Tête d'enfant

Tête d'enfant

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€320,00 EUR
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  • Year: 1939
  • Technique: Engraving
  • Size: 26 x 35 cm

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This work includes a Certificate of Authenticity. A Certificate of Authenticity is a document from an authoritative source that verifies the authenticity of the work of art. The certificate may be signed by the artist's creator, the gallery representing the work, or the printmaker who collaborated with the artist on the work.

The information typically included in a certificate of authenticity includes: the artist's name, details of the work (title, date, medium, dimensions), and an image of the work.

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If you want to permanently illuminate the work, we recommend using cold light sources. Use a soft duster for periodic cleaning. Never use household cleaners.

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Information about the work

Tête d'enfant (Child's Head) is a work by the artist Paul Klee (Münchenbuchsee, 1879 – Muralto, 1940) that combines diverse influences such as surrealism, cubism, and expressionism. The child's face displays a marked primitivism, accompanied by an earthy color palette that contrasts sharply with the child's vibrant yellow curls. The figure's expression is serious and its arms appear to be crossed, which shocks the viewer, since, as this is a portrait of a child, one would expect a tender, smiling face. In this way, the artist plays with the public's expectations on several levels, resulting in an exceptional print that reflects Klee's artistic richness and versatility.

Biography Paul Klee
Tête d'enfant

Biography Paul Klee

Paul Klee (Münchenbuchsee, 1879 - Muralto, 1940) is an artist difficult to classify, lacking a clear tendency or specific school. Influenced by German Expressionism, his work ranged from geometric abstraction to surrealism. Music, central to his life... Leer más

Paul Klee (Münchenbuchsee, 1879 - Muralto, 1940) is an artist difficult to classify, lacking a clear tendency or specific school. Influenced by German Expressionism, his work ranged from geometric abstraction to surrealism. Music, central to his life, had a notable influence on his art. He trained in Munich, joining the Der Blaue Reiter group alongside Kandinsky and others. His visit to Tunisia in 1914 was crucial, as he discovered color as the central axis of his work. Between 1921 and 1931, he was a professor at the Bauhaus, where his pictorial language was consolidated, incorporating influences from constructivism. His trip to Egypt in 1928 saw him add hieroglyphics and horizontal and vertical structures to his compositions. After the rise of Nazism, he was forced to leave Germany, spending his final years in Bern. Despite his illness, his final stage was intense and creative, achieving a profound integration between life and art.

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