical and social dynamics. The many inclusions of Klee’s own words and the division of space into relatively small rooms each introduced by section labels successfully avoid the now pervasive sterilization of gallery spaces.
My only misgiving is that I doubt that “Making Visible” is the most appropriate title for this exhibition. If at the start we are indeed led into thinking that the exhibition will address the various shapes that Klee’s concerns with vision and the visible took throughout his artistic career – the walls of the opening room are upholstered with the quotes “Art does not reproduce the visible; rather, it makes visible” and “Today we reveal the reality that is behind visible things” – those concerns are not explicitly brought back in the subsequent rooms. Paul Klee: Making Visible rather takes the form of a survey – to be sure, a thorough and articulated one – of the artist’s pictorial techniques and innovations, which I would not have so easily identified with interests in vision and visuality. But this is a quite minor hitch when compared to the exhibition’s overall successful achievement of its aims.
Vincent Marquis is an MA student at the Courtauld.
Paul Klee: Making Visible is at Tate Modern until 9th March 2014.