Paintings, drawings, and prints by Paul

Klee : from the Klee Foundation, Berne,

Switzerland with additions from
American collections

Author
Klee, Paul, 1879-1940

Date
1949

Publisher

The Museum of Modern Art

Exhibition URL
www.moma.org/calendar/exhibitions/2817

The Museum of Modern Art's exhibition history—

from our founding in 1929 to the present—is
available online. It includes exhibition catalogues,
primary documents, installation views, and an
index of participating artists.

MoMA © 2017 The Museum of Modern Art

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tie Klee Foundation, Berne,Switzerland
Puppet Theatre, 1923 gouache, 20V2x 14H
 Paintings, draivings,

and prints

from the Klee Foundation, Berne, Switzerland

with additions from American collections

The Museum of Modern Art, New York

+ Cincinnati Museum Association

Detroit Institute of Arts
Portland Art Museum,Portland, Oregon
CityArt Museum of St. Louis
San FranciscoMuseum of Art
Phillips Gallery, Washington,D. C.
 Lenders:
Mrs. Gabriel Hauge, Mr. Sidney Janis, Mr. and Mrs. Clifford Odets, Mr. and Mrs. Bernard J. Reis
and Dr . Allan Roos of New York; The Phillips Gallery, Washington, D. C. and two private collectors who
wish to remain anonymous.

Members of the Klee Society:

Mr. Werner Allenbach, Mr. Rolf Burgi, Air. H. Meyer -Benteli, Mr. Hermann Rupf.

Members of the Paul Klee Foundation:

Mr. Werner Allenbach, Mr. H. Meyer -Benteli, Mr. Rolf Burgi, Dr. Markus Feldmann, Miss Carola Giedion- Welcket
Dr. Max Huggler, Mr. Hermann Rupf and the United States Representative, Mr. Curt Valentin.

Trustees of the Museum of Modern Art:

John Hay Whitney (Chairman of the Board); Henry Allen Moe (ist Vice-Chairman) ; William A. M. Burden
(2nd Vice-Chairman) ; Sam A. Lewisohn (3rd Vice-Chairman) ; Nelson A. Rockefeller (President) ;
Philip L. Goodwin (ist Vice-President); Mrs. David M. Levy (2nd Vice-President); Ranald H. Macdonald, Treasut
John E. Abbott, Alfred H. Barr, Jr., Mrs. Robert Woods Bliss, Stephen C. Clark, Rene d'Harnoncourt,
Walt Disney, Mrs. Edsel B. Ford, A. Conger Goodyear, Mrs. Simon Guggenheim, Wallace K. Harrison,
James W.Husted, Mrs. Albert D. Lasker, Henry R. Luce, William S. Paley, Mrs. E. B. Parkinson, Mrs. Charles S. Payw
David Rockefeller, Beardsley Ruml, James Thrall Soby, Edward M. M. Warburg, Monroe Wheeler.

Honorary Trustees :
Frederic Clay Bartlett, Mrs. W. Murray Crane, Duncan Phillips, Paul J. Sachs, Mrs. John S. Sheppard.

Copyright, 1949. The Museum of Modern Art, New York. Printed in the U.S.A.
/H/UA A 10 5L7-
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The present exhibition of Klee's art consists of works lent

