Paul Klee

Paul Klee - "Photograph" (?) -
- Image Copyright © (cf.www.dhm.de/lemo/)

Paul Klee - "1914" - (1914)
- Image Copyright ©
(cf. SHB ArtWeb Gallery)

Paul Klee - "On a Motif from Hamamet" - (1914)
Tempera on board - Kunstmuseum Basel, Basel,
Switzerland - Image Copyright © (cf. Olga's Gallery)

Paul Klee - "Hermitage" - (1918) - Watercolor on
chalk ground - Paul Klee Foundation, Kunstmuseum,
Bern, Switzerland - Image Copyright © (cf. Olga's Gallery)

Paul Klee - "Once Emerged from the Gray- of Night" -
(1918) - Watercolor on paper mounted on
cardboard - Paul Klee Foundation, Kunstmuseum,
Bern, Switzerland - Image Copyright ©
(cf. cgfa.sunsite.dk/klee/p-klee6.htm)

Paul Klee - "Station L 112" - (1918)
Watercolor on paper mounted on
cardboard - Paul Klee Foundation, Kunstmuseum,
Bern, Switzerland - Image Copyright ©
(cf. cgfa.sunsite.dk/klee/p-klee6.htm)

Paul Klee - "Cosmic composition" - (1919)
- Image Copyright ©
(cf. www.arts-studio.com)

Paul Klee - "Nocturnal Festivity" - (1921)
Oil on board - The Solomon R. Guggebheim
Museum, New York, NY, USA - Image
Copyright © (cf. Olga's Gallery)

Paul Klee - "A Young Lady's Adventure" - (1921)
Watercolor - Tate Gallery, London, UK
Image Copyright © (cf. Olga's Gallery)

Paul Klee - "Crystal Gradation" - (1921)
Watercolor - Kunstmuseum Basel, Basel, Switzerland
Image Copyright © (cf. Olga's Gallery)

Paul Klee - "Revolving House" - (1921)
Oil on cotton cloth - Thyssen-Bornemisza
Collection, Madrid, Spain
Image Copyright © (cf. Olga's Gallery)

Paul Klee - "Red Ballon" - (1922)
Oil on muslin primed with chalk -
The Solomon R. Guggebheim
Museum, New York, NY, USA - Image
Copyright © (cf. Olga's Gallery)

Paul Klee - "Senecio" - (1922) - Oil on gauze
- Kunstmuseum Basel, Basel, Switzerland
Image Copyright © (cf. SHB ArtWeb Gallery:
www.sackville.ednet.ns.ca/art/)

Paul Klee - "Tale à la Hoffmann" - (1921)
Watercolor on paper mounted on cardboard
Metropolotan Museum of Art, New York, USA
Image Copyright © (cf. cgfa.sunsite.dk/klee/)

Paul Klee - "Mural from the Temple of Longing" -
(1922) - Watercolor, printer's ink and
plastered canvas mounted on cardboard
Metropolotan Museum of Art, New York, USA
Image Copyright © (cf. cgfa.sunsite.dk/klee/)

Paul Klee - "Puppet Theater" - (1923)
Watercolor on chalk ground
Paul Klee Foundation, Kunstmuseum,
Bern, Switzerland - Image Copyright © (cf. Olga's Gallery: www.abcgallery.com/K/klee/)

Paul Klee - "Chinese Porcelain" - (1923)
Watercolor on plaster slab
Collection Mr. and Mrs. Werner Moser,
Zürich, Switzerland - Image Copyright © (cf. SHS ArtWeb Gallery - Exhibit Abstraction)

Paul Klee - "17 Astray" - (1923)
Watercolor and India Ink on paper
mounted on cardboard - Kunstmuseum
öffentliche Kunstsammlung, Basel,
Switzerland - Image Copyright © (cf. cgfa.sunsite.dk/klee/)

Paul Klee - "Carnival in the Mountains" - (1924)
Watercolor on paper on board
Paul Klee Foundation, Kunstmuseum,
Bern, Switzerland - Image Copyright ©
(cf. Olga's Gallery: www.abcgallery.com/K/klee/)

Paul Klee - "Botanical Theater" - (1924-34)
Oil and watercolor on board
Private collection - Image Copyright ©
(cf. Olga's Gallery)

