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User:DomenikaBo

2024-03-06T17:41:49Z

DomenikaBo:

[[File:Benutzerin DomenikaBo (de).jpg|150px|left|thumb|DomenikaBo wearing a traditional hat at [https://de.wikipedia.org/wiki/Heimatmuseum_Prien Heimatmuseum Prien], [[Germany]]]]

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<br> <br>
<center>
'''I'm also curious about things that don't interest me:'''

{{quote|There is always something to look at if you open your eyes.|author=[[Doctor Who]]|source=[https://en.wikiquote.org/wiki/Fifth_Doctor S19 E3]}}
<br> <br>
If you want to know more, come and find me on [https://de.wikipedia.org/wiki/Benutzerin:DomenikaBo German Wikipedia] :)
</center>
<br> <br>

Bavarian International School

2021-04-10T16:13:32Z

DomenikaBo: updated the new logo

{{Infobox school
|name = Bavarian International School
|logo = Bis-school logo 2021.png
|image = THIMUNBIS2.jpg
|imagesize = 250px
|caption = BIS students attending the THIMUN conference representing the delegation of Croatia
|motto = Believe, inspire, succeed
|established = {{start date and age|1990}}
|closed =
|type = [[International Baccalaureate]]-curriculum [[international school]]
|affiliation = {{ubl|[[International Baccalaureate|International Baccalaureate Organisation]]|Council of International Schools|[[New England Association of Schools and Colleges]]}}
|district =
|grades = EC0-12
|director = Dr. Chrissie Sorenson
|dean =
|faculty =
|staff = 210 staff members (170 teachers from 28 nations)
|students =
|enrollment = 1,200 students (52 nationalities)
|athletics =
|conference =
|campus type =
|free_label3 = Athletics
|free_text3 = BIS Lions
|location = {{ubl|'''BIS Campus Haimhausen''':<br />Hauptstraße 1, 85778 [[Haimhausen]]|'''BIS City Campus''':<br />Leopoldstraße 208, 80804 [[Munich]]}}
|state = [[Bavaria]]
|country = [[Germany]]
|coordinates =
|website = {{URL|http://www.bis-school.com}}
}}

The '''Bavarian International School gAG''' (BIS) is an English-language [[International Baccalaureate]]-curriculum [[international school]] based in [[Haimhausen]], a municipality in the district [[Dachau (district)|Dachau]] in [[Bavaria]], [[Germany]], just north of [[Munich]].<ref>http://www.haimhausen.de/index.php?id=0,23</ref> In 2016, a second campus in Munich-[[Schwabing]] ([[Leopoldstraße]]) was opened for primary students. The school currently has a combined enrolment of approximately 1200 students aged 3 to 18 from over 52 countries speaking more than 70 languages. The 2-campus-school is run by the non-profit association Bavarian International School gAG

BIS caters mainly to internationally mobile management who require an educational offer for their children from early childhood through secondary school which is internationally transferable.<ref>{{Cite news|url=http://www.sueddeutsche.de/muenchen/bavarian-international-school-eine-schule-fuer-berufsnomaden-1.2987891|title=Eine Schule für Berufsnomaden|last=Munich|first=Melanie Staudinger|newspaper=sueddeutsche.de|language=de|access-date=2016-06-14}}</ref> BIS does not claim to be an alternative to the German public school system. Nonetheless, approximately 20% of all BIS students are Munich locals.

==History and facilities==

BIS was founded in 1990 as a non-profit association to serve the international community in the north of Munich. The school opened its doors in Schwabing on 19 February 1991 with just six students<ref>https://www.bis-school.com/</ref> and grew steadily, with its first graduating class in 1997.

In 1998 the school moved to [[Schloss Haimhausen]], a Rococo mansion located about ten kilometres north of Munich. Several purpose-built facilities, including a cafeteria, a performance arts centre with 510 seats,<ref>http://www.howtogermany.com/storefronts/bis.html</ref> a sports hall and 8-lane track were added to the school site over the following years. To make BIS-education more easily accessible for children living in the city, the BIS City Campus Primary School was opened for students in January 2016. In January 2017 about 200 children in EC1 (age 4) to Grade 5 were enrolled at the new campus, which has a capacity of 500 students.

==Curriculum and accreditation==

BIS is an [[IB World School]] and takes part in the [[IB Diploma Programme]].<ref>{{Cite news|url=http://www.sueddeutsche.de/muenchen/dachau/haimhausen-internationale-schule-stellt-sich-vor-1.2469241|title=Internationale Schule stellt sich vor|last=Haimhausen|newspaper=sueddeutsche.de|language=de|access-date=2016-06-13}}</ref> This program provides an internationally accepted qualification for entry into higher education and is recognised by many universities worldwide. The Bavarian International School is authorized to offer the IB Primary Years Programme (PYP), the IB Middle Years Programme (MYP), the IB Diploma Programme (DP) and the IB Career-related Programme (CP), all of the International Baccalaureate Organisation. The City Campus is authorized to offer the IB Primary Years Programme and accredited as an IB World School.

BIS is approved by the government of Bavaria and fully accredited by the [[Council of International Schools]] (CIS) and the [[New England Association of Schools and Colleges]] (NEASC). BIS is a member of the Educational Collaborative for International Schools (ECIS), the Association of German International Schools (AGIS), the Arbeitsgemeinschaft Internationale Schulen in Bayern (AISB), and the [[National Association for College Admission Counseling]] (NACAC).

==Co-curricular activities==

===Sports===
BIS offers a wide variety of sports throughout the entire school year in 3 different seasons. There are competitive as well as recreational offerings. BIS students compete in the German International School Sports Tournaments (GISST) as well as the European Sports Conference (ESC).

=== Arts===

BIS regularly hosts or participates in the International Schools Theatre Association (ISTA) events. The school prominently promotes music and visual arts in their students as well.<ref>{{Cite web |url=https://www.bis-school.com/uploaded/Documents/Admissions/Admissions_-_BIS_Brochure_2016.pdf |title=Archived copy |access-date=2016-06-21 |archive-url=https://web.archive.org/web/20160809132728/https://www.bis-school.com/uploaded/Documents/Admissions/Admissions_-_BIS_Brochure_2016.pdf |archive-date=2016-08-09 |url-status=dead }}</ref>

=== Model United Nations ===

BIS also offers a [[Model United Nations]] club in which students can learn to debate and improve their public speaking skills. BIS has attended over 20 conferences internationally and locally in the last several years, in addition to hosting its own debating competition in 2014. In 2017 several Bavarian International School students attended the THIMUN conference in The Hague.<ref name=":0">http://munichnow.com/bavarian-international-students-attend-mun-conference-at-the-hague/</ref> They attended again in 2018 with great success, winning several awards. The BIS Model United Nations club is a student run activity which is the largest co-curricular activity the school offers, hosting up to 80 students.

==Faculty and staff==

There are over 300 staff members working at BIS. The honorary Board of Directors is responsible for the management of the BIS Association. It carries out the resolutions of the General Meetings held in spring and fall of each year and bears the responsibility for the association's finances.

On September 10, 2014, BIS' staff held a warning strike at BIS to call for a [[collective bargaining agreement]] (CBA).<ref>http://www.thelocal.de/20140910/bavarian-international-school-teachers-strike-over-pay</ref> A similar warning strike occurred on the November 30, 2015.<ref>{{Cite news|url=http://www.sueddeutsche.de/muenchen/dachau/haimhausen-streik-an-der-privatschule-1.2761460|title=Haimhausen: Streik an der Privatschule|last=Haimhausen|first=Rudi Kanamüller|newspaper=sueddeutsche.de|language=de|issn=0174-4917|access-date=2016-03-03}}</ref> Staff has since abandoned their pursuit of a CBA.

As of August 2014, the Director of BIS (Head of School) is American-German Dr. Chrissie Sorenson.

==Local==

BIS actively participates and supports the local Haimhausen and district of Dachau communities, e.g. by cooperating with the local schools.<ref>{{Cite news|url=http://www.merkur.de/lokales/dachau/haimhausen/spontan-arbeiten-zusammen-2642983.html|title=Spontan arbeiten sie zusammen|last=Haimhausen|newspaper=merkur.de|language=de|access-date=2016-06-14}}</ref> Since 2004 the BIS and the SV Haimhausen have jointly organized the annual Haimhausen Triathlon.<ref>http://www.haimhausentriathlon.de/index.php/de/</ref>

==References==
{{Reflist}}

==External links==
{{Portal|Schools}}
*[http://www.bis-school.com/ School website]
*[https://www.tracesofevil.com/2002/02/blog-post.html/ History of the school's schloß and neighbouring area before and during the war]

{{International schools in Germany}}
{{Authority control}}

[[Category:International schools in Germany]]
[[Category:Education in Munich]]
[[Category:International Baccalaureate schools in Germany]]

Paul Klee

2020-01-10T16:08:39Z

DomenikaBo: /* Works in the Bauhaus period and in Düsseldorf */ Included information on Klee's puppets and an image of it.

{{short description|German painter}}
{{Redirect|Klee}}
{{Use dmy dates|date=December 2012}}
{{Infobox artist
| name = Paul Klee
| image = Paul Klee 1911.jpg
| imagesize =
| caption = Paul Klee in 1911
| birth_name =
| birth_date = 18 December 1879
| birth_place = [[Münchenbuchsee]], Switzerland
| death_date = {{death date and age|df=yes|1940|6|29|1879|12|18}}
| death_place = [[Muralto]], Switzerland
| nationality = German
| field = Painting, drawing, watercolor, printmaking
| training = [[Academy of Fine Arts]], [[Munich]]
| movement = [[Expressionism]], [[Bauhaus]], [[Surrealism]]
| works = More than 10,000 paintings, drawings, and etchings, including ''[[Twittering Machine]]'' (1922), ''[[Fish Magic (Klee)|Fish Magic]]'' (1925), ''Viaducts Break Ranks'' (1937).
| patrons =
| awards =
}}
'''Paul Klee''' ({{IPA-de|paʊ̯l ˈkleː|lang}}; 18 December 1879 – 29 June 1940) was a Swiss-born artist. His highly individual style was influenced by movements in art that included [[Expressionism]], [[Cubism]], and [[Surrealism]]. Klee was a natural draftsman who experimented with and eventually deeply explored [[color theory]], writing about it extensively; his lectures ''Writings on Form and Design Theory'' (''Schriften zur Form und Gestaltungslehre''), published in English as the ''[[Paul Klee Notebooks]]'', are held to be as important for modern art as [[Leonardo da Vinci]]'s ''[[A Treatise on Painting]]'' for the [[Renaissance]].<ref>Disegno e progettazione By Marcello Petrignani p. 17</ref><ref>[[Guilo Carlo Argan]] "Preface", Paul Klee, The Thinking Eye, (ed. Jürg Spiller), Lund Humphries, London, 1961, p. 13.</ref><ref name="EdinburghShow"/> He and his colleague, Russian painter [[Wassily Kandinsky]], both taught at the [[Bauhaus]] school of art, design and architecture in Germany. His works reflect his dry humor and his sometimes childlike perspective, his personal moods and beliefs, and his musicality.