by the Paul Klee Foundation at Berne,
supplemented by a small group of paintings
owned in America. The latter have been
chosen to bridge a few chronological gaps in
the Foundation's extensive collection,
and the Museum is deeply indebted to the
American lenders who have made their
pictures available for tour.
We owe a still greater debt, of course, to
the Foundation, a non-profit organization
whose function is to assure Switzerland, where
Klee was born and spent much of his life,
a representative collection of works by one
of the absolute masters of twentieth-century
art. Most of the Foundation's pictures have
never before been exhibited in this country.
Their arrival is awaited more eagerly than
might be the case if unfamiliar paintings
by almost any other established modern artist
 were on their way to us. For Klee was the suggested by fugitive experience or emotion.
master par excellence of unpredictable But behind them lies strong discipline,
variety. He died in 1940, known and revered and their technical ingenuity falls customarily
by admirers throughout the civilized world. between two skilled limits —the use of
Yet yearly since then his stature has grown massed cross-hatching and of cobweb line.
more impressive, as additional pictures have We should remember that Klee's earliest
come to light, extending a visual range whose graphic work was partially nourished by late
limits might reasonably have been settled fifteenth and early sixteenth-century tradi
ten or even twenty years ago. tions; he learned from his Northern and
How to account for Klee's inspired Italian models how to shade density into
prolificacy? Perhaps we may begin by noting depth, how to by-pass when necessary the tonal
that it was more nearly the result of strictures of black and white. Quite early
sensibility than of plan. By this I mean that in his career he also developed that thin,
Klee did not usually renew his art by incalculably spry line which is so often
abrupt stylistic departures, but rather led us his signature. This line sometimes skitters
quietly through the multiple chambers over the picture surface. Its mystery then
of his awareness, his personality resembling is that it achieves solidity out of apparent
a Chinese puzzle-box, its outer shape hold indecision; its tremulous contours are as
ing compartment after compartment within. implacable in space as rigid topographical
It is true that his painting sometimes designs. But the same baSic line, bolder
responded to the persuasion of cycles: it or reinforced with hatching, occasionally
became more abstract or less so; it developed becomes an instrument of miniature precision,
certain themes at intervals. But it cannot as figures and objects are presented in
be assigned to relatively fixed stages, as microscopic isolation against a large area
can the art of a Picasso. On the contrary, of white ground. In either case, we always
Klee's imagery often explored many directions know in Klee's art how far it is from here to
simultaneously, under the sway of a there. His spatial control allowed him
compulsive spontaneity. liberties which less gifted hands would have
Look, for example, at Klee's drawings in muddled or abused. He was always believ
the present exhibition. They do not able, however remote from accepted fact.
announce or certify a formal program, as Klee is seldom discussed as a pure
did the drawings of the cubists. Their colorist, at least not in the exhaustive way
vitality springs primarily from an immediacy that a Bonnard or a Braque is discussed.
of unexpected response. Indeed, a great I imagine this is because he did not often
number of them are free improvisations give his color an autonomous role, but
8
preferred to subordinate it to a deeper plan. idiosyncratic meaning. One cannot imagine
If we except certain works, perhaps Klee planning a long series of pictures on
especially those abstractions in which banded a narrow, familiar theme, as Matisse has done
orchestrations of tone are the principal in his interiors with figures. Instead, for
theme, we find that Klee was seldom content the most part, Klee produced themes on
to let color speak for itself alone. One of variation, in breathtaking profusion.
the most beguiling of modern painters, he It would have been impossible for him to
was not essentially a hedonistic artist. "pose the model," for then what might
He was above all a painter of ideas and not instantly have diverted his attention? The
visions, intensely philosophical, concerned wing of an insect, a chord from Bach, the
with what may be revealed rather than grimace of a child, the festive tableware of
what can be displayed. ( His humor, to which a banquet long past? His imagination
we will come presently, has tended to swarmed with the minutiae of memory,
obscure the spiritual nature of his art, owing constantly refreshed by new observation
to the debatable assumption that great and response.
comedy is less profound than great tragedy.) The core of Klee's vision was his humor:
Klee's palette, like his pen, was the a tender, instantaneous laughter evoked by
obsequious servant of his transcendental unforeseeable stimuli. His wit enjoyed. It also
intention. mocked, but during his mature career it
A study of Klee's color nevertheless reveals rarely accused. Consider, for example, the
its remarkable range and freshness, its many images in which Klee portrayed the
capacity to change substance according to torments of childhood. His subjects' grief is
the demands of a given work. In many of shown as both real and absurd. He accepted
his watercolors —I think in particular of the the child's estimate of its oppression and
superb works of the early 1920's—the promptly offered a palliative exaggeration,
function of color is mainly atmospheric, and like parents outwailing their young as a
subtle washes are used to create a backdrop means of breaking slight injury's spell. Klee
to surface linear action. On the whole his oils treated adult dilemma with comparable
take color into more equal partnership with acuteness and compassion: the mocker is
drawing, while complex textural manipu incredulous at being mocked; the shepherd,
lation and hieroglyphic placing make an with his large heart, tries to keep watch
important contribution. Yet his purpose in every direction at once; the sensation of
was seldom merely sensual. The image itself fear is symbolized as a swollen, narrow-
remains dominant in a conceptual sense, eyed mask on inadequate legs. And for
and nearly always proposes a unique and animals Klee reserved a special fantasy,
9
 showing them grouped in ludicrous conclave, new visual terms what is primarily
or treating us to the unforgettable close-up a psychological or even a moral point. This
of a cat whose anticipated prey is embedded, is not to say that either artist can be
terrified, in its lustful brain. Even flowers summarized through the esthetic of "pure
and plants play an active part in Klee's form" which our epoch has defined so
comedy. Often they are shown in the grip redundantly. But both men have consistently
of superior forces —bent by strange invented values of color, shape and line
magnets, sprouting or drooping helplessly, which transcend, without obliterating, a
ggbng stru against the weighty appetite strong allusive content. Within its smaller
of a giant aphis. No form of life was too scale, and allowing for its deliberate
insignificant for Klee to consider in humility, Klee's art seems as rich in plastic
metaphysical terms. If we compare his plants discovery as Picasso's. He worked as a
with the bouquets of a Renoir, an immense virtuoso, but with the conscience of a master
difference in spirit is apparent: the former and a philosopher's exaltation.
are portrayed from an animistic viewpoint; Perhaps that is why Klee's paintings and
the latter are treated as delectable ornaments drawings are more and more influential
of human existence. among younger artists. His influence is rising
The titles of Klee's pictures are extremely now even in Paris, where previously
important, and the artist himself made attention had focused mostly on native,
every effort to have them preserved. (They Spanish and Baltic tendencies in con
are given here in the catalog in the original temporary art. In America, on the contrary,
German as well as in English, on the Klee has for some time been appreciated
assumption that their choice was sometimes by artists and laymen, though never in such
affected by phonetic considerations.) measure as now. Today there are probably
Unlike the titles of many surrealist paintings, more first-quality Klees in this country than
which were planned either to suggest a anywhere except Switzerland. Only a few
parallelism of mood or to gain from the of them have been included in this exhibition,
observer an added concentration on the since its principal purpose is to show a
doubly unlikely, Klee's titles are descriptive selection from the great collection at Berne.
and accurate. They open the door to our We in America can rightly be proud of
full enjoyment of the image. Yet the image our long-standing recognition of Klee.
itself holds our attention long after we We should be just as gratified that he is so
have ceased to savor its name. Indeed, perhaps fully known as a prophet at home.
only Picasso among modern painters has
rivaled Klee in the ability to translate into James Thrall Soby
10
aster