Paul Klee - "Fish Magic" - (1925)
Oil and watercolor varnished
The Philadelphia Museum of Art,
Philadelphia, PA, USA
Image Copyright © (cf. Olga's Gallery)

Paul Klee - "The Golden Fish" - (1925)
Oil and watercolor on paper, mounted on
cardboard - Kunsthalle, Hamburg, Germany
Image Copyright © (cf. SHS ArtWeb Gallery
Abstraction and Formalism: Paul Klee)

Paul Klee - "The Mask with the Little Flag" - (1925)
Watercolor on paper mounted on
cardboard - Staatsgalerie, Munich, Germany
Image Copyright © (cf. CGFA: cgfa.sunsite.dk/klee/)

Paul Klee - "Gate in the Garden" - (1926)
Oil on panel - Huggler Foundation
Kunstmuseum, Bern, Switzerland - Image
Copyright © (cf. Olga's Gallery)

Paul Klee - "Reconstruction" - (1926)
Oil on muslin - Kunstsammlung
Nordrhein-Westfalen, Düsseldorf, Germany
Image Copyright © (cf. Olga's Gallery)

Paul Klee - "Around the Fish" - (1926)
Tempera and oil - The Museum of Modern
Arts, New York, NY, USA - Image
Copyright © (cf. Olga's Gallery)

Paul Klee - "Attrapen (Omega 5)" - (1927)
Oil and watercolor on cardboard -
Thyssen-Bornemisza Collection, Madrid,
Spain - Image Copyright © (cf. Olga's Gallery)

Paul Klee - "Flora on Sand" - (1927)
Watercolor on paper - Collection Felix Klee, Bern,
Switzerland - Image Copyright © (cf. SHS ArtWeb Gallery)

Paul Klee - "Little Jester in a Trance" - (1929)
Oil and watercolor on hessian - Museum Ludwig,
Cologne, Germany - Image Copyright © (cf. Olga's Gallery)

Conrad Botha: The influence of Picasso and Superflat

Conrad Botha: Since

Conrad Botha

Although he has been painting all his life, Conrad Botha started his career as a professional artist in 2002. After a long and successful career in the corporate environment where he worked for some of the biggest broker firms in the world, he returned to his first love, art.

From the very beginning Conrad Botha always was innovative, but his breakthrough only came after his works and ideas was published in Culture magazine. This was the first time the general public was introduced to his art and the art movements that he started namely Generalism, Architecturism, and Television Impressionism.

He has been waiting for an hour and still no sign of her

Minutes before the chase

The chase part 1

The chase part 2

His most recent works consists mainly out of landscapes. These landscapes represent what he calls “Analytical Generalism.” He refuses to classify these painting as anything but Generalism. These paintings originated from a vast amount of sketches and photographs he made, while on road trips especially Gauteng and Mpumalanga.

One of the things that distinguishes his art, from that of anyone else’s is his believe that the unique name given to a painting is just as important as any brush stroke. Unlike artists like Mark Rothko which stated that silence is so accurate, Conrad Botha believes that although he does not disagree with Rothko, the impact of a the right name for a painting has a severe and powerful effect on the viewer.

Who is she?

I think she only likes me for my money

I have to go, something just came up.

At first glance of his landscapes one is struck by the extreme use of color and light, yet this does not diminish the feel of both realism and surrealism radiated from the paintings. This is most probably due to the fact that he uses almost the full value hue, of any color, he uses on his color plane. Another observation one could make is his inclusion of man-made objects such as motor vehicles. Conrad Botha is one of the view artists in the world that can do this without diminishing the elegance of a landscape painting.

Cars and a bus in New York

I wonder what he really wants?

Disco ball: Tonight we are going to party like it is 1999 (Television Impressionism)

In a question what his art means his reply was as follows and I quote: “An artist is shaped by the environment, and sometimes the artist have an impact in shaping the environment. But the main focus for me is still to make a painting that must have an impact on the viewer both on visually and emotionally. Visually, I try to make an impact by my use of color, brush stroke and the composition. Emotionally, the name I give to the painting is as important as any brush stroke I make, to give the person an idea what I was thinking when I looked at the painting. But I also have an ulterior motive and that is to promote the idea of Generalism as a widely recognized art movement. Hopefully within a few years the word Generalism will be used as a term when people talk about art.”