== Early life and training ==
{{quote|First of all, the art of living; then as my ideal profession, poetry and philosophy, and as my real profession, [[plastic arts]]; in the last resort, for lack of income, illustrations.|Paul Klee.<ref>Gualtieri Di San Lazzaro, ''Klee'', Praeger, New York, 1957, p. 16</ref>}}

Paul Klee was born in [[Münchenbuchsee]], [[Switzerland]], as the second child of German music teacher Hans Wilhelm Klee (1849–1940) and Swiss singer Ida Marie Klee, née Frick (1855–1921).{{Ref label|fn_1|a|a}} His sister Mathilde (died 6 December 1953) was born on 28 January 1876 in [[Walzenhausen]]. Their father came from [[Tann, Hesse|Tann]] and studied singing, piano, organ and violin at the [[State University of Music and Performing Arts Stuttgart|Stuttgart Conservatory]], meeting there his future wife Ida Frick. Hans Wilhelm Klee was active as a music teacher at the Bern State Seminary in [[Hofwil]] near Bern until 1931. Klee was able to develop his music skills as his parents encouraged and inspired him throughout his life.<ref>Rudloff, p. 65</ref>

In 1880, his family moved to Bern, where they eventually, in 1897, after a number of changes of residence, moved into their own house in the {{ill|Kirchenfeld, Bern|de|Kirchenfeld (Bern)|lt=Kirchenfeld district}}.<ref>Baumgartner, p. 199</ref> From 1886 to 1890, Klee visited primary school and received, at the age of 7, violin classes at the [[Musikschule Konservatorium Bern|Municipal Music School]]. He was so talented on violin that, aged 11, he received an invitation to play as an extraordinary member of the Bern Music Association.<ref>Giedion-Welcker, pp. 10–11</ref>

[[File:Paul Klee My Room 1896.jpg|thumb|left|''My Room'' (German: Meine Bude), 1896. Pen and ink wash, {{convert|4+3/4|by|7+1/2|in|mm|abbr=on|order=flip}}. In the collection of the Klee Foundation, [[Bern, Switzerland]]]]
In his early years, following his parents’ wishes, Klee focused on becoming a musician; but he decided on the [[visual arts]] during his teen years, partly out of rebellion and partly because modern music lacked meaning for him. He stated, "I didn't find the idea of going in for music creatively particularly attractive in view of the decline in the history of musical achievement."<ref name="Partsch, p. 9">Partsch, p. 9</ref> As a musician, he played and felt emotionally bound to traditional works of the [[Classical period (music)|eighteenth]] and [[Romantic music|nineteenth]] century, but as an artist he craved the freedom to explore radical ideas and styles.<ref name="Partsch, p. 9"/> At sixteen, Klee's landscape drawings already show considerable skill.<ref name="Kagan, p. 54">Kagan p. 54</ref>

Around 1897, Klee started his diary, which he kept until 1918, and which has provided scholars with valuable insight into his life and thinking.<ref>Partsch, p. 7</ref> During his school years, he avidly drew in his school books, in particular drawing [[caricatures]], and already demonstrating skill with line and volume.<ref name="Partsch, p. 10">Partsch, p. 10</ref> He barely passed his final exams at the "Gymnasium" of Bern, where he qualified in the [[Humanities]]. With his characteristic dry wit, he wrote, "After all, it’s rather difficult to achieve the ''exact'' minimum, and it involves risks."<ref name="Kagan, p. 22">Kagan, p. 22</ref> On his own time, in addition to his deep interests in music and art, Klee was a great reader of literature, and later a writer on [[art theory]] and [[aesthetics]].<ref name="Jardi, p. 8">Jardi, p. 8</ref>

With his parents' reluctant permission, in 1898 Klee began studying art at the [[Academy of Fine Arts, Munich|Academy of Fine Arts]] in [[Munich]] with [[Heinrich Knirr]] and [[Franz von Stuck]]. He excelled at drawing but seemed to lack any natural color sense. He later recalled, "During the third winter I even realized that I probably would never learn to paint."<ref name="Kagan, p. 22"/> During these times of youthful adventure, Klee spent much time in pubs and had affairs with lower class women and artists' models. He had an illegitimate son in 1900 who died several weeks after birth.<ref name="Partsch, p. 11">Partsch, p. 11</ref>

After receiving his Fine Arts degree, Klee went to Italy from October 1901 to May 1902<ref>Olga's Gallery [http://www.abcgallery.com/K/klee/kleebio.html Paul Klee]</ref> with friend [[Hermann Haller (sculptor)|Hermann Haller]]. They stayed in Rome, Florence and studied the master painters of past centuries.<ref name="Partsch, p. 11"/> He exclaimed, "The [[Roman Forum|Forum]] and the [[Holy See|Vatican]] have spoken to me. [[Humanism]] wants to suffocate me."<ref>Jardi, p. 9</ref> He responded to the colors of Italy, but sadly noted, "that a long struggle lies in store for me in this field of color."<ref name="Kagan, p. 23">Kagan, p. 23</ref> For Klee, color represented the optimism and nobility in art, and a hope for relief from the pessimistic nature he expressed in his black-and-white grotesques and satires.<ref name="Kagan, p. 23"/> Returning to Bern, he lived with his parents for several years, and took occasional art classes. By 1905, he was developing some experimental techniques, including drawing with a needle on a blackened pane of glass, resulting in fifty-seven works including his ''Portrait of My Father'' (1906).<ref name="Partsch, p. 10"/> In the years 1903–05 he also completed a cycle of eleven zinc-plate [[etching]]s called ''Inventions'', his first exhibited works, in which he illustrated several grotesque characters.<ref name="Partsch, p. 11"/><ref>''[http://artinvestment.ru/en/news/exhibitions/20090418_paul_klee_inventions.html “Invention” Paul Klee at the Museum of Contemporary Art San Francisco]'' ARTinvestment.RU – 18 April 2009</ref> He commented, "though I'm fairly satisfied with my etchings I can't go on like this. I’m not a specialist."<ref>Jardi, p. 10</ref> Klee was still dividing his time with music, playing the violin in an orchestra and writing concert and theater reviews.<ref name="Partsch, p. 12">Partsch, p. 12</ref>

==Marriage and early years==

===Marriage===
[[File:Paul Klee Flower Myth 1918.jpg|thumb|upright|''Flower Myth'' (''Blumenmythos'') 1918, watercolor on pastel foundation on fabric and newsprint mounted on board, [[Sprengel Museum]], Hannover, Germany]]
Klee married Bavarian pianist Lily Stumpf in 1906 and they had one son named Felix Paul in the following year. They lived in a suburb of Munich, and while she gave piano lessons and occasional performances, he kept house and tended to his art work. His attempt to be a magazine illustrator failed.<ref name="Partsch, p. 12"/> Klee's art work progressed slowly for the next five years, partly from having to divide his time with domestic matters, and partly as he tried to find a new approach to his art. In 1910, he had his first solo exhibition in Bern, which then travelled to three Swiss cities.

=== Affiliation to the "Blaue Reiter", 1911 ===
In January 1911 [[Alfred Kubin]] met Klee in Munich and encouraged him to illustrate [[Voltaire]]'s ''[[Candide]]''. His resultant drawings were published later in a 1920 version of the book edited by Kurt Wolff. Around this time, Klee's graphic work increased. His early inclination towards the absurd and the sarcastic was well received by Kubin, who befriended Klee and became one of his first significant collectors.<ref name="Baumgartner207">Beate Ofczarek, Stefan Frey: ''Chronologie einer Freundschaft''. Michael Baumgartner, Cathrin Klingsöhr-Leroy, Katja Schneider, p. 207</ref> Klee met, through Kubin, the art critic Wilhelm Hausenstein in 1911. Klee was a foundation member and manager of the Munich artists' union ''Sema'' that summer.<ref name="Verspohl90">Thomas Kain, Mona Meister, Franz-Joachim Verspohl, Jena 1999, p. 90</ref> In autumn he made an acquaintance with [[August Macke]] and [[Wassily Kandinsky]], and in winter he joined the editorial team of the almanac ''[[Der Blaue Reiter]]'', founded by [[Franz Marc]] and Kandinsky. On meeting Kandinsky, Klee recorded, "I came to feel a deep trust in him. He is somebody, and has an exceptionally beautiful and lucid mind."<ref>Jardi, p. 12</ref> Other members included Macke, [[Gabriele Münter]] and [[Marianne von Werefkin]]. Klee became in a few months one of the most important and independent members of the ''Blaue Reiter'', but he was not yet fully integrated.<ref>Göttler: ''Der Blaue Reiter'', p. 118</ref>

The release of the almanac was delayed for the benefit of an exhibition. The first ''Blaue Reiter'' exhibition took place from 18 December 1911 to 1 January 1912 in the Moderne Galerie Heinrich Thannhauser in Munich. Klee did not attend it, but in the second exhibition, which occurred from 12 February to 18 March 1912 in the [[Hans Goltz|Galerie Goltz]], 17 of his graphic works were shown. The name of this art exhibition was ''Schwarz-Weiß'', as it only regarded graphic painting.<ref>Dietmar Elger, ''Expressionismus''. 1988, p. 141, {{ISBN|3-8228-0093-7}}</ref> Initially planned to be released in 1911, the release date of the ''Der Blau Reiter'' almanac by Kandinsky and Marc was delayed in May 1912, including the reproduced ink drawing ''Steinhauer'' by Klee. At the same time, Kandinsky published his art history writing ''Über das Geistige in der Kunst''.<ref>Catalogue raisonné, volume 1, 1998, p. 512; Thomas Kain, Mona Meister, Franz-Joachim Verspohl; ''Paul Klee in Jena 1924. Der Vortrag. Minerva''. Writings from Jena to Art History, volume 10, art history seminar, Jenoptik AG, print house Gera, Jena 1999, p. 92</ref>

===Participation in art exhibitions, 1912–1913===
The association opened Klee's mind to modern theories of color. His travels to Paris in 1912 also exposed him to the ferment of [[Cubism]] and the pioneering examples of "pure painting", an early term for [[abstract art]]. The use of bold color by [[Robert Delaunay]] and [[Maurice de Vlaminck]] also inspired him.<ref>Partsch, p. 18</ref> Rather than copy these artists, Klee began working out his own color experiments in pale watercolors and did some primitive landscapes, including ''In the Quarry'' (1913) and ''Houses near the Gravel Pit'' (1913), using blocks of color with limited overlap.<ref>Jardi, plate 7, 9</ref> Klee acknowledged that "a long struggle lies in store for me in this field of color" in order to reach his "distant noble aim." Soon, he discovered "the style which connects drawing and the realm of color."<ref name="Kagan, p. 23"/>

===Trip to Tunis, 1914===
Klee's artistic breakthrough came in 1914 when he briefly visited Tunisia with [[August Macke]] and [[Louis Moilliet]] and was impressed by the quality of the light there. He wrote, "Color has taken possession of me; no longer do I have to chase after it, I know that it has hold of me forever... Color and I are one. I am a painter."<ref name="Partsch, p. 20">Partsch, p. 20</ref> With that realization, faithfulness to nature faded in importance. Instead, Klee began to delve into the "cool romanticism of abstraction".<ref name="Partsch, p. 20"/> In gaining a second artistic vocabulary, Klee added color to his abilities in draftsmanship, and in many works combined them successfully, as he did in one series he called "operatic paintings".<ref>Partsch, pp. 24–25</ref><ref>Kagan, p. 33</ref> One of the most literal examples of this new synthesis is ''The Bavarian Don Giovanni'' (1919).<ref>Kagan, p. 35</ref>

After returning home, Klee painted his first pure abstract, ''In the Style of Kairouan'' (1914), composed of colored rectangles and a few circles.<ref>Partsch, p. 27</ref> The colored rectangle became his basic building block, what some scholars associate with a musical note, which Klee combined with other colored blocks to create a color harmony analogous to a musical composition. His selection of a particular color palette emulates a musical key. Sometimes he uses complementary pairs of colors, and other times "dissonant" colors, again reflecting his connection with musicality.<ref>Kagan, pp. 27, 29.</ref>