The Artist's Sister, 1903 oil on cardboard, 11 x i2§4'

Hero with a Wing, 1905 etching, 9^ * 5%" (image)
opposite: #49, 1908 pencil, 11^x7%"
lA From Berne, 1909 pen and brush, 8Yzx 10Vs opposite: #153, 1914 pen, i x 5H'
ab ovo, 19 17 gouache, 4 Y\ x 9Y4 opposite: Composition with Windows, 19 19 oil on cardboard, 20 x 15^
^9 £L A tl* l*CA

Seascape with a Heavenly Body, 1920 pen, 51 11^" opposite: Ceramic, Erotic, Religious, 1921 water color, 18^x12"
18
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7A Magic Theatre, 1923 water color, 13^ x 8% opposite: Fire Wind, 1923 gouache, i6 x 1i
 F "&V

Cosmic Flora, 1923 ivatercolor, 10% x 14H opposite: The Nursemaid, 1924 watercolor, 20% x 13/2
Realm of the Curtain, 1925 pen, 12 % x 10H

opposite: Little Dune Picture, 1926 oil, 12^x9^". Collection Mr. and Mrs. Clifford Odets, New York
l/2x Daemonie, 1925 pen, n 21 'A'
She Howls, We Play, 1928 oil on canvas, 17 x 22%

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7A Little Fool in a Trance, III, 1927 pen, i8/4 x 1 i

opposite: A Gay Repast, 1928 oil on wood, 33%x 26^4". Collection Mrs. Gabriel Hauge, New York
Duetto, 1929 gouache, x 13^4 opposite: Monument in the Orchard, 1929 watercolor, 18 x 12
mmIE
Animal Following a Scent, 1930 watercolor, 12 at i8-K" opposite: Conqueror, 1930 watercolor on cloth, 16 x 15%
 Family Promenade, 1930 pen and ink with watercolor, 1534* 22^

5A opposite: Classic Coast, 193 1 oil on canvas, 3 i x 26^". Private collection

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color plate: North Room, 1932 watercolor, 14^5 x 2 i'A"

opposite: Mask of Fear, 1932 oil on burlap, 39H x 22^". Collection Dr. Allan Roos, New York
 ^>sir
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5A The Creator, 1934 tempera on burlap, i6 x 21
Departing Spirit, 1933 oil on composition board, 12 x 19H'
-'

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Landscape with Accents, 1934 gouache, 13^4 at 20^4

opposite: Arab Song, 1932 oil on burlap, 36x25^4". The Phillips Gallery, Washington, D.C.
opposite: Lady Demon, 1935 tempera on burlap, 59^ x 39%

Firmly Confined (in f esten Grenzen), 1935 oil on paper, 13F2* 18H
llTO
7A St. George, 1936 oil on composition board, 12^2 x 16

46
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Early Sorrow, 1938 gouache and gesso on burlap, 13/4* 1724'

