| | BOOK FORMAT
Hardcover, 8.75 x 10.25 in. / 128 pgs / 70 color and 30 bw. PUBLISHING STATUS
Pub Date 10/15/2006
Out of stock indefinitely DISTRIBUTION
D.A.P. Exclusive
Catalog: FALL 2006 p. 56 PRODUCT DETAILS
ISBN 9783775717403 TRADE
List Price: $40.00 CAD $54.00 AVAILABILITY
Not available | TERRITORY
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| | | Paul Klee: Hand PuppetsEssays by Christine Hopfengart, Alexander Klee, Felix Klee, Osamu Okuda, Tilman Osterwold and Eva Widerkehr.
Between 1916 and 1925 Paul Klee (1879-1940) made some 50 hand puppets for his son, Felix, of which 30 are still in existence. For the heads, he used materials from his own household: beef bones and electrical outlets, bristle brushes, leftover bits of fur and nutshells. Soon he began to sew costumes. These characters and small works, do not pretend to be great art, but at the same time, they are superbly imaginative, sweetly reminiscent of Klee's relationships with his family, and beautifully illustrative of the artistic and social developments of the time. Readers will see the chronological proximity of Dada and Kurt Schwitters's collages in Klee's Matchbox Ghost; the German National caricatures one of the era's more ominous political types. An introductory essay tracks the work's links to other avant-garde puppetry and to Klee's sculptural works, and notes his connections to the theater. For their part, Klee's son Felix and his grandson Alexander tell the story of how the figures were created.
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FORMAT: Hardcover, 8.75 x 10.25 in. / 128 pgs / 70 color and 30 b&w.
LIST PRICE: U.S. $40.00
LIST PRICE: CANADA $54
ISBN: 9783775717403
PUBLISHER: Hatje Cantz
AVAILABLE: 10/15/2006
DISTRIBUTION: D.A.P.
RETAILER DISC: TRADE
PUBLISHING STATUS: Out of stock indefinitely
AVAILABILITY: Not available
TERRITORY: NA LA | D.A.P. CATALOG: FALL 2006 Page 56 | PRESS INQUIRIES
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| Paul Klee: Hand Puppets Published by Hatje Cantz.
Essays by Christine Hopfengart, Alexander Klee, Felix Klee, Osamu Okuda, Tilman Osterwold and Eva Widerkehr. Between 1916 and 1925 Paul Klee (1879-1940) made some 50 hand puppets for his son, Felix, of which 30 are still in existence. For the heads, he used materials from his own household: beef bones and electrical outlets, bristle brushes, leftover bits of fur and nutshells. Soon he began to sew costumes. These characters and small works, do not pretend to be great art, but at the same time, they are superbly imaginative, sweetly reminiscent of Klee's relationships with his family, and beautifully illustrative of the artistic and social developments of the time. Readers will see the chronological proximity of Dada and Kurt Schwitters's collages in Klee's Matchbox Ghost; the German National caricatures one of the era's more ominous political types. An introductory essay tracks the work's links to other avant-garde puppetry and to Klee's sculptural works, and notes his connections to the theater. For their part, Klee's son Felix and his grandson Alexander tell the story of how the figures were created.
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