Revolution des Viadukts anagoria Print On Canvas

Description

 

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Pretty artwork for home decor.

It can raise the price of your property.

It can change the atmosphere in a room, and make it more positive.

Your feeling will be good every day.

About the painting:

Artist: Paul Klee

Name: Revolution des Viadukts anagoria

Type: Canvas Print

Quality of the print:

Permanent Waterproof

Bright-colored

Permanent sun-resistant

 

Paul Klee created one of his most famous paintings in 1937. It is currently on display at the Hamburg Kunsthalle. It is widely acknowledged that this is a political and historical image. However, there are differing perspectives on how it can be interpreted.
The Nazi-Kulturchefs organized the exhibition “Degenerative Art” in Munich in 1937.
It displayed five Klee paintings, nine of his aquarelles, and three stamps.
Following the exhibition, two hundred of the artist’s works were taken from public collections in Germany.
Klee has expressed his feelings about these events in writing on several occasions.
After being sidelined from work for a year due to illness, the artist resumed writing in 1937.
The project that occupied him the most this year was the Revolution of the Viadukts (“Rebellion des Viaducts”).
He altered the image in five different ways, and the one discussed here was the final one in the series.
Klee never displayed it, but it was shown to the public until a posthume exhibition in Bern in 1940.
The small vertical image has a relatively monochrome gray background that occasionally transitions to a rosa-violette background.
This background depicts the interconnected bridges in various colors and sizes that “attack” the “Betrachter.”
They don’t march in neat lines, but rather swarm like an unruly swarm, and the variety of their colors and sizes only adds to the impression.
Over time, researchers came to the conclusion that Klee’s painting captured the dangers of a totalitarian mass movement.
In a 1987 article, Werkmeister called into question the legality of such interpretations.
The beige, orange, rosa, and red soils, some eroded, others large and thin, or with “Beinen” of varying thickness, do not, in his opinion, represent a “totalitarian mass movement” distinguished by monotony and consistency, without sacrificing individuality.
As a result, this image clearly depicts a distinct individuality.
Klee dubbed the most recent version of this work “The Brückenbögen is Out of Service.”
This drawing, which is very similar to the image, conveys the impression of a skewed size arrangement.
Autobahnen began to be built, and bridges played an important role in Nazi architecture.
The boulders were arranged in “shallow rows,” and the monotony of height and width suffocated undergrowth.
We refuse to collaborate on the bridges, refuse to be just a glied in the kette, and everyone wants to live his or her own way.
“Break the system,” they say, and “rebelle.”
They each march in their own way toward the viewer, taking no steps in between.
Your abundance inspires them to believe in their own strength.
If there is something that they wish to destroy, then that is the order that secures their subjugation.
The image, with all of its threats, is a war cry to the Nazis, who, if they did not achieve total annihilation at the hands of the artists, at least suppressed the individual in art.