JA Insula Dulcamara, 1938 oil on burlap, 34^ x 69% opposite: Daemonie, 1939 gouache, 13 x8
I if *
opposite: A Look from Egypt, 1937 charcoal and tempera, 10Y, x 6Y%

Cerulean-Fruit (Coelin-Frucht), 1938 gouache, 14 x 10K

u>£&.
 Saint at a Window, 1940 gouache, 1 1F2x 8%

A opposite: Torso and Kin in Full Moon, 1939 tempera on burlap, 255 x 19K
1/2 Injured, 1940 brush, iG x iiYz
 Catalog of the Exhibition - 16 Tropical Blossoms (Tropische Bluten) 1920
oil on paper, 1o Msx 11 % "
Unless otherwise noted, all works listed below are 17 Enchainment (Fesselung) 1920
from the collection of the Klee Foundation. watercolor, 12 14 x 9%"
In dimensions height precedes width. *18 Ceramic, Erotic, Religious (Keramisch, Erotisch, Religios)
Media may not always be correctly identified since 1921

the artist's handling of the materials of painting is un watercolor, 18 Msx 12", ill. p. 19
conventional and cannot with certainty be reconstructed. 19 Bird Islands ( Vogel-Inseln) 1921
An asterisk preceding the catalog number indicates watercolor, 12 Msx 18 A"
that the work is illustrated. 20 Room Perspective with Occupants (Zimmerperspektive mit
Einwohnern) 1921
watercolor, 12 14 x 19 A "
2 1 Genii : Figures from a Ballet (Genien: Eiguren aus einem Ballet )
Paintings 1922
7A" 9 watercolor, 10 A x 6
1 Stand of Trees (Baumgruppe ) 18^9
oil on cardboard, 13% x 19%" -22 Disturbed Equilibrium (Schwankendes Gleichgewicht) 1922
watercolor, 13 Msx 7 "
2 #2, 1901
watercolor, 4% x 4 %" 23 Boudoir Image (Bild aus dem Boudoir ) 1922
watercolor, 13 x 19 Va"
*3 The Artist's Sister (Die Schwester des Kiinstlers) 1903
oil on cardboard, 11H x 12%", ill. p. 11 24 Harmony (Harmonie) 1923
oil on wood, 27f4xi9^4"
4 Flowers (Blumen) 1905
oil on cardboard, 14Y&x 12%" 25 Chinese, 1923
oil on wood, 12 14 x 6 Y%
"
5 Flower Pots (Blumenstocke) 1906
Lent anonymously
A oil on canvas, 17 l x 13%"
*26 Cosmic Flora (Kosmische Flora) 1923
6 Stone Quarry (Steinbruch ) 1907
watercolor, 10 Y\ x 14 Y&
" , ill. p. 22
watercolor, 24% x 19"
*27 Fire Wind (Feuerwind) 1923
7 Seated Girl (sitzendes Madchen) 1909
gouache, 16H x 1174", ill. p. 21
oil on cloth, 13/4 x 8 % "
-*28 Puppet Theatre (Puppen-Theater) 1923
8 Before the Gates of Kairouan (vor den Toren von Kairouan)
gouache, 20 14 x 14Y", reproduced in color p. 4
1914
watercolor, 8 x 12 ->4" 29 Tightrope Walker (Seiltanzer) 1923
ivater color, 19x12%"
9 #218, 1914
watercolor, 4 Y%x 6 % " *30 Magic Theatre (Zaubertheater) 1923
10 #22, 1916 watercolor, 13% x 8 A", ill. p. 20
watercolor, 2 Y\ x 9%" 31 Actor's Mask (Schauspielermaske) 1924
*11 abovo, 19 17 oil on wood, i3%x I2J4"
gouache, 4% x 9%", ill. p. 16 Lent by Sidney Janis, New York
12 #128, 1918 32 Carnival in the Mountains (Karneval im Gebirge) 1924
7A watercolor, 7 x 6 " watercolor, 10% x 13"
13 #157, 1919 33 Wall Picture ( Wandbild) 1924
oil on paper, i8%xi5%" oil on cloth, 10x21%"
*14 Composition with Windows (Komposition mit Fenstern) 19 19 *34 The Nursemaid (das Kinder frdulein) 1924
oil on cardboard, 20 x 15 Y%",ill. p. 17 watercolor, 20% x 13 J4", r'/Z.p. 23
15 #191, 1919 35 Song of the Mocking Bird (Lied des Spottvogels) 1924
gouache, 11^ x 5" watercolor, n%xi5%"
 /