===Military career===
[[File:Paul Klee, 1916.jpg|right|upright|thumb|Paul Klee as a soldier, 1916]]
A few weeks later, [[World War I]] began. At first, Klee was somewhat detached from it, as he wrote ironically, "I have long had this war in me. That is why, inwardly, it is none of my concern."<ref>Partsch, p. 31</ref> Klee was [[conscription|conscripted]] as a ''Landsturmsoldat'' (soldier of the reserve forces in [[Prussia]] or Imperial Germany) on 5 March 1916. The deaths of his friends [[August Macke]] and [[Franz Marc]] in battle began to affect him. Venting his distress, he created several pen and ink [[lithograph]]s on war themes including ''Death for the Idea'' (1915).<ref>Reproduced alongside Gerg Traki's poem in Zeit-Echo 1915.A reverse [[ekphrasis]].</ref> After finishing the military training course, which began on 11 March 1916, he was committed as a soldier behind the front. Klee moved on 20 August to the aircraft maintenance company{{Ref label|fn_2|b|b}} in [[Oberschleissheim]], executing skilled manual work, such as restoring aircraft [[camouflage]], and accompanying aircraft transports. On 17 January 1917, he was transferred to the Royal Bavarian flying school in [[Gersthofen]] (which 54 years later became the [[USASA Field Station Augsburg]]) to work as a clerk for the treasurer until the end of the war. This allowed him to stay in a small room outside of the barrack block and continue painting.<ref name="Baumgartner214f">Beate Ofczarek, Stefan Frey: ''Chronologie einer Freundschaft'', pp. 214 et seqq</ref><ref>Partsch, p. 35</ref>

He continued to paint during the entire war and managed to exhibit in several shows. By 1917, Klee's work was selling well and art critics acclaimed him as the best of the new German artists.<ref>Partsch, p. 36</ref> His ''[[Ab ovo (painting)|Ab ovo]]'' (1917) is particularly noteworthy for its sophisticated technique. It employs watercolor on gauze and paper with a chalk ground, which produces a rich texture of triangular, circular, and crescent patterns.<ref name="Partsch, p. 20"/> Demonstrating his range of exploration, mixing color and line, his ''Warning of the Ships'' (1918) is a colored drawing filled with symbolic images on a field of suppressed color.<ref>Partsch, p. 40</ref>

== Mature career ==
[[File:Paul Klee, 1922, Red Balloon, oil on chalk-primed gauze, mounted on board, 31.7 x 31.1 cm, Solomon R. Guggenheim Museum.jpg|thumb|left|''Red Balloon'', 1922, oil on muslin primed with chalk, 31.8 x 31.1 cm. The [[Solomon R. Guggenheim Museum]], New York]]

In 1919, Klee applied for a teaching post at the Academy of Art in Stuttgart.<ref>Anger, Jenny. ''Paul Klee and the Decorative in Modern Art'', Cambridge University Press 2004 pp. 120–122</ref> This attempt failed but he had a major success in securing a three-year contract (with a minimum annual income) with dealer [[Hans Goltz]], whose influential gallery gave Klee major exposure, and some commercial success. A retrospective of over 300 works in 1920 was also notable.<ref>Partsch, p. 44</ref>

Klee taught at the [[Bauhaus]] from January 1921 to April 1931.<ref>Geelhaar, Christian (1972). ''Paul Klee und das Bauhaus.'' DuMont Schauberg, Köln, p. 9</ref> He was a "Form" master in the bookbinding, stained glass, and mural painting workshops and was provided with two studios.<ref>Jardi, p. 17</ref> In 1922, Kandinsky joined the staff and resumed his friendship with Klee. Later that year the first Bauhaus exhibition and festival was held, for which Klee created several of the advertising materials.<ref>Jardi, p. 18</ref> Klee welcomed that there were many conflicting theories and opinions within the Bauhaus: "I also approve of these forces competing one with the other if the result is achievement."<ref>Partsch, p. 48</ref>

[[File:GUGG Tropical Gardening.jpg|thumb|left|''Tropical Gardening'', 1923 watercolor and oil transfer drawing on paper, The Solomon R. Guggenheim Museum, New York.]]

Klee was also a member of [[Die Blaue Vier]] (The Blue Four), with Kandinsky, [[Lyonel Feininger]], and [[Alexej von Jawlensky]]; formed in 1923, they lectured and exhibited together in the US in 1925. That same year, Klee had his first exhibits in Paris, and he became a hit with the French Surrealists.<ref>Jardi, pp. 18–19</ref> Klee visited Egypt in 1928, which impressed him less than Tunisia. In 1929, the first major [[monograph]] on Klee's work was published, written by Will Grohmann.<ref>Jardi, p. 20</ref>
[[File:Nocturnal Festivity.JPG|thumb|''Nocturnal Festivity'', 1921, The Solomon R. Guggenheim Museum, New York.]]
Klee also taught at the [[Kunstakademie Düsseldorf|Düsseldorf Academy]] from 1931 to 1933, and was singled out by a Nazi newspaper, "Then that great fellow Klee comes onto the scene, already famed as a Bauhaus teacher in Dessau. He tells everyone he's a thoroughbred Arab, but he's a typical Galician Jew."<ref name="Partsch, p. 73">Partsch, p. 73</ref> His home was searched by the [[Gestapo]] and he was fired from his job.<ref name="EdinburghShow">[http://www.studio-international.co.uk/painting/klee_sng.asp The private Klee: Works by Paul Klee from the Bürgi Collection] Scottish National Gallery of Modern Art, Edinburgh, 12 August – 20 October 2000</ref><ref>Partsch, p. 55</ref> His self-portrait ''Struck from the List'' (1933) commemorates the sad occasion.<ref name="Partsch, p. 73"/> In 1933–34, Klee had shows in London and Paris, and finally met [[Pablo Picasso]], whom he greatly admired.<ref name="Jardi, p. 23">Jardi, p. 23</ref> The Klee family emigrated to Switzerland in late 1933.<ref name="Jardi, p. 23"/>

Klee was at the peak of his creative output. His ''[[Ad Parnassum (Klee)|Ad Parnassum]]'' (1932) is considered his masterpiece and the best example of his [[Pointillism|pointillist style]]; it is also one of his largest, most finely worked paintings.<ref>Partsch, p. 64</ref><ref>Kagan, p. 42</ref> He produced nearly 500 works in 1933 during his last year in Germany.<ref>Partsch, p. 74</ref> However, in 1933, Klee began experiencing the symptoms of what was diagnosed as [[scleroderma]] after his death. The progression of his fatal disease, which made swallowing very difficult, can be followed through the art he created in his last years. His output in 1936 was only 25 pictures. In the later 1930s, his health recovered somewhat and he was encouraged by a visit from Kandinsky and Picasso.<ref>Jardi, p. 25</ref> Klee's simpler and larger designs enabled him to keep up his output in his final years, and in 1939 he created over 1,200 works, a career high for one year.<ref>Partsch, p. 76</ref> He used heavier lines and mainly geometric forms with fewer but larger blocks of color. His varied color palettes, some with bright colors and others somber, perhaps reflected his alternating moods of optimism and pessimism.<ref>Partsch, pp. 77–80</ref> Back in Germany in 1937, seventeen of Klee's pictures were included in an exhibition of "[[Degenerate art]]" and 102 of his works in public collections were seized by the Nazis.<ref>Partsch, p. 94</ref>

== Death ==
Klee suffered from a wasting disease, [[scleroderma]], toward the end of his life, enduring pain that seems to be reflected in his last works of art. One of his last paintings, ''[[Death and Fire]]'', features a skull in the center with the German word for death, "Tod", appearing in the face. He died in [[Muralto]], Locarno, Switzerland, on 29 June 1940 without having obtained Swiss citizenship, despite his birth in that country.<ref>{{Cite web|url=https://www.swissinfo.ch/ger/ein-berner--aber-kein-schweizer-kuenstler/624962|title=Ein Berner, aber kein Schweizer Künstler|last=swissinfo.ch|first=S. W. I.|last2=Corporation|first2=a branch of the Swiss Broadcasting|website=SWI swissinfo.ch|language=de|access-date=2019-03-08}}</ref> His art work was considered too revolutionary, even degenerate, by the Swiss authorities, but eventually they accepted his request six days after his death.<ref>Partsch, p. 80</ref> His legacy comprises about 9,000 works of art.<ref name="Kagan, p. 23"/> The words on his tombstone, Klee's credo, placed there by his son Felix, say, "I cannot be grasped in the here and now, For my dwelling place is as much among the dead, As the yet unborn, Slightly closer to the heart of creation than usual, But still not close enough."<ref>Partsch, p. 84</ref> He was buried at [[Schosshalden cemetery|Schosshaldenfriedhof]], Bern, Switzerland.

== Style and methods ==
[[File:Tale à la Hoffmann MET DT1768.jpg|thumb|upright|''Tale à la Hoffmann'' (1921), watercolor, ink, and pencil on paper. 31.1 × 24.1 cm. In the collection of the [[Metropolitan Museum of Art]], New York]]
Klee has been variously associated with [[Expressionism]], [[Cubism]], [[Futurism]], [[Surrealism]], and [[Abstract art|Abstraction]], but his pictures are difficult to classify. He generally worked in isolation from his peers, and interpreted new art trends in his own way. He was inventive in his methods and technique. Klee worked in many different media—[[oil paint]], [[watercolor]], [[ink]], [[pastel]], [[etching]], and others. He often combined them into one work. He used canvas, burlap, muslin, linen, gauze, cardboard, metal foils, fabric, wallpaper, and newsprint.<ref>Kagan, p. 26</ref> Klee employed spray paint, knife application, stamping, glazing, and impasto, and [[mixed media]] such as oil with watercolor, watercolor with pen and India ink, and oil with tempera.<ref>Partsch, pp. 58–60</ref>

He was a natural draftsman, and through long experimentation developed a mastery of color and tonality. Many of his works combine these skills. He uses a great variety of color palettes from nearly [[Monochrome|monochromatic]] to highly [[polychrome|polychromatic]]. His works often have a fragile childlike quality to them and are usually on a small scale. He often used geometric forms and [[grid format]] compositions as well as letters and numbers, frequently combined with playful figures of animals and people. Some works were completely abstract. Many of his works and their titles reflect his dry humor and varying moods; some express political convictions. They frequently allude to poetry, music and dreams and sometimes include words or [[musical notation]]. The later works are distinguished by spidery [[Egyptian hieroglyphs|hieroglyph]]-like symbols. [[Rainer Maria Rilke]] wrote about Klee in 1921, "Even if you hadn’t told me he plays the violin, I would have guessed that on many occasions his drawings were transcriptions of music."<ref name="Jardi, p. 8"/>

Pamela Kort observed: "Klee's 1933 drawings present their beholder with an unparalleled opportunity to glimpse a central aspect of his [[aesthetics]] that has remained largely unappreciated: his lifelong concern with the possibilities of [[parody]] and [[wit]]. Herein lies their real significance, particularly for an audience unaware that Klee's art has [[political]] dimensions."<ref>[http://www.culturekiosque.com/art/exhibiti/paulklee.html Paul Klee 1933] at www.culturekiosque.com</ref>

Among the few plastic works are [[hand puppet]]s made between 1916 and 1925, for his son Felix. The artist neither counts them as a component of his oeuvre, nor does he list them in his [[catalogue raisonné]]. Thirty of the preserved puppets are stored at the [[Zentrum Paul Klee]], Bern.<ref>Daniel Kupper: ''Paul Klee''. p. 81</ref>

