By Paul Klee
"One of the main recognized of contemporary artwork records - a poetic primer, ready via the artist for his Bauhaus scholars, which has deeply affected glossy brooding about art...This little instruction manual leads us into the mysterious global the place technology and mind's eye fuse." ~~"The Observer"
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25): I energies: a) gravity, b) the obstructing mountain (active). II Diagonal strength to energies 1 a and 1 b: The Waterfall (medial). III The turning wheel (passive). 30 31 d) (not illustrated) Propagation: I Male organs (anthers), energetic II Pollen-carrying bugs, medial. III lady organs (fruit), passive. e) Circulatory procedure (Fig. 28): I the guts pumps (ac tive). III The blood is moved (passive). II The lungs obtain blood and perform sending it on transformed(medial). I the center pumps. III The blood back is moved and returns to the guts, its element of departure. 32 The paintings grows "stone upon stone" (additive) or The block is hewn "chip from chip" (subtractive) either proc esses, development and decreasing, are time sure. Already on the very starting of the effective act, almost immediately after the preliminary movement to create, happens the 1st counter movement, the preliminary circulate ment of receptivity. this suggests: the author controls no matter if what he has produced thus far is sweet. The paintings as human motion (genesis) is effective in addition to receptive. it's continuity. Productively it's restricted through the guide obstacle of the writer (who has in simple terms hands). Receptively it truly is restricted by way of the restrictions of the perceiving eye. The difficulty of the attention is its in skill to work out even a small floor both sharp in any respect issues. the attention needs to "graze" over the sur face, greedy sharply component after component, to show them to the mind which collects and shops the impressions. the attention travels alongside the trails lower out for it within the paintings. 33 1. size: left (right) 2. size: best (bottom) three. measurement: entrance (back) 35 a) parallel traces, visible frontally by means of the attention: b) Railroad tracks, visible frontally: c) parallel traces, visible from a deflected attitude of imaginative and prescient The 3rd size additional as optical phantasm. Verticality. Fig. 35: Railroad ties, visible frontally. a far off and a detailed tie are subdivided both. Fig. 36: the viewpoint development visualized via traces operating parallel to the tracks. Emphasis at the frontal plump line (perpendicular to the ties). 36 37 Shifting vertical axis when it comes to an issue (spectator) relocating left to correct. Fig. 37: the topic has moved towards left. Fig. 38: the topic has moved towards correct. The horizontal indicates the proportionate top of the topic. A line connecting all spatial issues, mendacity on eye point, is termed the eye-line. The vertical indicates the logical path on a aircraft. 20 39 Proof of the assertion in regards to the horizontal. Fig. forty-one: The inserted house field offers the topic a view of the higher aircraft; accordingly this airplane may still lie under his eye point. certainly, the horizontal is located above. Fig. forty two: The inserted area field offers the topic a view of the interior airplane; accordingly this airplane may still lie above his eye-level. certainly the horizontal line is under. Fig. forty three: thus, even though, the attention sees the higher airplane of the gap field neither from above nor from less than. The aircraft appears to be like purely as a horizontal line.