55 36 Equipment Still-life (Requisiten Stilleben ) 1924 '} * Conqueror (Eroberer ) 1930

oil on canvas, 15 Mix 18 14" watercolor on cloth, 16 x 13 14", ill. p. 33
37 Inventoress of the Nes t (die Erfnderin des Nestes) 1925 *56 Animal Following a Scent (witterndes Tier) 1930
watercolor drawing, 10 54 x 854" watercolor, 12 14 x 18 H", ill. p. 32
38 Arrival of the Circus, 1926 57 Arabian Still Life (Arabisches Stilleben) 1930
oil on plaster, 654 x 10V/' oil on canvas, 10-Mix 17 14"
Lent by The Phillips Gallery, Washington, D. C.
58 Crystallization (Kristallisation) 1930
39 Little Dune Picture (Kleines D/inenbild) 1926 watercolor, 12 14 x 1214"
oil, 12 ?4 x 9 14"
Lent by Mr. and Mrs. Clifford Odets, New York, ill. p. 23
*59 Classic Coast (Klassische Kiiste) 193 1
oil on canvas, 3 1 -Mix 26% "
40 Air Station (Luft-Station) 1926 Lent anonymously , ill. p. 33
ivatercolor, 12 Mlx 18"
*60 Arab Song, 1932
41 She Sinks into the Grave (Sie sinkt ins Grab) 1926 oil on burlap, 36 x 2 514"
watercolor, 18 Msx 13 14"
Lent by The Phillips Gallery, Washington, D. C., ill.
42 Black Prince (Schwarzer Fiirst) 1927
Mask of Fear (Maske Purcht) 1932
oil, 12 54 x 11 Ms" oil on burlap, 3914 x 22/"
Lent by Mr. and Mrs. Clifford Odets, New York
Lent by The Phillips Gallery, Washington, D. C., ill. \
43 Once Again Thoroughly Bewitched (wieder einmal 62 Twilight in the Park (Dammerung im Park ) 1932
grundverhext) 1927 tempera on canvas, 13 14 x 2 4 14"
got/ache ivith ink, 13 74 x 20 14"
63 Plant-Script (Pjlanzen-Schriftbild) 1932
44 Menace and Flight (Bedrohung und Flucht) 1927
gouache on canvas, 954 x 20 14"
watercolor and gouache, 19 x 12 Ms"
64 Roof Garden (Dachterrasse ) 1932
"45 She Howls, We Play (Sie briillt wir spielen ) 1928
watercolor, 19 Mix 15 14"
oil on canvas, 17 x 22 Mi", ill. p. 27
'46 A Gay Repast (Bunte Mahlzeit) 1928
*65 North Room (Nordzimmer) 1932
oil on wood, 33/4 x 2654" ivatercolor, 1454 x 21 14", reproduced in color p. 37
Lent by Mrs. Gabriel Hauge, New York, ill. p. 2<y> *66 Departing Spirit (Ent-Seelung) 1933
47 Children Before the Town (Kinder vor der Stadt) 1928 oil on composition board, 12 x 19^", ill. p. 41
watercolor and gouache, i254xii74" *67 Country Dwarf (Bauernzwerg) 1933
48 Dispute (Disput) 1929 gouache, 19 x 1114", ill. p. 36
oil on canvas, 2 6 -Mix 2 6 -Mi
" 68 Rag Ghost (Lumpengespenst ) 1933
49 The Shepherd (Der Hirte) 1929 gouache, 19 x 13"
oil on wood, 1954x2614" 69 Figure of the Oriental Stage, 1934
Lent by Mr. and Mrs. Bernard J. Reis, New York oil on canvasboard, 20 14 x 15 14"
50 : Duetto, 1929 Lent by The Phillips Gallery, Washington, D. C.
gouache, 854 x 13 14", ill. p. 30 •70 The Creator (Der Schopfer) 1934
51 Strangely Enough a Plant (Pflanzlich seltsam ) 19 2 9 tempera on burlap, 16 54 x 2 1", ill. p. 40
gouache, 13x10" 71 Center-piece Fruit (Tafelobst) 1934
52 Centrifugal Forces (Schwungkrdfte) 1929 watercolor on damask, n x 23 14"
watercolor and gouache, 1o 14 x 9 54" *72 Landscape with Accents (Landschaft mit Akzenten) 1
'53 Monument in the Orchard (Monument im Pruchtland ) 1929 gouache, 13H x 20M", ill. p. 43
watercolor, 18x12", ill. p. 31 73 The Penitent (Biisser) 1935
54 The Mocker Mocked (oder der verspottete 'Spotter') 1930 tempera on burlap, 33/2x1$%"
tempera (?) on canvas, 17 x 20 Ms"
The Museum of Modern Art, New York ff' 74 Lady Demon (Dame Damon) 1935
tempera on burlap, 59 L4x 3974", ill. p. 43
56
 t.