Fig 2: Initial stages for “Make a wish and it will come true” (Television Impressionism) As anyone can see this picture was painted directly from a paused video signal. Although the final result can be compared to that of an abstract painting, the painting was done in an impressionistic style.

Fig 3: Make a wish and it will come true (Television Impressionism) “This is the result of the experiment, and consists basically out of slabs of different colors similar to that on the television screen. The name was given only after I completed the painting, as it represented something reminiscent to a rainbow, and as a child I always made a wish when I saw a rainbow.”

Here is an excerpt from notes Conrad Botha made regarding Genralism:

Introduction to Generalism

I founded Generalism as an art movement, mainly because there are too many paintings in existence that cannot be defined.

Generalism includes all art ever created, in the past and in the future. Therefore, all art that cannot be; or has not been yet defined as art, within an art movement, can be regarded as Generalism.

However when it is possible to narrower define a painting, like for instance an Impressionist painting by Cézanne, this art movement classification supersedes Generalism, and the painting will be known as an Impressionist painting.

Looking at the definition of the word, general (relating to or covering all instances: not limiting in meaning: not specific) there are many examples of artist all over the world that create art just for the sake of art without any specific movement or statement in mind. These are classic examples of Generalism.

Regarding my own art, I am first and foremost a Generalist. In the spirit of Generalism I paint what I see, what I know, what I don't see and also what I do not know. As the founder of Generalism I declare that there are no rules in Generalism, any means necessary to apply paint to a surface in a sensible way can be and shall be used. The only rule to Generalism is that there are no rules. Generalism includes all art, and are not just limited to paintings.

Manifesto for Generalism

1. Generalism, is art, for the sake of art.

2. All art is Generalism, unless it is narrower defined in another art movement.

3. Whenever art cannot be explained, or defined by the artist or by somebody else, it will be regarded as Generalism.

4. Therefore Generalism unites all art.

5. The onus, therefore rest on the creator, or observer, to explain, or to prove that a particular piece of art should not be regarded as Generalism.

6. Generalism comes down to the fact, that even if an artist has nothing to say, he/she must say it in order to prevent their work to be classified as Generalism.

Big business as usual in Yellow (Architecturism)

Sunrise in the city of gold (Architecturism)

Die trein na Matjiesfontein (Generalism)

Conrad Botha is one of a few artists taking art forward. His innovations in art, both the theoretical and visual aspects of it, are very highly regarded.

The 4 Elements of Superstroke

The 4 Elements of Superstroke

As most people who has been following the Superstroke Art Movement knows is that the manifesto written for Superstroke is as follows:

1. Paintings should be executed using expressive even violent brushstrokes on at least some part of the picture.

2. Should a photograph be used for a figurative painting, the objection should not be Photorealism, but Expressionism.

3. If mediums such as pen, pencil, etc are used, the pen and pencil strokes must at least be overly expressive for it to be considered a Superstroke picture.

4. Paintings can be executed in both the abstract and figurative.

5. Subject matters such as Africa, light, dark, life and death are encouraged.

6. Collage, Stencil and Calligraphy may be used for impact.

7. The concept, Art for the sake of art, does not apply in Superstroke. In Superstroke it is art for the sake of Superstroke, as the artist must always strive for paintings rich in texture, or excessive brush or pencil strokes.

Superstroke consists out of 4 elements, namely The Stylized Image, Non Representative Abstraction, Realism and Combination. All of these elements are of equal importance, and make out the total collection of images in Superstroke. There has been a notion Superstroke should consolidate and focus on only one of the four elements, instead embracing all of them. Several discussions later and it was decided although it means more work, The Superstroke Movement will still embrace all four of these elements. Superstroke is extremely complex, and it seems that it will become even more so as time goes on.

In order to achieve the goals of Superstroke, namely to produce paintings to take art forward, it is important for the Superstroke Art Movement to incorporate all the elements of modern art.
Superflat started what will be a key point in a lot of Art Movements going forward, and that is to incorporate texture as a key element of the movement.

In Superstoke texture or the illusion of texture is always very important, but when you work with pencil for instance it is difficult to add texture in comparison with what you can do in oil or acrylic paint. Then it is important to go for the expressive line. You have to use incoherent type of lines to stay within the spirit of Superstroke as described in the Manifesto.