Swiss painter who was one of the foremost artists of the 20th century.

Klee's mother, née Ida Maria Frick of Basel, and his German-born father, Hans Klee, were both trained as musicians. By Swiss law, Paul Klee held his father's nationality, and though late in life he applied for Swiss citizenship, he died before it could be granted. A gifted violinist, he briefly considered music as a career, and between 1903 and 1906 he played occasionally in the Bern symphony orchestra. Klee was educated in the classical Literarschule (a literary secondary school) in Bern. As a youth he wrote poetry and even tried his hand at writing plays. The diaries he kept from 1897 to 1918 are valuable documents rich with detailed accounts of his experiences and his observations on art and literature.

As a boy Klee did delicate landscape drawings, in which he and his parents saw the promise of a career, and he filled his school notebooks with comic sketches. Upon graduating from the Literarschule in 1898 he left for Munich, which was then the artistic capital of Germany, and enrolled in the private art school of Heinrich Knirr. In 1899 he was admitted to the Munich Academy, which was then under the direction of Franz von Stuck, the foremost painter of Munich. Stuck was a rather strict academic painter of allegorical pictures, but his emphasis on imagination proved invaluable to the young Klee.

Klee completed his artistic education with a six-month visit to Italy before returning to Bern. The beauty of the art of ancient Rome and of the Renaissance led him to question the imitative styles of his teachers and of his own previous work. Giving vent to his generally sardonic attitude toward people and institutions, Klee fell back on his undisputed talent for caricature, making it one of the cornerstones of his art. His first important works, a series of etched “Inventions” undertaken in 1903–05 after his return from Italy and drawn in a tight technique inspired by Renaissance prints, are grotesque allegories of social pretension, artistic triumph and failure, and the nature and perils of woman.

In 1906 Klee married Lily Stumpf, a pianist whom he had met while an art student, and that year he settled in Munich to pursue his career. His public debut that year—an exhibition of his “Inventions” in Frankfurt am Main and Munich—was largely ignored. He tried to earn a living by writing reviews of art exhibits and concerts, teaching life-drawing classes, and providing illustrations for journals and books. He had one small success as an illustrator: the drawings he did in 1911–12 for Voltaire's satirical novel Candide. Among his most accomplished early works, these drawings attempt to capture the humour and universality of Voltaire's satire by reducing characters, settings, and details to comic flurries of lines. As for Klee's caricatures, they were rejected as too idiosyncratic, and for many years Klee's small family—increased to three in 1907 by the birth of their only child, Felix—was supported largely by Lily's piano lessons.

Over the next several years Klee began to address his relative ignorance of modern French art. In 1905 he visited Paris, where he took special note of the Impressionists, and between 1906 and 1909 he became successively acquainted with the work of the Postimpressionists Vincent van Gogh (Gogh, Vincent van) and Paul Cézanne (Cézanne, Paul) and of the Belgian artist James Ensor. He also began to explore the expressive possibilities of children's drawings. These varied influences imparted to his work a freedom of expression and a willfulness of style equaled by few other artists of the time.

Klee caught up with the avant-garde in 1911, when he entered the circle of Der Blaue Reiter (Blaue Reiter, Der), an artists' organization founded in Munich that year by the Russian painter Wassily Kandinsky (Kandinsky, Wassily) and the German painter Franz Marc (Marc, Franz). Kandinsky was then in the process of formulating his influential theory of abstract art as spiritual expression, and while Klee had only limited tolerance for his mysticism, the Russian artist, together with Marc, showed him how far abstraction and a visionary approach to content could be taken. Klee also came to know a wide variety of French Cubist painting from Der Blaue Reiter exhibitions of 1911–12 and from a visit he made to Paris in April 1912. He was especially impressed with the Orphic Cubism of the French artist Robert Delaunay (Delaunay, Robert).

Klee's own adoption of the abstracted geometric style of the Cubists is seen in a number of drawings he did in 1912–13 that range from comic images of lust and mayhem to symbolic representations of fate. They are not as complex as Cubist compositions—that would come later, after Klee had assimilated his new discovery—but instead resemble, and were largely inspired by, the simple patterns of children's drawings. Klee joined Cubism to children's art because both, he believed, returned art to its fundamentals: children's art by its direct and naive renderings, and Cubism by its timeless geometry. Together with Klee's taste for caricature, these elements result in a characteristic union of the farcical and the sublime, two seemingly contradictory qualities held in suspension by Klee's rigorous compositions and later by the beauty of his colour. From Cubism Klee also derived the frequent use of letters and other signs in his works; in Cubism these are usually simple indicators of the objects represented, but with Klee they become objects in their own right, imbuing his scenes with portents and enigmatic significance.

Until 1914 Klee found it difficult to paint; he felt a lack of confidence in his abilities as a colourist, and most of his work to that time had been in black and white. But in April of that year he took a two-week trip to Tunisia with his boyhood friend Louis Moilliet and fellow painter August Macke (Macke, August) of Der Blaue Reiter. Klee's intense response to the North African landscape and the example of Macke's more advanced use of Delaunay's colourful Cubism brought him new assurance as a painter. His lyrical watercolours of Tunisia, in which the landscape is simplified into transparent coloured planes, are his first sustained body of work in colour. They would be the basis, in subject and style, for much of his painting in subsequent years.

As a German citizen, Klee was called up for service in the German army in 1916 during World War I. As a Swiss he felt little of the patriotic zeal and martial enthusiasm shown by many German artists and intellectuals, and he was spared front-line duty by recently enacted legislation exempting artists from combat. He remained in Bavaria, where he was able to continue his art. Many of the paintings Klee did during the war years are romantic, childlike landscapes, where war makes its appearance indirectly in images of demons or conflicts with fate. Their charm proved popular with the public, and his work began to sell.