I)
*75 Firmly Confined (in festen Grenzen ) 1935 95 Fit of Terror III (Angstausbruch III) 1939
oil on paper, f3 14 x 18 54", ill. p. 44 \ water color, 24'A x 1814"
*76 St. George (St. Georg) 1936 *96 Daemonie, 1939
oil on composition board, 12F2 x 1674", ill. p. 46 goudche, 13 x 8 14", ill. p. 49
77 Harmonized Combat (harmonisierter Kampf) 1937 97 Serious Expression (ernste Miene) 1939
pastel, 22 V?x 34" gouache, 12 A x 8 14"
78 Picture Album (Bilderbogen ) 1937 98 Death and Fire (To^ und Peuer) 1940
oil on canvas, 23 14 x 22" tempera on burlap, 18 At,x 17 14"
Lent by The Phillips Gallery, Washington, D. C. 99 Drum Player (Paukenspieler ) 1940
• 79 Flora, 1937 gouache, 13 14 x 8 14"
oil on paper, 151-4x 1154" *100 Saint at a Window (Heilige aus ein em Penster) 1940
*80 A Look from Egypt (ein Blick aus Agypten) 1937 gouache, 11 A x 8 A", ill. p. 53
charcoal and tempera, io74 x 654", ill. p. 51 101 Woman in National Costume (Frau in Traclot) 1940
81 Catharsis (Kath arsis) 1937 gouache, 18 74 x 1214"
pastel and gouache, 19 54 x 12 54" 102 #015 pastel, 1114 x 11 A"
82 Intention (Vorhaben) 1938
gouache on newspaper, 29 14 x 44 A" Drawings
183 Fruit against Blue (Briichte auf Blau) 1938 103 Sketchbook page, 1898
tempera on paper, 21H x 53A" pencil, 614 x 9 14"
*84 Insula Dulcamara, 1938 104 Sketchbook page, 1899
oil on burlap, 3454 x 69/4", ill. p. 48 pencil, 12 74 x 8 A"
85 Park near Lu (Park bei Lu) 1938 105 Sketchbook page, c. 1899
tempera on burlap, 39/4 x 27 14" pencil and pen, 12 A x8A"
*86 Cerulean-Fruit (Coelin-Prucht) 1938 106 Sketchbook page, c. 1899
gouache, 14 x iol4", ill. p. 50 pencil, 12 54 x 8 J4 "
87 Three Exotic Youths (drei junge Exoten ) 1938 107 Study, 1903
gouache, 18 34 x 15 54" pencil, 10A x 1414"
*88 Early Sorrow (friihes Leid) 1938 108 Studies #1, #2, #3, 1904
gouache and gesso on burlap, 13 14 x 17 54", ill. p. 47 and colored wash, mat opening 11 14 x854"
89 Mr. EI. Mel (Herr H. Mel) 1938 109 Studies #5, #6, #7, 1904
gouache and gesso on burlap, 14 14 x 2314" pencil, mat opening 854 x 1174"
90 Cunctator, 1938 1 10 #28, 1905
gouache on newspaper, 2 114 x 13 54" pencil, mat opening 1114 x 8 54"
*91 Torso and Kin in Full Moon fDer Torso und die Seinen bei hi Studies #29, #30, 1905
Vollmond ) 1939 pencil, mat opening 10 14 xyA"
2 tempera on burlap, 2 5 54 x 1954", ill. p. 5 112 Soothsayers in Conversation (Auguren im Gesprach) 1906
92 La belle jardiniere, 1939 pencil and pen, 854 x 6 A"
tempera on burlap, 31 A x 27 54" 113 Studies #1, #2, #3, #4, #5, 1907
93 Love Song at New Moon (Liebeslied bei Neumond) 1939 pencil, mat opening 854 x 12"
tempera on canvas, 3 9 54 x 27 14" *114 #49,1908
94 Nymph in the Vegetable Garden (Nymphe im Gemiisegarten ) pencil, 1114 x 7 74", ill. p. 13
1939 115 #51, 1908
tempera on burlap, 13 A x 20A" charcoal and chalk, i874 x 14A"