==Works==

=== Early works ===

Some of Klee's early preserved children's drawings, which his grandmother encouraged, were listed on his [[catalogue raisonné]]. A total of 19 etchings were produced during the Bern years; ten of these were made between 1903 and 1905 in the cycle "Inventionen" (Inventions),<ref name="Rümelin12ff">Christian Rümelin: ''Paul Klee. Leben und Werk'', München 2004, pp. 12 et seq. [https://books.google.com/books?id=z4BWKTr49PsC online]</ref> which were presented in June 1906 at the "Internationale Kunstausstellung des Vereins bildender Künstler Münchens '[[Münchner Secession|Secession]]'" (International Art Exhibition of the Association for Graphic Arts, Munich, Secession), his first appearance as a painter in the public.<ref name="Baumgartner203">Beate Ofczarek, Stefan Frey: ''Chronologie einer Freundschaft'', p. 203</ref> Klee had removed the third Invention, ''Pessimistische Allegorie des Gebirges'' (Pessimistic Allegory of the Mountain), in February 1906 from his cycle.<ref>Gregor Wedekind: ''Paul Klee: Inventionen''. Reimer, Berlin 1996, p. 62</ref> The [[Satire|satirical]] etchings, for example ''Jungfrau im Baum/Jungfrau (träumend)'' (Virgin on the tree/Virgin (dreaming)) from 1903 and ''Greiser Phoenix'' (Aged Phoenix) from 1905, were classified by Klee as "surrealistic outposts". ''Jungfrau im Baum'' ties on the motive ''[[Le cattive madri]]'' (1894) by [[Giovanni Segantini]]. The picture was influenced by grotesque lyric poetries of [[Alfred Jarry]], [[Max Jacob]] and [[Christian Morgenstern]].<ref>Giedion-Welcker: ''Klee'', pp. 23 et seqq</ref> It features a cultural pessimism, which can be found at the turn of the 20th century in works by [[Symbolism (arts)|Symbolists]]. The Invention Nr. 6, the 1903 etching ''Zwei Männer, einander in höherer Stellung vermutend'' (Two Men, Supposing the Other to be in a Higher Position), depicts two naked men, presumably emperor [[Wilhelm II, German Emperor|Wilhelm II]] and [[Franz Joseph I of Austria]], recognizable by their hairstyle and beards. As their clothes and insignia were bereft, "both of them have no clue if their conventional salute […] is in order or not. As they assume that their counterpart could have been higher rated", they [[bow and scrape]].<ref name="Rümelin15">Christian Rümelin: ''Paul Klee. Leben und Werk'', Munichn 2004, p. 15</ref>

<div align="center"><gallery perrow="3" widths="160">
File:Paul-Klee-Dame-mit-Sonnenschirm.jpg|''Dame mit Sonnenschirm'', 1883–1885, pencil on paper on cardboard, [[Zentrum Paul Klee]], Bern
File:GUGG Hilterfingen.jpg | ''Hilterfingen'', 1895, ink on paper, [[Solomon R. Guggenheim Museum]], New York
File:Paul Klee, Inventionen Nr. 3, Jungfrau im Baum (1903).jpg|Third Invention: ''Jungfrau im Baum'', 1903, etching, [[Museum of Modern Art]], New York
File:Begruessung.jpg|Sixth Invention: ''Zwei Männer, einander in höherer Stellung vermutend, begegnen sich'', 1903, etching, Zentrum Paul Klee, Bern
File:GUGG Aged Phoenix (Invention 9).jpg|''Aged Phoenix'', 1905, etching, [[Solomon R. Guggenheim Museum]], New York
</gallery></div>

Klee began to introduce a new technique in 1905: scratching on a blackened glass panel with a needle. In that manner he created about 57 Verre églomisé pictures, among those the 1905 ''Gartenszene'' (Scene on a Garden) and the 1906 ''Porträt des Vaters'' (Portrait of a Father), with which he tried to combine painting and scratching.<ref>Giedion-Welcker, ''Klee'', pp. 22–25</ref> Klee's solitary early work ended in 1911, the year he met and was inspired by the graphic artist [[Alfred Kubin]], and became associated with the artists of the ''Blaue Reiter''.<ref>Temkin, Ann . "Klee, Paul." ''Grove Art Online. Oxford Art Online''. Oxford University Press. Web.</ref>

=== Mystical-abstract period, 1914–1919 ===
During his twelve-day educational trip to [[Tunis]] in April 1914 Klee produced with Macke and Moilliet [[watercolor]] paintings, which implement the strong light and color stimulus of the North African countryside in the fashion of [[Paul Cézanne]] and Robert Delaunays' [[Orphism (art)|cubistic]] form concepts. The aim was not to imitate nature, but to create compositions analogous to nature's formative principle, as in the works ''In den Häusern von Saint-Germain'' (In the Houses of Saint-Germain) and ''Straßencafé'' (Streetcafé). Klee conveyed the scenery in a grid, so that it dissolves into colored harmony. He also created abstract works in that period such as ''Abstract'' and ''Farbige Kreise durch Farbbänder verbunden'' (Colored Circles Tied Through Inked Ribbons).<ref>{{cite web|publisher=Meisterwerke der Kunst, Isis Verlag|url=http://www.drklaas.de/German/Kunst/klee/klee_info.html|title=Paul Klee|accessdate=25 September 2008|url-status=dead|archiveurl=https://web.archive.org/web/20090109074533/http://www.drklaas.de/German/Kunst/klee/klee_info.html|archivedate=9 January 2009|df=dmy-all}}</ref> He never abandoned the object; a permanent segregation never took place. It took over ten years that Klee worked on experiments and analysis of the color, resulting to an independent artificial work, whereby his design ideas were based on the colorful oriental world.
<div align="center"><gallery perrow="4" widths="160">
File:Fenster u. Palmen, 1914.jpg|''Fenster und Palmen'', 1914, watercolor on grounding on paper on cardboard, [[Kunsthaus Zürich]], Zurich
File:Paul Klee, In den Häusern von St. Germain.jpg|''In den Häusern von St. Germain'', 1914, watercolor on paper on cardboard, [[Zentrum Paul Klee]], Bern
File:Paul Klee, Föhn im Marc'schen Garten, 1915.jpg|''Föhn im Marc’schen Garten'', 1915, watercolor on paper on cardboard, [[Städtische Galerie im Lenbachhaus|Lenbachhaus]], Munich
File:GUGG Acrobats.jpg| ''Acrobats'', 1915, watercolor, pastel and ink on paper, [[Solomon R. Guggenheim Museum]], New York
</gallery></div>
''Föhn im Marc'schen Garten'' (Foehn at Marc's Garden) was made after the Turin trip. It indicates the relations between color and the stimulus of Macke and Delaunay. Although elements of the garden are clearly visible, a further steering towards abstraction is noticeable. In his diary Klee wrote the following note at that time:

<blockquote>In the large molding pit are lying ruins, on which one partially hangs. They provide the material for the abstraction. […] The terrible the world, the abstract the art, while a happy world produces secularistic art.<ref>Göttler: ''Der Blaue Reiter''. pp. 118 et seq</ref></blockquote>
Under the impression of his military service he created the painting ''Trauerblumen'' (Velvetbells) in 1917, which, with its graphical signs, vegetal and phantastic shapes, is a forerunner of his future works, harmonically combining graphic, color and object. For the first time birds appear in the pictures, such as in ''Blumenmythos'' (Flower Myth) from 1918, mirroring the flying and falling planes he saw in Gersthofen, and the photographed plane crashes.

In the 1918 watercolor painting ''Einst dem Grau der Nacht enttaucht'', a compositional implemented poem, possible written by Klee, he incorporated letters in small, in terms of color separated squares, cutting off the first verse from the second one with silver paper. At the top of the cardboard, which carries the picture, the verses are inscribed in manuscript form. Here, Klee did not lean on Delaunay's colors, but on Marc's, although the picture content of both painters does not correspond with each other. [[Herwarth Walden]], Klee's art dealer, saw in them a "Wachablösung" (changing of the guard) of his art.<ref>Partsch: ''Klee'', p. 41</ref> Since 1919 he often used oil colors, with which he combined watercolors and colored pencil. The ''Villa R'' (Kunstmuseum Basel) from 1919 unites visible realities such as sun, moon, mountains, trees and architectures, as well as surreal pledges and sentiment readings.<ref>{{cite web|publisher=augen.de|url=http://www.drklaas.de/German/Kunst/klee/klee_info.html|title=Kunst öffnet Augen|accessdate=26 October 2008|url-status=dead|archiveurl=https://web.archive.org/web/20090109074533/http://www.drklaas.de/German/Kunst/klee/klee_info.html|archivedate=9 January 2009|df=dmy-all}}</ref>

=== Works in the Bauhaus period and in Düsseldorf ===
His works during this time include ''[[Camel (in rhythmic landscape with trees)]]'' as well as other paintings with abstract graphical elements such as ''betroffener Ort'' (Affected Place) (1922). From that period he created ''[[Twittering Machine|Die Zwitscher-Maschine]]'' (The Twittering Machine), which was later removed from the [[National Gallery (Berlin)|National Gallery]]. After being named defamatory in the Munich exhibition "[[Entartete Kunst]]", the painting was later bought by the Buchholz Gallery, New York, and then transferred in 1939 to the [[Museum of Modern Art]]. The "twittering" in the title refers to the open-beaked birds, while the "machine" is illustrated by the crank.<ref>[http://www.moma.org/collection/provenance/provenance_object.php?object_id=37347 ''The Twittering-Machine''], moma.org, retrieved on 10 January 2011.</ref> [[File:GUGG_In_Angel%27s_Care.jpg|thumb|''In Engelshut,'' 1931, watercolor and colored inks on paper, mounted on paper, [[Solomon R. Guggenheim Museum|Guggenheim Museum]]]]The watercolor painting appears at a first glance childish, but it allows more interpretations. The picture can be interpreted as a critic by Klee, who shows through denaturation of the birds, that the world technization heist the creatures' self-determination.<ref>Siglind Bruhn: [https://books.google.com/books?id=E2CEqASxLSQC ''Das tönende Museum''], Gorz Verlag 2004, pp. 34  et seq</ref>

Other examples from that period are ''der Goldfisch'' (The Goldfish) from 1925, ''Katze und Vogel'' (Cat and Bird), from 1928, and ''Hauptweg und Nebenwege'' (Main Road and Byways) from 1929. Through variations of the canvas ground and his combined painting techniques Klee created new color effects and picture impressions.

From 1916 to 1925, Klee created 50 hand puppets for his son Felix. The puppets are not mentioned in the Bauhaus catalog of works, since they were intended as private toys from the beginning.<ref name="berlin">{{Internetquelle |autor=Ingeborg Ruthe |url=https://www.berliner-zeitung.de/paul-klee-hinterliess-kunstvolle-handpuppen--berliner-spieler-bringen-sie-auf-die-buehne-in-einem-stueck-ueber-das-malerleben-das-rinderknochengesicht-und-der-kleine-tod-15726956 |titel=Paul Klee hinterließ kunstvolle Handpuppen. Berliner Spieler bringen sie auf die Bühne in einem Stück über das Malerleben |titelerg=Das Rinderknochengesicht und der kleine Tod |werk=berliner-zeitung.de |hrsg=DuMont.next GmbH & Co. KG |datum=2008-09-30 |language=de |abruf=2019-10-05}}</ref> Nevertheless, they are an impressive example of Klee's imagery. He not only dealt with puppet shows privately, but also in his artistic work at the Bauhaus.<ref name="tabula">{{Internetquelle |url=https://www.tabularasamagazin.de/ber-den-klee-oder-der-knochen-in-meinem-kopf-puppenspiel-ber-den-bauhaus-meister-paul-klee-wird-im-e-werk-aufgefhrt/ |titel=Über den Klee oder Der Knochen in meinem Kopf |titelerg=Puppenspiel über den Bauhaus-Meister Paul Klee wird im e-werk aufgeführt |werk=Tabula Rasa Magazin - Zeitung für Gesellschaft und Kultur |hrsg=Dr. Dr. Stefan Groß, M.A. |datum=2009-04-28 |abruf=2019-10-06}}</ref>

In 1931, Klee transferred to Düsseldorf to teach at the Akademie; the Nazis shut down the Bauhaus soon after.<ref>{{Cite web |url=http://www.guggenheim.org/new-york/collections/collection-online/artists/bios/1302 |title=Archived copy |access-date=19 May 2015 |archive-url=https://web.archive.org/web/20150429042408/http://www.guggenheim.org/new-york/collections/collection-online/artists/bios/1302 |archive-date=29 April 2015 |url-status=dead |df=dmy-all }}</ref> During this time, Klee illustrated a series of guardian angels. Among these figurations is "In Engelshut" (In the Angel's Care). Its overlaying technique evinces the polyphonic character of his drawing method between 1920 and 1932.<ref>Andrew Kagan, ''Paul Klee at the Guggenheim Museum,'' New York: Guggenheim Museum Library, 2003, 41.</ref>

