繪畫中的音樂—保羅．克利的《複音繪畫》

Abstract

In the wave of beginning 20th century's modem painting, Klee possessed the double-status of being musician and painter at the same time, which took the significant position. Klee was pursuing the natural harmonious principle and insisting the balanced ideal form for his works. Those were all influenced by his own character and also had things to do with the literature, music, natural science and arts for which flourished him throughout his growing process. For Klee himself, the ideal art was based on the principle of nature's unchanging harmony and balance. He first proofed that viewpoint on music. Klee also believed that the development of music was farther than the one of painting's. One should learn and borrow the ideas from music to improve the development of painting. Klee pay the most respect to both Bach and Mozart. He believed that their music was even more modern than the 19th century's music and could set the example for painting. Klee proposed the idea of polyphonic painting in his diary in 1917. He believed that the idea of polyphonic painting was richer than the one of polyphonic music. Since then, it had become Klee's main motive to fulfill the idea of polyphonic painting for his works.

Before Klee proposed the idea of polyphonic painting, the works of French painter Robert Delaunay had stimulated Klee's discovery and progress for color. Meanwhile, it also reinforced Klee's confidence on polyphonic painting. He then held the principle of "simultaneity" and also used the ideas of co-existing (juxtaposition) and overlapping to experiment the different form of polyphonic painting. Klee finished the work of "Ad. Parnassum" in 1932 and that had reached the peak of polyphonic painting. The structure of polyphonic painting could also be traced in his last work. In that, one could see the importance of polyphonic painting in Klee's works.