With the end of the war in 1918 and the ensuing abortive November Revolution, Klee, like many other German artists, saw the hope of a new society. His political optimism may explain the exuberance of his work at this time. He continued to paint evocative landscapes, but he returned as well to the farcical imagery he had drawn before the war. He visited the Dadaists in Zürich, and his work approaches theirs in its humour and spirit of absurdity. Among Klee's most striking pictures of the postwar period are his oil transfer paintings, created with a distinctive technique he devised in 1919. Essentially coloured drawings, they were made by tracing a drawing—usually onto watercolour paper—through a transfer paper coated with sticky black ink or paint, and colouring the result. Their characteristically fuzzy, spreading lines are unlike anything else in the period and lend a rich patina to Klee's droll or whimsical images. Among them are such well-known works as “Room Perspective with Inhabitants” (1921), whose inhabitants dwell not in the room but within the perspective lines that create it; and “Twittering Machine” (1922), which depicts a comic apparatus for making birds sing.

In 1920 Klee received an appointment to teach at the Bauhaus, the school of modern design founded in 1919 in Weimar, Ger., by the architect Walter Gropius. Klee's principal duty, like that of his fellow Bauhaus artists Kandinsky and László Moholy-Nagy, was to lecture in the basic design program on the mechanics of art. His lectures at the Bauhaus, recorded in more than 3,300 pages of notes and drawings, were a remarkable attempt to show how the formal elements of art—simple linear constructions and geometric motifs—could be used to build complex symbolic compositions. Klee expounded his own methods in the Pädagogisches Skizzenbuch (1925; Pedagogical Sketchbook).

The prevalent geometric aesthetic of the 1920s and Klee's attempts to teach a methodology of art led him to rationalize his own practice as well. His work of the Bauhaus decade is more geometric than before, and the number of forms employed in a given composition is sharply reduced. Among the many types of compositions resulting from this practice are pictures made entirely of coloured squares, horizontal striations, or patterns resembling basket weave and, among his most evocative, a number of paintings in which puzzlingly disparate objects—faces, animals, goblets, heavenly bodies—coexist in a black, undifferentiated space.

By the mid-1920s Klee's reputation had spread far beyond Germany, and in 1925 he received his first one-man show in Paris, the capital of European art. As the decade progressed, his biweekly lectures and administrative duties, and the almost constant tension in the Bauhaus over policy and politics, became increasingly onerous, and in 1931 he resigned for a less demanding position at the Dusseldorf Academy. He continued to work with geometric forms, most notably in his richly but painstakingly rendered “pointillist” paintings of 1930–32, with their mosaic-like surfaces of coloured dots—among them his largest single painting to date, “Ad Parnassum” (1932). But most of his pictures of the early and mid-1930s show varying attempts at loosening his style, with freer compositions and brushwork.

Klee remained at the Dusseldorf Academy until 1933, when Adolf Hitler came to power; from then on, it was no longer possible to work in Germany. As a modern artist, Klee was dismissed from his position, and his house and studio were searched by the Gestapo on account of his known left-wing sympathies. Despite these difficulties, Klee continued to work without restraint. The drawings he did at this time are mostly representational and even narrative; many directly reflect the political disturbances of the day, dealing in ironic fashion with demagogy, militarism, political violence, and emigration.

But Klee's creative activity was not to continue uninterrupted. At the end of 1933 he returned to the relative artistic isolation of Switzerland, where the disruptions caused by his move, along with his sudden financial uncertainty, took a toll on both the quality and quantity of his work. His difficulties were compounded in the summer of 1935 by the onset of an incurable illness. At first misdiagnosed as a variety of lesser ailments, it was eventually recognized as scleroderma, an affliction in which the body's connective tissues become fibrous. Its severe initial symptoms, which ranged from a rash to glandular disturbances and respiratory and digestive difficulties, left Klee incapable of working for over a year. But in 1937 the temporary remission of his illness led to a remarkable outpouring of creative energy that was sustained until only a few months before his death in 1940.

Klee's late paintings and drawings are strongly influenced by the harsh distortions of Pablo Picasso's work of the 1920s and '30s. What the Spanish master gave to Klee in these final years was a means of expressing the urgency Klee felt as his health declined. The small details and delicate shadings and tints that had given his previous work its characteristic refinement are replaced by bold, simple strokes and a new intensity of colour. The sense of humour in these last works is now muted by the gravity of Klee's style and above all by images of dying and death. Among such works are wry drawings of angels (1939–40), who are still half-attached by memories and desires to their former selves, and “Death and Fire” (1940), Klee's evocation of the underworld, in which a rueful face of death is placed in an infernal setting of fiery red. These late images are among the most memorable of all Klee's works and are some of the most significant depictions of death in the history of art.

Though Klee belonged to no movement, he assimilated, and even anticipated, most of the major artistic tendencies of his time in his work. Using both representational and abstract approaches, he produced an immense oeuvre of some 9,000 paintings, drawings, and watercolours in a great variety of styles. His works tend to be small in scale and are remarkable for their delicate nuances of line, colour, and tonality. In Klee's highly sophisticated art, irony and a sense of the absurd are joined to an intense evocation of the mystery and beauty of nature. Claiming art to be a parable of the Creation, Klee represented everything from human figures and foibles to landscapes and microcosms of the plant and animal kingdoms, all with an eye that mocked as much as it praised; he was one of the great humorists of 20th-century art and its supreme ironist. Music figures prominently in his work—in his many images of opera and musicians, and to some extent as a model for his compositions. But literature had the greater pull on him; his art is steeped in poetic and mythic allusion, and the titles he gave to his pictures tend to charge them with additional meanings. Klee's work was too personal to found a school or style, but it has had wide and profound influence.