The 1932 painting ''Ad Parnassum'' was also created in the Düsseldorf period. {{convert|100|×|126|cm|in|abbr=on}} This is one of his largest paintings, as he usually worked with small formats. In this mosaic-like work in the style of [[pointillism]] he combined different techniques and compositional principles. Influenced by his trip to Egypt from 1928 to 1929, Klee built a color field from individually stamped dots, surrounded by similarly stamped lines, which results in a pyramid. Above the roof of the "[[Parnassus]]" there is a sun. The title identifies the picture as the home of [[Apollo]] and the [[Muse]]s.<ref>Partsch: ''Klee'', p. 67</ref> During his 1929 travels through Egypt, Klee developed a sense of connection to the land, described by art historian [[Olivier Berggruen]] as a mystical feeling: "In the desert, the sun's intense rays seemed to envelop all living things, and at night, the movement of the stars felt even more palpable. In the architecture of the ancient funerary moments Klee discovered a sense of proportion and measure in which human beings appeared to establish a convincing relationship with the immensity of the landscape; furthermore, he was drawn to the esoteric numerology that governed the way in which these monuments had been built."<ref>Berggruen, "Paul Klee – In Search of Natural Signs" in ''The Writing of Art'' (London: Pushkin Press, 2011), 63.</ref> In 1933, his last year in Germany, he created a range of paintings and drawings; the catalogue raisonné comprised 482 works. The self-portrait in the same year—with the programmatic title ''von der Liste gestrichen'' (removed from the list)—provides information about his feeling after losing his professorship. The abstract portrait was painted in dark colors and shows closed eyes and compressed lips, while on the back of his head there is a large "X", symbolizing that his art was no longer valued in Germany.<ref>Partsch: ''Klee'', p. 75</ref>
<div align="center"><gallery perrow="4" widths="160">
File:Red Green Architecture yellow violet gradation by Paul Klee.jpeg|''Red/Green Architecture (yellow/violet gradation)'', 1922, oil on canvas on cardboard mat, [[Yale University Art Gallery]], [[Yale University]], [[New Haven, Connecticut]]
File:Paul Klee, 1922, Senecio, oil on gauze, 40.3 × 37.4 cm, Kunstmuseum Basel.jpg|''[[Senecio (Klee)|Senecio]]'', 1922, oil on gauze, [[Kunstmuseum Basel]], Basel
File:GUGG Fright of a Girl.jpg| ''Fright of a Girl'', 1922, Watercolor, India ink and oil transfer drawing on paper, with India ink on paper mount, [[Solomon R. Guggenheim Museum]], New York
File:Paul Klee Puppe Ohne Titel (Selbstportrait).jpg|Puppet without title (self - portrait), 1922
</gallery></div>

=== Last works in Switzerland ===
In this period Klee mainly worked on large-sized pictures. After the onset of illness, there were about 25 works in the 1936 catalogue, but his productivity increased in 1937 to 264 pictures, 1938 to 489, and 1939—his most productive year—to 1254. They dealt with [[Ambivalence|ambivalent]] themes, expressing his personal fate, the political situation and his wit. Examples are the watercolor painting ''Musiker'' (musician), a stick-man face with partially serious, partially smiling mouth; and the ''Revolution des Viadukts'' (Revolution of the Viadukt), an [[Anti-fascism|anti-fascist]] art. In ''Viadukt'' (1937) the bridge arches split from the bank as they refuse to be linked to a chain and are therefore rioting.<ref>Partsch: ''Klee'', p. 92</ref>
Since 1938, Klee worked more intensively with hieroglyphic-like elements. The painting ''Insula dulcamara'' from the same year, which is one of his largest ({{convert|88|×|176|cm|in|abbr=on}}), shows a white face in the middle of the elements, symbolizing death with its black-circled eye sockets. Bitterness and sorrow are not rare in much of his works during this time.
<div align="center"><gallery perrow="4">
File:Paul Klee Zeichen in Gelb 1937.jpg|''Zeichen in Gelb'', 1937, pastel on cotton on colored paste on jute on stretcher frame, Fondation Beyeler, Riehen near Basel
File:Paul Klee Nach der Überschwemmung.jpg|''Nach der Überschwemmung'', 1936, wallpaper glue and watercolors on Ingres paper on cardboard
File:Paul Klee, Revolution des Viadukts, 1937.jpg|''Revolution des Viadukts'', 1937, oil on oil grounding on cotton on stretcher frame, [[Kunsthalle Hamburg|Hamburger Kunsthalle]]
File:Paul Klee Die Vase.jpg|''Die Vase'', 1938, oil on jute, Fondation Beyeler, Riehen near Basel
File:Heroic Roses.JPG|''Heroische Rosen'' (Heroic Roses), 1938, oil on canvas, [[Kunstsammlung Nordrhein-Westfalen]], Düsseldorf
File:Paul Klee, Insula dulcamara.jpg|''Insula dulcamara'', 1938, oil color and colored paste on newsprint on jute on stretcher frame, [[Zentrum Paul Klee]], Bern
File:Paul Klee, Ohne Titel (Der Todesengel).jpg|''Ohne Titel (Letztes Stillleben)'', 1940, oil on canvas on stretcher frame, Zentrum Paul Klee, Bern
File:Death and Fire.JPG|''[[Death and Fire|Tod und Feuer]]'' (Death and Fire), 1940, oil on distemper on jute, Zentrum Paul Klee, Bern
</gallery></div>
Klee created in 1940 a picture which strongly differs from the previous works, leaving it unsigned on the scaffold. The comparatively realistic [[still life]], ''Ohne Titel'', later named as ''Der Todesengel'' (Angel of Death), depicts flowers, a green pot, sculpture and an angel. The moon on black ground is separated from these groups. During his 60th birthday Klee was photographed in front of this picture.<ref>Partsch: ''Klee'', pp. 76–83</ref>

== Reception and legacy==
{{external media | width = 210px | align = right |
headerimage=[[File:Paul Klee - Forest Witches - Google Art Project.jpg|210px]] | video1 = {{YouTube|kLbPTI6bfC4|Paul Klee at Tate Modern}}, (3:38), [[The Art Fund]] (UK)
}}

=== Contemporary view===
[[File:Paul Klee Was fehlt ihm 1930.jpg|thumb|right|150px|''Was fehlt ihm?'' (What Is He Missing?), 1930, stamp drawing in ink, [[Ingres paper]] on cardboard, Fondation Beyeler, Riehen near Basel]]
{{cquote|Art does not reproduce the visible; rather, it makes visible.|Paul Klee.}}
"Klee's act is very prestigious. In a minimum of one line he can reveal his wisdom. He is everything; profound, gentle and many more of the good things, and this because: he is innovative", wrote [[Oskar Schlemmer]], Klee's future artist colleague at the Bauhaus, in his September 1916 diary.<ref>Giedion-Welcker: ''Klee'', p. 161</ref>

Novelist and Klee's friend [[Wilhelm Hausenstein]] wrote in his work ''Über Expressionismus in der Malerei'' (On Expressionism in Painting), "Maybe Klee's attitude is in general understandable for musical people—how Klee is one of the most delightsome violinist playing Bach and Händel, who ever walked on earth. […] For Klee, the German classic painter of the Cubism, the world music became his companion, possibly even a part of his art; the composition, written in notes, seems to be not dissimilar."<ref>Giedion-Welcker: ''Klee'', p. 162</ref>

When Klee visited the Paris surrealism exhibition in 1925, [[Max Ernst]] was impressed by his work. His partially morbid motifs appealed to the surrealists. [[André Breton]] helped to develop the surrealism and renamed Klee's 1912 painting ''Zimmerperspektive mit Einwohnern'' (Room Perspective with People) to ''chambre spirit'' in a catalogue. Critic [[René Crevel]] called the artist a "dreamer" who "releases a swarm of small lyrical louses from mysterious abysses." Paul Klee's confidante [[Will Grohmann]] argued in the ''Cahiers d'art'' that he "stands definitely well solid on his feet. He is by no means a dreamer; he is a modern person, who teaches as a professor at the Bauhaus." Whereupon Breton, as [[Joan Miró]] remembers, was critical of Klee: "Masson and I have both discovered Paul Klee. [[Paul Éluard]] and Crevel are also interested in Klee, and they have even visited him. But Breton despises him."<ref>{{cite news|author=Catrin Lorch|newspaper=Frankfurter Allgemeine|date=4 January 2007|url=http://g26.ch/memo/paul_klee_01.html|archiveurl=https://web.archive.org/web/20110714133553/http://g26.ch/memo/paul_klee_01.html|archivedate=14 July 2011|title=Klees feine kleine Klumpgeister|language=German|accessdate=2 October 2008}}</ref>

The art of mentally ill people inspired Klee as well as Kandinsky and Max Ernst, after [[Hans Prinzhorn]]s book ''Bildnerei der Geisteskranken'' (Artistry of the Mentally Ill) was published in 1922. In 1937, some papers from Prinzhorn's anthology were presented at the National Socialist [[propaganda]] exhibition "[[Entartete Kunst]]" in Munich, with the purpose of defaming the works of [[Ernst Ludwig Kirchner|Kirchner]], Klee, [[Emil Nolde|Nolde]] and other artists by likening them to the works of the insane.<ref>{{cite web|url=http://www.jena.de/sixcms/detail.php?id=79234&_nav_id1=58181&_nav_id2=58182&_lang=de|title=Sammlung Prinzhorn der Psychiatrischen Universitätsklinik Heidelberg|publisher=Städtische Museen Jena|language=German|accessdate=2 January 2011|archive-url=https://web.archive.org/web/20131101223320/http://www.jena.de/sixcms/detail.php?id=79234&_nav_id1=58181&_nav_id2=58182&_lang=de|archive-date=1 November 2013|url-status=dead|df=dmy-all}}</ref>

In 1949 [[Marcel Duchamp]] commented on Paul Klee: "The first reaction in front of a Klee painting is the very pleasant discovery, what everyone of us could or could have done, to try drawing like in our childhood. Most of his compositions show at the first glance a plain, naive expression, found in children's drawings. […] At a second analyse one can discover a technique, which takes as a basis a large maturity in thinking. A deep understanding of dealing with watercolors to paint a personal method in oil, structured in decorative shapes, let Klee stand out in the contemporary art and make him incomparable. On the other side, his experiment was adopted in the last 30 years by many other artists as a basis for newer creations in the most different areas in painting. His extreme productivity never shows evidence of repetition, as is usually the case. He had so much to say, that a Klee never became an other Klee."<ref name="Herbert376">Robert L. Herbert, Eleanor S. Apter, Elise K. Kenny: ''The Société Anonyme and the Dreier Bequest at Yale University. A Catalogue Raisonné'', New Haven/ London 1984, p. 376</ref>

One of Klee's paintings, ''[[Angelus Novus]]'', was the object of an interpretative text by [[German people|German]] [[philosopher]] and [[literary critic]] [[Walter Benjamin]], who purchased the painting in 1921. In his "Theses on the Philosophy of History" Benjamin suggests that the angel depicted in the painting might be seen as representing the angel of history.

