Revolution des Viadukts anagoria Print On Canvas

Revolution des Viadukts – the perfect fine art print for your home if you like abstraction. Will fit any of your room, but i suggest you to follow the main color theme of your room. After you hang this painting the atmosphere of your room will improve and will be more comfortable and attractive.

MORE Paul Klee Prints

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 Revolution des Viadukts:

Artist: Paul Klee

Name: Revolution des Viadukts anagoria

Type: Canvas Print

Quality of the print:

Permanent Waterproof

Bright-colored

Permanent sun-resistant

In 1937, Paul Klee created one of his most famous paintings. Currently, it is on display at the Hamburg Kunsthalle. It is widely acknowledged that this is a political and historical image. Nevertheless, there are differing perspectives on how it can be interpreted.

In the same year, the Nazi-Kulturchefs organized the exhibition “Degenerative Art” in Munich. This exhibition displayed five Klee paintings, nine of his aquarelles, and three stamps. Subsequently, following the exhibition, two hundred of the artist’s works were taken from public collections in Germany. Klee himself 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.

While Klee never displayed it, this painting was shown to the public until a posthumous exhibition in Bern in 1940. The small vertical image has a relatively monochrome gray background that occasionally transitions to a rosa-violette background.

Within this background, interconnected bridges in various colors and sizes appear to “attack” the observer. They don’t march in orderly rows; instead, they swarm like an unruly horde. Furthermore, the diversity in their colors and sizes only amplifies this impression.

Over time, researchers have come to the conclusion that Klee’s painting encapsulates the dangers of a totalitarian mass movement. In a 1987 article, Werkmeister raised questions about the legality of such interpretations.

According to him, the beige, orange, rosa, and red soils, some eroded, others broad and thin, or with varying thickness “Beinen,” do not represent a “totalitarian mass movement” characterized by monotony and consistency, without sacrificing individuality. Consequently, this image undeniably depicts distinct individuality.

Klee titled the most recent version of this work “The Brückenbögen is Out of Service.” A drawing, closely resembling the image, conveys the impression of an uneven size arrangement. During this period, Autobahnen construction began, and bridges played a pivotal role in Nazi architecture.

The boulders are arranged in “shallow rows,” with height and width monotony suppressing undergrowth. They reject cooperation on the bridges, refusing to be mere links in the chain, each striving to live life their own way. The rallying cry becomes “Break the system” and “rebelle.”

Each bridge marches uniquely toward the viewer, taking no uniform steps in between. Their abundance instills belief in their own strength.

If there’s something they aim to dismantle, it’s the order that secures their subjugation. The image, with all its threats, serves as a war cry to the Nazis. Even if the artists didn’t achieve their complete annihilation, they certainly quashed individuality in art.