Herr der Stadt 1937

Editor: This is Paul Klee's "Herr der Stadt," created in 1937 using tempera. I find it really interesting how he's combined geometric forms to almost build a face, yet it feels so abstract. What stands out to you about this piece? Curator: Considering the year it was made, 1937, I immediately look to the materials and the process of making it. Klee’s choice of tempera – an older medium – feels significant. Was he perhaps consciously turning away from the slicker, industrialized art production methods gaining prominence? The tempera’s matte finish emphasizes the handmade, resisting the illusionism of oil paint. Editor: That's an interesting point. So, it's not just the image but the act of creating that matters here? Curator: Precisely! The application itself—how the tempera is built up, the visible brushstrokes – all speak to a deliberate process. Klee is literally constructing power relations on the canvas, layer by layer. Note also how the "master" is defined by very loose boundaries. Editor: You're right, those thick green outlines contain the colors and shapes, almost like a cage, but one he’s built himself. The idea of constraint imposed by structure is definitely apparent. How did the means of art production at this time relate to other modes of production? Curator: Excellent question. During this era, we see the rise of mass production, yet Klee's hand is distinctly visible. His approach seems to resist that dehumanizing aspect of industrialized art. Editor: It sounds like Klee's materials aren't just paint, they're a statement. It's not simply about what is depicted, but how it's made. It also offers another dimension when thinking about the power and the cultural context surrounding this image, considering the war period. Curator: Indeed, understanding the materials and methods lets us dissect the layers of meaning embedded within.