Another aspect of his legacy, and one demonstrating his multi-faceted presence in the modern artistic imagination, is his appeal for those interested in the history of the algorithm as exemplified by ''Homage to Paul Klee'' by computer art pioneer Frieder Nake.<ref>{{cite web |url=https://www.mdpi.com/2076-0752/8/2/69|author=Smith, Glenn|date=31 May 2019|title=An Interview with Frieder Nake|publisher=Arts|accessdate=2 June 2019}}</ref>

=== Musical interpretations ===
[[File:Paul Klee Zentrum.jpg|thumb|[[Zentrum Paul Klee]] in Bern, Switzerland, designed by [[Renzo Piano]]]]
Unlike his taste for adventurous modern experiment in painting, Klee, though musically talented, was attracted to older traditions of music; he neither appreciated composers of the late 19th century, such as [[Richard Wagner|Wagner]], [[Anton Bruckner|Bruckner]] and [[Gustav Mahler|Mahler]], nor contemporary music. [[Johann Sebastian Bach|Bach]] and [[Wolfgang Amadeus Mozart|Mozart]] were for him the greatest composers; he most enjoyed playing the works by the latter.<ref name="Baumgartner208">Beate Ofczarek, Stefan Frey: ''Chronologie einer Freundschaft''. In: Michael Baumgartner, Cathrin Klingsöhr-Leroy, Katja Schneider, p. 208</ref>

Klee's work has influenced composers such as Argentinian [[Roberto García Morillo]] in 1943, with ''Tres pinturas de Paul Klee''. Others include the American composer [[David Diamond (composer)|David Diamond]] in 1958, with the four-part [[Opus number|Opus]] ''Welt von Paul Klee'' (World of Paul Klee). [[Gunther Schuller]] composed ''Seven Studies on Themes of Paul Klee'' in the years 1959/60, consisting of ''Antique Harmonies'', ''Abstract Trio'', ''Little Blue Devil'', ''Twittering Machine'', ''Arab Village'', ''An Eerie Moment'', and ''Pastorale''. The Spanish composer [[Benet Casablancas]] wrote ''Alter Klang'', Impromptu for Orchestra after Klee (2006);<ref>{{Cite web |url=http://blog.trito.es/2009/06/concluye-la-gira-europea-de-alter-klang/ |title=Archived copy |access-date=24 March 2013 |archive-url=https://web.archive.org/web/20160324060028/http://blog.trito.es/2009/06/concluye-la-gira-europea-de-alter-klang/ |archive-date=24 March 2016 |url-status=dead |df=dmy-all }}</ref><ref>{{cite web|url=http://www.trito.es/img/mostres/fotos/ptr_mostres/MTR_547.pdf|archive-url=https://web.archive.org/web/20130603232539/http://www.trito.es/img/mostres/fotos/ptr_mostres/MTR_547.pdf|url-status=dead|archive-date=3 June 2013|title=Wayback Machine|date=3 June 2013|accessdate=18 December 2018}}</ref> Casablancas is author also of the ''Retablo on texts by Paul Klee'', Cantata da Camera for Soprano, Mezzo and Piano (2007).<ref>{{Cite web |url=http://www.chesternovello.com/default.aspx?TabId=2431&State_2905=3&ComposerID_2905=4155&CategoryID_2905=0] |title=Archived copy |access-date=23 December 2018 |archive-url=https://web.archive.org/web/20130530132627/http://www.chesternovello.com/default.aspx?tabId=2431 |archive-date=30 May 2013 |url-status=dead |df=dmy-all }}</ref><ref>{{Cite web|url=https://web.archive.org/web/20110415014942/http://www.stradivarius.it/scheda.php?ID=801157033828000|title=Stradivarius - The leading italian classical music label|date=15 April 2011|website=web.archive.org}}</ref> In 1950, [[Giselher Klebe]] performed his orchestral work ''Die Zwitschermaschine'' with the subtitle ''Metamorphosen über das Bild von Paul Klee'' at the [[Donaueschinger Musiktage]].<ref>{{cite book|title=Das tönende Museum. Musik des 20. Jahrhunderts interpretiert Werke bildender Kunst |section=Die Zwitschermaschine: Klangsymbole der Moderne|author=Siglind Bruhn|publisher=Edition Gorz|url=http://home.vrweb.de/~edition-gorz/bruhn1-01.pdf|archiveurl=https://web.archive.org/web/20061218101430/http://home.vrweb.de/~edition-gorz/bruhn1-01.pdf|archivedate=18 December 2006|language=German|accessdate=3 October 2008}}</ref> ''8 Pieces on Paul Klee'' is the title of the debut album by the [[Ensemble Sortisatio]], recorded February and March 2002 in [[Leipzig]] and August 2002 in [[Luzern]], Switzerland. The composition "Wie der Klee vierblättrig wurde" (How the clover became four-leaved) was inspired by the watercolor painting ''Hat Kopf, Hand, Fuss und Herz'' (1930), ''Angelus Novus'' and ''Hauptweg und Nebenwege''.

In 1968, a jazz group called The National Gallery featuring composer [[Chuck Mangione]] released the album ''Performing Musical Interpretations of the Paintings of Paul Klee''.<ref>Vinyl LP, Philips catalog number: PHS 600-266.</ref> In 1995 the Greek experimental filmmaker, Kostas Sfikas, created a film based entirely on Paul Klee's paintings. The film is entitled "''Paul Klee's Prophetic Bird of Sorrows''", and draws its title from Klee's Landscape with Yellow Birds. It was made using portions and cutouts from Paul Klee's paintings. Director [[Vassilis Mazomenos]] was the production designer of the film.<ref>{{cite web|url=http://www.tainiothiki.gr/v2/lang_en/filmography/view/1/1936/ |title=Paul Klee's Prophetic Bird of Sorrows – Filmography | Greek Film Archive |publisher=Tainiothiki.gr |date= |accessdate=30 August 2012}}</ref>

==== Additional musical interpretations ====

* [[Sándor Veress]]: ''Hommage à Paul Klee'' (1951), phantasy for two pianos and strings
* [[Peter Maxwell Davies]]: ''Five Klee-Pictures'' (1962), orchestral
* [[Harrison Birtwistle]]: ''Carmen Arcadiae Mechanicae Perpetuum'' (The Perpetual Song of Mechanical Arcadia) (1977), for orchestra
* [[Edison Denisov]]: ''Drei Bilder von Paul Klee'' (Three Pictures of Paul Klee) (1985), for six players (''Diana im Herbstwind'' − ''Senecio'' – ''Kind auf der Freitreppe'')
* [[Tōru Takemitsu]]: ''All in Twilight'' (1987), for guitar
* [[John Woolrich]]: ''The kingdom of dreams'' (1989), for oboe and piano ('Landscape with Yellow Birds', 'The Bavarian Don Giovanni', 'Tale à la Hoffmann', 'Fish Magic')
* [[Leo Brouwer]]: ''Sonata'' (1990), for guitar<ref>Marçal, Ricardo. Ekphrasis em música: os quadrados mágicos de Paul Klee na Sonata para violão solo de Leo Brouwer. Per Musi n. 19, jan–jun 2009, pp. 47–62.</ref>
* [[Walter Steffens (composer)|Walter Steffens]]: ''Vier Aquarelle nach Paul Klee'' (Four Watercolor Pictures to Paul Klee) (1991), op. 63, for recorder(s)
* [[Tan Dun]]: ''Death and Fire'' (1992), Dialogue with Paul Klee, orchestral
* [[Judith Weir]]: ''Heroic Strokes of the Bow'' (1992), for orchestra
* [[Jean-Luc Darbellay]]: ''Ein Garten für Orpheus'' (A Garden for Orpheus) (1996), for six instruments
* [[Michael Denhoff]]: ''Haupt- und Nebenwege'' (Main and Sideways) (1998), for strings and piano
* [[Iris Szeghy]]: ''Ad parnassum'' (2005), for strings
* [[Patrick van Deurzen]]: ''Six: a line is a dot that went for a walk'' (2006), for Flugelhorn, DoubleBass & Percussion
* [[Jim McNeely]]: ''Paul Klee'' (2007), Jazz album written for the Swiss Jazz Orchestra composed of 8 pieces
* [[Jason Wright Wingate]]: ''[[Symphony No. 2: Kleetüden]]; Variationen für Orchester nach Paul Klee (Variations for Orchestra after Paul Klee)'' (2009), for orchestra in 27 movements
* [[Sakanaction]]: "Klee" (2010), from the album ''[[Kikuuiki]]''; a song envisioned as a dialogue with Klee's paintings.<ref>{{cite web | url=http://www.excite.co.jp/music/close_up/1003_sakanaction/ | script-title=ja:クローズアップサカナクション |author=Nachi Ebisawa |publisher=Excite | language=Japanese |date=March 18, 2015 | accessdate=April 14, 2015 |archiveurl=https://web.archive.org/web/20111025115421/http://www.excite.co.jp/music/close_up/1003_sakanaction/ |archivedate=25 October 2011 }}</ref>
* [[Ludger Stühlmeyer]]: ''Super flumina Babylonis [An den Wassern zu Babel]''. (2019), fantasia for organ on an aquarelle by Paul Klee.

===Architectural honors===
Since 1995, the "Paul Klee-Archiv" (Paul Klee archive) of the [[University of Jena]] houses an extensive collection of works by Klee. It is located within the art history department, established by Franz-Joachim Verspohl. It encompasses the private library of book collector Rolf Sauerwein which contains nearly 700 works from 30 years composed of monographs about Klee, exhibition catalogues, extensive secondary literature as well as originally illustrated issues, a postcard and a signed photography portrait of Klee.<ref>''ForSchUngsmagazin. Friedrich-Schiller-Universität Jena''. Alma Mater Jenensis, Sommersemester 1995, p. 40</ref><ref>[https://web.archive.org/web/20121205122328/http://fabian.sub.uni-goettingen.de/?Kunstgeschichte(ThULB) ''Thüringer Universitäts – und Landesbibliothek – Zweigbibliothek Kunstgeschichte''] b2i.de. Retrieved 19 April 2011.</ref>

Architect [[Renzo Piano]] constructed the [[Zentrum Paul Klee]] in June 2005. Located in Bern, the museum exhibits about 150 (of 4000 Klee works overall) in a six-month rotation, as it is impossible to show all of his works at once. Furthermore, his pictures require rest periods; they contain relatively photosensitive colors, inks and papers, which may bleach, change, turn brown and become brittle if exposed to light for too long.<ref>{{cite web|url=http://www.zpk.org/de/sammlung-archivforschung-konservierung-252.html|title= Die Paul Klee-Bestände im Zentrum Paul Klee |publisher=Zentrum Paul Klee|language=German|accessdate=24 October 2012}}</ref> The [[San Francisco Museum of Modern Art]] has a comprehensive Klee collection, donated by [[Carl Djerassi]]. Other exhibitions include the [[Sammlung Rosengart]] in Luzern, the [[Albertina]] in Wien and the [[Berggruen Museum]] in Berlin. Schools in Gersthofen, [[Lübeck]]; [[Klein-Winternheim]], [[Overath]]; his place of birth [[Münchenbuchsee]] and [[Düsseldorf]] bear his name.