51
 116 #n, 1909 "136 Seascape with a Heavenly Body (Seelandschaft mit dem
pen and brush, 6 A x 12 A" Flimmelskbrper ) 1920
117 Portrait of M. K. (Portrdt M. K.) 1909 pen, 5x11 A", ill. p. 18
3A" pen, 8 x io
137 Drawing for "Earth, Air and Plant Kingdom"
""118 From Berne (Aus Bern ) 1909 (Zeichnung zu Pflanzen, Erd- und Luftreich ) 1920
J
A pen and brush, 8 x 10A", ill. p. 14 pen, 8 7 x 7 H "
119 Houses near Parade Ground Oberwiesenfeld outside Munich 138 The Road from Unklaich to China (Der Weg von Unklaich
(Hauser am Exerzierplatz Oberiviesenfeld b. Munchen ) 19 10 nach China ) 1920
pen, 8 H x 16" pen, 7V&x 11"
120 Berne (Bern) 1910 139 The Steamer Passes the Botanical Garden (Der Dampfer
3A pen, 6 x 5% " fdhrt am botanischen Garten vorbei) 1921
A 121 Hannah, 1910 pen, 8 3 x 113 "
pen, 8 H x 6H" 140 Drawing for Distillation of Pears" (Zeichnung zur
122 Furniture Caricature (Karikatur eines Mobels ) 19 10 Birnendes filiation ) 19 2 1
A
A" pen, 8 7 x 10 3 pen, 7^x11^"
123 Woman on a Chaise Longue (Frau im Liegestuhl ) 191 1 141 Concert on a Branch (Konzert auf dem Ziveig) 1921
pen and brush, 6x9 A&" pen, 11A x8H"
4 12 An Uneasy Moment (ein unheinilicher Moment) 1912 142 Drawing for "Room Perspective with Occupants"
3A pen, 6 x 6A" (Zeichnung zur Zimmerperspektive mit Einwohnern ) 1921
125 Shift to the Right ( Verschiebung nach rechts ) 19 13 pencil, 13 A x 9A"
pen, 5 Vi x 4 A " 143 For the "Dance of the Night Moth " (Zum
126 Fabulous Island (Fabelhafte lnsel) 1913 Nachtfaltertanz) 1922
A pen, 2 A, x 7 V2" pen, 12 A x 8 3 "
127 Sketch from Kairouan (Skizze aus Kairouan) 1914 144 The Armored Maiden and the Animals (Die gepanzerte
pen, 6 A x 4" Jungfrau und dieTiere) 1922
A *128 #153, 1914 pencil, 8 3 x 113 "
JA pen, j x 5H", ill. p. 15 145 Exotic Theatre (Theater der Exoten) 1922
129 #89, 1915 pen, 9 x 15"
A pen, 4 7 x 9A" 146 Drawing for ' The Combat of the Sea-farers" (Zeichnungzw
130 #2, 1916 Kampfszene der Seefahrer) 1923
A
A" pen, 6 A x 4 7 pencil and pen, 9 3 x 13A "
131 #66, 1916 147 #217, 1923
pen, 9V2x 5 A" pen, 11 Asx 8V2"
132 Drawing for Evil Star of Ships " (Z etch nun g zum Unstern der 148 Female Costume Mask (weibliche Kostummaske) 1924
A Schiffe) 191 7 pen and watercolor, 11 l x 8 3 "
3A pen, 8 3 x io " 149 Scene with Running Woman (die Szene mit der Laufenden)
33 1 Drawing with a Fermata (Zeichnung mit der Fermete) 1918 1925
A pen, 6 A x 9 Vi" pen, 8/4xn 3 "
134 The Immediate Future Bred Deadly Danger (Nahe Zukunft 150 The Beetle (der Kdfer ) 192.5
A briitete todliche Gefahr ) 19 19 pen, 1114 x 9 7 "
A pen, 11 "Ax 8 3 " *151 Daemonie, 1925
A
35 1 Higher and Higher, Out of Sight (Floher, ferner schwindend ) pen, 9 3 x 2 1A ", ill. p. 26
1919 152 Storm Spirit (Sturmgeist) 1925
lA pen, 10 A x8A" pen, n x 9"
 153 Flying Seeds (Flugsamen) 1925 173 Three Ghost Ships (drei Geisterschiffe) 1928
pen, 8 Msx 14 14" pen, 11 Msx 17 Ms"
*154 Realm of the Curtain (Reich des Vorhanges) 1925 174 Minor Disaster at Sea (kleine Seenot) 1928
pen, 12 Msx ioMs", ill. p. 24 pen, 17 Msx I2?4s"
155 Transfixed <festgebannt ) 1925 175 Nomad Prince (Nomadenfiirst) 1929
pen, 7 34 x 8 Ms" pencil, 1114 x 17 34"
156 A Garden for Orpheus (ein Garten fiir Orpheus) 1926 176 Ordensburg, 1929
pen, 18 14 x 12 V2" pen, 11 V\ x 9 Ms"
