Abstract

Paul Klee’s Ad Parnassum is a summing up of his explorations of new directions in painting, including Cubism, Pointillism, and “pure painting,” and his tenure at the Bauhaus. This large work is a complex composition of abbreviated geometric forms, dominated by a pyramid-shaped structure, color fields, a solid colored sun-like circle, and various substructures and under fields of color. Entirely constructed upon a pattern of white dots of different glazes, this mesmerizing painting creates a scintillating experience through these dots in relation to the color fields. As part of new movements that wished to reexamine the nature of painting itself, and ultimately ideas of time and space, Klee both broke down traditional temporal and spatial treatment in art and illuminated the subjective space of his paintings through color and form. He expanded the new techniques by developing his own ideas of geometric form and color modalities, which are finely expressed in Ad Parnassum. This paper also discusses Klee’s complex incorporation of language elements and the effect of his travels in North Africa. Ultimately, one notices a reckoning of subjectivity and objectivity in all this, with, in this key painting, a highlighting of the relationship between stasis and flux, at its deepest level, releasing an affect of the aesthetic sublime in its viewer.