===Tribute===
In 2018, a [[Google Doodle]] was created to celebrate his 139th birthday.<ref>{{Cite web |url=https://www.google.com/doodles/paul-klees-139th-birthday |title=Paul Klee's 139th Birthday |website=Google.com |language=en |access-date=2018-12-18}}</ref>

== Works and publications ==

=== Works ===
{{div col|colwidth=30em}}
* {{Guggenheim Museum|8443|Acrobats (Artisten)}}
* {{Guggenheim Museum|2125|Aged Phoenix (Invention 9) (Greiser Phönix)}}
* {{Guggenheim Museum|2173|A Pious One (Ein Frommer)}}
* {{Guggenheim Museum|2181|Barbarian Sacrifice (Barbaren-Opfer)}}
* {{Guggenheim Museum|2133|Before the Festivity (Vor dem Fest)}}
* {{Guggenheim Museum|2123|Comedian (Invention 4) (Komiker)}}
* {{Guggenheim Museum|2153|Curtain (Vorhang)}}
* ''Departure of the ghost'', (1931).<ref>(March 15, 2019). [https://www.artdesigncafe.com/paul-klee-departure-of-the-ghost-1931 Paul Klee. ''Departure of the ghost'', (1931)]. ''artdesigncafe.com''. Retrieved October 10, 2019. </ref>
* {{Guggenheim Museum|2145|Flower Family V (Blumenfamilie V)}}
* {{Guggenheim Museum|2141|Fright of a Girl (Schreck eines Mädchens)}}
* {{Guggenheim Museum|2119|Gemmi Pass, Valais Alps (Gemmi Passhöhe, Walliseralpen)}}
* {{Guggenheim Museum|2182|Hat, Lady and Little Table (Hut, Dame und Tischchen)}}
* {{Guggenheim Museum|2118|Hilterfingen}}
* {{Guggenheim Museum|2156|Horizon, Zenith and Atmosphere (Horizont, Gipfelpunkt und Atmosphäre)}}
* {{Guggenheim Museum|2174|In Angel's Care (In Engelshut)}}
* {{Guggenheim Museum|2172|In Readiness (Bereitschaft)}}
* {{Guggenheim Museum|2158|Inscription (Inschrift)}}
* {{Guggenheim Museum|2169|In the Current Six Thresholds (In der Strömung sechs Schwellen)}}
* {{Guggenheim Museum|2132|Jumping Jack (Hampelmann)}}
* ''[[Limits of Reason (Paul Klee)]] (Grenzen des Verstandes)'' at the [[Pinakothek der Moderne]], Munich
* {{Guggenheim Museum|2160|Magic Garden (Zaubergarten)}}
* {{Guggenheim Museum|2138|Night Feast (Nächtliches Fest)}}
* {{Guggenheim Museum|2152|Portrait Sketch of a Costumed Lady (Bildnisskizze einer kostümierten Dame)}}
* {{Guggenheim Museum|2176|Public Duel (Öffentliches Duell)}}
* {{Guggenheim Museum|2194|Rocks at Night (Felsen in der Nacht)}}
* {{Guggenheim Museum|2147|Singer of the Comic Opera (Sängerin der komischen Oper)}}
* ''Structural II'', (1924).<ref>(March 15, 2019). [https://www.artdesigncafe.com/paul-klee-structural-ii-1924 Paul Klee. ''Structural II'', (1924)]. ''artdesigncafe.com''. Retrieved October 10, 2019. </ref>
* {{Guggenheim Museum|2130|The Idea of Firs (Die Idee der Tannen)}}
* {{Guggenheim Museum|2120|Thunersee near Schadau (Thunersee bei Schadau)}}
* {{Guggenheim Museum|2150|Tree Culture (Baum Kultur)}}
* {{Guggenheim Museum|2146|Tropical Gardening (Tropische Garten Kultur)}}
* {{Guggenheim Museum|2180|Two Ways (Zwei Gänge)}}
* {{Guggenheim Museum|2134|White Blossom in the Garden (Weisse Blüte im Garten)}}
* {{Guggenheim Museum|2136|(From the Song of Songs) Version II ((Aus dem hohen Lied) (II. Fassung))}}

{{div col end}}

=== Publications ===
* Jardi, Enric (1991). ''Paul Klee'', Rizzoli Intl Pubns, {{ISBN|0-8478-1343-6}}
* Kagan, Andrew (1993). ''Paul Klee at the Guggenheim Museum'' (exhibition catalogue) [http://www.guggenheim.org/new-york/exhibitions/publications/guggenheim-publications-list] Introduction by Lisa Dennison, essay by Andrew Kagan. 208 pages. English and Spanish editions. 1993, {{ISBN|978-0-89207-106-7}}
* Cappelletti, Paolo (2003). ''L'inafferrabile visione. Pittura e scrittura in Paul Klee'' (in Italian). Milan: Jaca Book. {{ISBN|88-16-40611-9}}
* {{cite book|last=Partsch|first=Susanna|title=Klee (reissue)|year=2007|publisher=Benedikt Taschen|location=Cologne|language=German|isbn=978-3-8228-6361-9}}
* {{cite book|last=Rudloff|first=Diether|title=Unvollendete Schöpfung: Künstler im zwanzigsten Jahrhundert|year=1982|language=German|isbn=978-3-87838-368-0}}
* {{cite book|last1=Baumgartner|first1=Michael|authorlink1=Michael Baumgartner|last2=Klingsöhr-Leroy|first2=Cathrin|last3=Schneider|first3=Katja|title=Franz Marc, Paul Klee: Dialog in Bildern|edition=1st|year=2010|publisher=Nimbus Kunst und Bücher|location=Wädenswil|language=German|isbn=978-3-907142-50-9}}
* {{cite book|last=Giedion-Welcker|first=Carola |title=Klee|publisher=Rowohlt|location=Reinbek|language=German|isbn=978-3-499-50052-7}}
* {{cite book|last1=Glaesemer|first1=Jürgen |last2=Kersten|first2=Wolfgang|last3=Traffelet|first3=Ursula|title=Paul Klee: Leben und Werk|year=1996|publisher=[[Hatje Cantz Verlag|Hatje Cantz]]|location=Ostfildern|language=German|isbn=978-3-7757-0241-6}}
* {{cite book|last=Rümelin|first=Christian|title=Paul Klee: Leben und Werk|year=2004|publisher=C.H. Beck|location=Munich|isbn=3-406-52190-8}}

=== Books, essays and lectures by Paul Klee ===
* 1922 ''Beiträge zur bildnerischen Formlehre'' ('Contributions to a pictorial theory of form', part of his 1921–22 lectures at the Bauhaus)
* 1923 ''Wege des Naturstudiums'' ('[http://www.ecologicalart.org/paulklee.html Ways of Studying Nature]'), 4 pages. Published in the catalogue for the Erste Bauhaus Ausstellung (First Bauhaus Exhibition) in Summer 1923. Also published in ''Paul Klee Notebooks'' vol 1.
* 1924 ''Über moderne Kunst'' ('On Modern Art'), lecture held at Paul Klee's exhibition at the Kunstverein in Jena on 26 January 1924
* 1924 ''Pädagogisches Skizzenbuch'' ('Pedagogical Sketchbook')
* 1949 ''Documente und Bilder aus den Jahren 1896–1930'', ('Documents and images from the years 1896–1930'), Berne, Benteli
* 1956 ''Graphik'', ('Graphics'), Berne, Klipstein & Kornfeld
* 1956 ''[[Schriften zur Form und Gestaltungslehre]]'' ('Writings on form and design theory') edited by Jürg Spiller (English edition: 'Paul Klee Notebooks')
** 1956 ''Band I: Das bildnerische Denken.'', ('Volume I: the creative thinking'). 572 pages [https://www.jstor.org/pss/427143 review]. (English translation from German by Ralph Manheim: 'The thinking eye')
** 1964 ''Band 2: Unendliche Naturgeschichte'' ('Volume 2: Infinite Natural History') (English translation from German by Heinz Norden: 'The Nature of Nature')
* 1964 ''The Diaries of Paul Klee 1898–1918 '' ed. Felix Klee Berkeley, University of California
* 1976 ''Schriften, Rezensionen und Aufsätze'' edited by Ch. Geelhaar, Köln,
* 1960 ''Gedichte'', poems, edited by Felix Klee
* 1962 ''Some poems by Paul Klee'' ed Anselm Hollo. London

== See also ==
* [[Color theory]]
* [[Watercolors]]
* [[Expressionism]]
* [[Der Blaue Reiter]]

== Notes and references ==

=== Notes ===
* {{note label|fn_1|a|a}} Paul Klee's father was a German citizen; his mother was Swiss. Swiss law determined citizenship along paternal lines, and thus Paul inherited his father's German citizenship. He served in the German army during World War I. Klee grew up in Berne, Switzerland, and returned there often, even before his final emigration from Germany in 1933. He died before his application for Swiss citizenship was processed.<ref name="fayal">Fayal, M.: ''[http://www.swissinfo.ch/eng/Specials/Paul_Klee/The_man/A_man_made_in_Switzerland.html?cid=124180 Paul Klee: A man made in Switzerland]'', swissinfo, 25 May 2005. URL. Retrieved 5 September 2006.</ref><ref name="zpk_naturalisation">Zentrum Paul Klee: ''[http://www.paulkleezentrum.ch/ww/en/pub/web_root/act/wissenschaftliches_archiv/biografie/schweizer_ohne_roten_pass.cfm A Swiss without a red passport] {{webarchive|url=https://web.archive.org/web/20060718020319/http://www.paulkleezentrum.ch/ww/en/pub/web_root/act/wissenschaftliches_archiv/biografie/schweizer_ohne_roten_pass.cfm |date=18 July 2006 }}''. URL. Retrieved 5 September 2006.</ref>
* {{note label|fn_2|b|b}} German: Werftkompanie, lit. 'shipyard company'.

=== References ===
{{reflist}}

== Further reading ==
* {{cite book |last=Berggruen |first=Olivier |chapter=Paul Klee – In Search of Natural Signs |title=The Writing of Art |publisher=Pushkin Press |year=2011 |isbn=978-1906548629}}
* ''Paul Klee: Catalogue Raisonné''. 9 vols. Edited by the Paul Klee Foundation, Museum of Fine Arts, Berne. New York: [[Thames & Hudson]], 1998–2004.
* ''Paul Klee: 1933'' published by Städtische Galerie im Lenbachhaus, Munich, Helmut Friedel. Contains essays in German by [[Pamela Kort]], [[Osamu Okuda]], and [[Otto Karl Werckmeister]].
* Reto Sorg und Osamu Okuda (2005). ''Die satirische Muse – Hans Bloesch, Paul Klee und das Editionsprojekt Der Musterbürger''. ZIP Zürich (Klee-Studien; 2), {{ISBN|3-909252-07-9}}
* {{cite book|last=Kort|first = Pamela|year=2004|title=Comic Grotesque: Wit And Mockery In German Art, 1870–1940|publisher=Prestel|page=208|url=http://www.frontlist.com/detail/3791331957|archiveurl=https://web.archive.org/web/20080304075511/http://www.frontlist.com/detail/3791331957|archivedate=4 March 2008|isbn=978-3-7913-3195-9}}
* Otto Karl Werckmeister (1989 [1984]). ''The Making of Paul Klee's Career, 1914–1920''. [[University of Chicago Press]], 343 pages, 125 halftones. {{ISBN?}}
* Marcel Franciscono (1991). ''Paul Klee: His Work and Thought''. University Of Chicago Press, 406 pages, {{ISBN|0-226-25990-0}}.
* [[Wilhelm Hausenstein]] (1921). ''[https://archive.org/details/arraywil00hausuoft Kairuan oder eine Geschichte vom Maler Klee und von der Kunst dieses Zeitalters]'' ('Kairuan or a History of the Artist Klee and the Art of this Age')

== External links ==
{{wikiquote}}
{{commons}}
* [http://www.thegreatcat.org/the-cat-in-art-and-photos-2/cats-in-art-20th-century/paul-klee/ Paul Klee's Cats]
* {{Helveticat}}
* [https://www.zpk.org/ Zentrum Paul Klee – The Paul Klee museum in Bern]
* [http://www.kleegestaltungslehre.zpk.org/ee/ZPK/BF/2012/01/01/001/ Scans of pages of Paul Klee's notebooks from the Zentrum Paul Klee]
* [http://www.artfacts.net/index.php/pageType/artistInfo/artist/2390/lang/1 Current exhibitions and connection to galleries at Artfacts.Net]
* [http://arthistoryproject.com/artists/paul-klee/creative-credo/ "Creative Credo"] – by Paul Klee, 1920
* {{MoMA artist|3130}}
* [https://web.archive.org/web/20100728060934/http://www.sfmoma.org/artists/378/artwork Paul Klee at The San Francisco Museum of Modern Art (SFMOMA)]
* [http://www.moreeuw.com/histoire-art/biographie-paul-klee.htm Paul Klee]
* [http://dada.lib.uiowa.edu/items/show/36 ''Paul Klee'', Der Ararat, Vol. 1, Second Special Number], edited by Hans Goltz, Munich, May–June, 1920
* {{EuropeanaEntity}}