157 Demons Before the Entrance (Ddmonen vor dem Eingang ) 177 Town with Watchtowers (Stadt mit Wachttiirmen ) 1929
1926 brush, 18 x 17 Ms"
pen, 5?'fsx 12 Ms" *178 Family Promenade (Familien Spaziergang) 1930
158 Before Birth (vor der Geburt) 1926 pew watercolor, 1534 x 22 Ms",ill. p. 34
pen, 10 34 x 16H" 179 The Bay (die Bucht) 1930
159 Gay Witchcraft (heiterer Spuk) 1927 pew, i8l4 x 23MS"
pen, 11V2x 1 5 Ms" 180 Exercises (Ubungen) 1930
160 Beride, 1927 pew, i854xiiMs"
pen, 634 x 834" 181 Offensive-Complicated (kompliziert-offensiv) 1930
161 The Great Cupola (7/fegrosse Kuppel) 1927 pew, 12 J4 x 19"
pew, 10H x 12" 182 Dirigible Grandfather (lenkbarer Grossvater) 1930
162 Rolling Hills of the Proquerolles (Hugelland von pen, 23MSx i8l4"
Proquerolles) 1927 183 Abstract Script (abstrakte Schrift ) 193 1
pen, 11Msx 18 14" pew, 3^4 x 8 Ms"
163 Cathedral of L.-berg (Kathedrale v. L.-berg) 1927 184 Flight from Self, First Stage (Elucht vor sich, erstes Stadium )
reed pen, 9 Msx 11 Ms" 1931
r/2 pen, i6 x 22M3"
164 Temperaments (Temperamente ) 1927
185 Foliage (Baumschlag) 1931
pen, 12 x 17 Ms"
/i pew, 9 34 x 12 l "
165 Rain (Regen) 1927
186 In the Process of Becoming (ein Werdender) 1933
pew, 11% x 18 14"
t/2 sanguine, i6 x 11 14"
166 City of Lagoons (Lagunenstadt) 1927 Diary Portcros: the Mistral (Tagebuch Portcros: der Mistral)
187
pew, 12 x 18 14"
1933
*167 Little Fool in a Trance, III fkleiner Narr in Trance, 3) 1927 transfer drawing, 1514 x 19MS"
pen, 18 14 x 11 Ms" , /'//. p. 28\ 188 Clean and Unclean Hands (reine und unreine Hande) 1934
168 Activities of a Town by the Sea (Aktivitdt der Seestadt) 1927 pen, 18 Msx 2 5 "
pew, 17 Msx 18 Va" 189 Uphill and Then? (bergauf und dann?) 1934
169 Prickly Drift, First Stage (Stachel-Stromung ersten pew, 19 Msx 11 Ms"
Stadiums ) 1928 190 Play on the Water (Spiel auf dem Wasser) 1935
pen, 18 x 2 3 Ms" pencil, jVs x 10 Ms"
170 Ships in a Lock (Schiffe in der Schleuse) 1928 191 Finds (Funde) 1935
pen, 11Msx 18" pencil, 8 14 x 13 "
171 Animal Nurse (Tierpftegerin) 1928 192 Event on the Playground (Ereignis am Spielplatz ) 1937
pen and brush , 13 x 15" charcoal, 13 Msx 19 J4 "
172 Ah, These Passions! (ja, die Leidenschaften!) 1928 193 Waterway ( Wasser-Route) 1937
pen, 11 x 17 Mi" charcoal and brush, iol4xi9l4"

J9
 194 Shopgirl and Customer (Fadnerin und Kundin) 1937
brush, 10 x 19 H "
195 Angel from the Star (Engel vom Stern) 1939
brush and water color, 24^x18^"
*196 Injured ( Verletzt) 1940
A
T brush, i6 x 11H", ill. p. 54

Prints
197 Adventurous Fish (abenteuerlicher Fisch) 1901
etching, 3 14 x 4V&"(image)
198 Virgin in a Tree (Jungfrau im Baum) 1903
etching, 9 J4 x 11H" (image)
199 Two Men Meet, Each Believing the Other to be of a Higher
Rank (Zwei Manner, einander in hoherer Stellung vermutend,
begegnen sich) 1903
etching, 4 H x 7/" (image)
200 Head of Menace (Drohendes Haupt) 1905
etching, 7x5" (image)
201 Senile Phoenix (Greiser Phonix) 1905
etching, 10 x 7F4" (image)
202 Hero with a Wing (Der Held mit dem Fliigel ) 1905
etching, 9^x5^" (image), ill. p. 12

This book has been printed in March, 1949,

for the Trustees of the Museum of Modern Art, Neiv York,
by The John B. Watkins Company, New York

Cover, typography, and format by Paul Rand

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