{{Paul Klee}}
{{Der Blaue Reiter}}
{{Aesthetics}}
{{Modernism}}
{{Camoufleurs}}
{{Degenerate art}}
{{Authority control}}

{{DEFAULTSORT:Klee, Paul}}
[[Category:Paul Klee| ]]
[[Category:1879 births]]
[[Category:1940 deaths]]
[[Category:19th-century German painters]]
[[Category:20th-century German painters]]
[[Category:20th-century Swiss painters]]
[[Category:Swiss male painters]]
[[Category:20th-century German printmakers]]
[[Category:Abstract painters]]
[[Category:Art educators]]
[[Category:Academy of Fine Arts, Munich alumni]]
[[Category:Bauhaus teachers]]
[[Category:Cubist artists]]
[[Category:Deaths from scleroderma]]
[[Category:Expressionist painters]]
[[Category:Kunstakademie Düsseldorf faculty]]
[[Category:German male painters]]
[[Category:German-language poets]]
[[Category:Orientalist painters]]
[[Category:People from Bern-Mittelland District]]
[[Category:State University of Music and Performing Arts Stuttgart alumni]]
[[Category:Swiss printmakers]]
[[Category:People from Bern]]

Manfred Mohr

2020-01-10T13:03:25Z

DomenikaBo: added missing information on gallery image

[[File:Manfred Mohr Portrait 2019.jpg|thumb|Manfred Mohr posing in front of his work (2019)]]
[[File:Manfred Mohr P-777 D.jpg|thumb|Piece "P-777_D" (2002/04). LCD Screen and PC]]
'''Manfred Mohr''' ('''b.''' June 8, 1938 in [[Pforzheim]]/[[Germany]]) is a German artist considered to be a pioneer in the field of [[digital art]].<ref>[http://www.siggraph.org/publications/newsletter/v32n3/contributions/truckenbrod.html Pioneering Computer Artists, Siggraph 1998]</ref> He has lived and worked in New York since 1981.

==Life and career==
Mohr started his career as an [[action painting|action painter]] and [[jazz musician]]. He began using a computer in 1969 because of a growing interest in creating [[algorithmic art]]. He lived in [[Barcelona]] in 1962 and in [[Paris]] between 1963 and 1983.

His early [[computer art|computer works]] are algorithmic and based on his former drawings with a strong attitude on rhythm and repetition. In 1990 he was awarded the [[Prix Ars Electronica]] (Golden Nica) at [[Ars Electronica]] festival in [[Linz]], [[Austria]]. He maintained an art studio in [[Paris]] from 1963 to 1983. Mohr attended Kunst + Werkschule in [[Pforzheim]] and [[École des Beaux-Arts]] in Paris.

In 1968 he co-founded the seminar "Art et Informatique" at the [[University of Vincennes]] and in May 1971 had a solo exhibit at ARC - Musée d'Art Moderne de la Ville de Paris.<ref>[http://www.bibliothequedesartsdecoratifs.com/cgi-bin/visu.pl?75505 Manfred Mohr computer graphic : une esthétique progammée A-R-C- Musée d'Art moderne de la ville de Paris, 1971]</ref> Since then, that exhibition has become known historically as the first [[solo exhibition|solo show]] in a museum of works entirely calculated and drawn by a computer.

Recent solo exhibitions of his work include Art Basel "Art Features" with bitforms gallery NY in [[Basel]],<ref>[http://www.artbasel-online.com/index.php5?id=311476&compact=0&path=Galleries&Action=showCompany Manfred Mohr Featured Artist ArtBasel | Basel]</ref> DAM Gallery in [[Berlin]], Mueller-Roth Gallery in [[Stuttgart]], Carroll / Fletcher Gallery in [[London]], bitforms gallery in [[New York City]], Galerie Charlot in [[Paris]],<ref>[http://newsarttoday.tv/expo/galerie-charlot-manfred-mohr/]</ref> the Museum of Kulturspeicher in [[Würzburg]], and Galerie Wack in [[Kaiserslautern]].

Major retrospectives of his work include [[ZKM]] | Media Museum in Karlsruhe in 2013,<ref>[http://on1.zkm.de/zkm/stories/storyReader$8350 Manfred Mohr exposition ZKM, Karlsruhe]</ref> the [[Kunsthalle Bremen|Kunsthalle in Bremen]] in 2007, Joseph Albers Museum in [[Bottrop|Bottrop, Germany]] in 1998, and the Wilhelm-Hack-Museum in [[Ludwigshafen am Rhein|Ludwigshafen, Germany]] in 1987.

Mohr's work is collected by the [[Centre Pompidou]] in Paris, the Joseph Albers Museum, the [[Museum Ludwig|Ludwig Museum]] in [[Cologne]], the Museum for Concret Art in [[Ingolstadt]], the [[Kunstmuseum Stuttgart]], [[Musée d'art contemporain de Montréal|Musee d’Art Contemporain]] and [[Musée des beaux-arts de Montréal|Musée des Beaux-Arts in Montreal]], the [[Stedelijk Museum]] in Amsterdam, [[Musée de l'Élysée]] in Switzerland, and many others. Mohr has had numerous solo exhibitions in both museums and galleries in New York, [[Zürich]], [[Cologne]], Paris, Amsterdam, [[Stuttgart]], Berlin, [[Montreal]], [[São Paulo]], and [[Seoul]]. Additionally, he has participated in group exhibitions at the [[Leo Castelli]] Gallery and at the [[Museum of Modern Art]] in New York.

Mohr has received many awards including the 2013 ACM SIGGRAPH Distinguished Artist Award for Lifetime Achievement in Digital Art,<ref>[http://www.siggraph.org/discover/news/acm-siggraph-announces-award-recipients-2013 SIGGRAPH Distinguished Artist Award]</ref> 2006 (ddaa) Digital Art Award Cologne/Berlin,<ref>[http://www.ddaa-online.de/manfred-mohr-52 ddaa - d.velop digital art award, 2006]</ref> a fellowship from [[New York Foundation for the Arts]] in 1997, the 1990 [[Prix Ars Electronica|Golden Nica]] <ref>[http://archive.aec.at/#22794 Arts Electronica, Golden Nica, Computer Graphics, 1990]</ref> from [[Ars Electronica]] in Linz, the 1990 Camille Graeser Prize <ref>[http://www.camille-graeser-stiftung.ch/body_3.html Camill Graeser Stiftung, 1990]</ref> in [[Zürich]], and the 1973 Ljubljana Print Biennial. In 1994, the first comprehensive monograph on his work was published by Waser-Verlag in [[Zürich]].<ref>Lieser, Wolf. ''Digital Art''. Langenscheidt: h.f. ullmann. 2009 pp.163-167</ref>

==Studies, exhibitions, and prizes==
* 1957 - Kunst + Werkschule, Pforzheim (gold- and silversmith, painting); jazz musician (tenor-sax, oboe)
* 1960 - [[Action painting]]
* 1961 - Received school prize (art) of the City of Pforzheim
* 1962 - Began the exclusive use of black and white as a means of visual and aesthetic expression
* 1965 - Studied [[lithography]] at the [[Ecole des Beaux Arts]], Paris; geometric experiments led to hard edge painting
* 1968 - First one-man exhibition at the Daniel Templon Gallery, Paris; systematization of the picture content
* 1969 - Publication of the visual book ''Artificiata I''. First drawings with a computer.
* 1971 - First one-man show of computer generated art in a museum, ARC, Museé d'Art Moderne de la Ville de Paris, Paris / France
* 1972 - Sequential computer drawings were introduced; began to work on fixed structures: the cube
* 1973 - Received awards at the World Print Competition-73, San Francisco, and the 10th Biennial in [[Ljubljana]]
* 1977 - Began to work with the 4-D [[hypercube]] and graph-theory
* 1980 - Workphase: divisibility, dissection of cube
* 1982 - Quasi-organic growth programs on the cube
* 1987 - First retrospective exhibition, Wilhelm-Hack-Museum, Ludwigshafen; renewed work on the 4-D hypercube; four-dimensional rotation as generator of signs
* 1989 - Extended work to the 5-D and 6-D hypercube. Rotation as well as projection as generators of signs
* 1990 - Received the Golden Nica at Ars Electronica in Linz and the Camille Graeser Prize in Zürich
* 1991 - Workphase: laserglyphs, diagonal paths through 6-D hypercube are cut from steel plates with a laser
* 1994 - The first comprehensive monograph on Manfred Mohr was published by Waser-Verlag, Zürich
* 1997 - Was elected a member of the [[American Abstract Artists]]; received an Artists' Fellowship from New York Foundation for the Arts
* 1998 - Started to use color (after using black and white for more than three decades) to show the complexity of the work through differentiation
* 2002 - Designed and built small PCs to run his program "space.color" and since 2004 also the program "subsets". The resulting images were visualized on LCD flat panels in a slow, non-repetitive motion.
* 2006 - Received the [ddaa] Digital Art Award (for digital pioneering- and original geometric research), Köl
* 2013 - Received the ACM SIGGRAPH Distinguished Artist Award for Lifetime Achievement in Digital Art
* Honored with retrospective show The Algorithm of Manfred Mohr, 1963-now at ZKM - Media Museum, Karlsruhe and was chosen as Featured Artist in a solo show at ArtBasel/Basel with bitforms gallery

== Gallery ==
<gallery>
Manfred Mohr P-306-O.jpg|Piece "P-306-O" (1980/82). Acryl/ Canvas/ Wood/ 4 parts
Manfred Mohr P-792 32.jpg|Piece "P-792_32" (2000-2007). Pigment ink on Canvas/ Wood
Manfred Mohr P1640 1322.jpg|Piece "P1640_1322" (2014). Pigment ink on Canvas
Manfred Mohr P1611 5220.jpg|Piece "P1611_5220" (2012/13). Pigment ink on Canvas
</gallery>

==References==
{{reflist|2}}

==External links==
*[http://www.emohr.com/ Artist's website]
*[http://www.ddaa-online.de/manfred-mohr-52 The ddaa prize winner 2006]
*[http://archive.aec.at/#22794 Winner Prix Ars Electronica 1990 - Golden Nica, computer graphics, Manfred Mohr]
*[http://www.lastplace.com/EXHIBITS/Spotlight/MMohr/ Show at "Truly Virtual Web Art Museum" of Dr. Rodney Chang (Pygoya)]
*[http://kunstforum.twoday.net/stories/4304512/ Ein radikaler Rationalist - Manfred Mohr im Kunstforum]
*[http://www.kunsthalle-bremen.de/Ausstellungen/Rueckblick/#top Kunsthalle Bremen - Manfred Mohr - broken symmetry]
*[http://www.kunsthalle-bremen.de/upload/Presse/Texte/pm_mohr_.pdf Kunstahalle Bremen Manfred Mohr - broken symmetry - press release]
*[http://www.siggraph.org/publications/newsletter/v32n3/contributions/truckenbrod.html Siggraph 1998 - Pioneering Artists]
*[http://www.nyfa.org/nyfa_artists_detail.asp?pid=2002 New York Foundation of the Arts - Manfred Mohr Artist's Fellowship 1997]
*[http://www.zeit.de/1996/42/mohr.txt.19961011.xml?from=rss Die Zeit 1996 - Manfred Mohr ist ein Purist unter den Computerkünstlern by Manfred Dworschak]
* [http://emohr.com (complete reference homepage)]
* [https://collections.vam.ac.uk/name/mohr-manfred/35164/ List of works held by the Victoria and Albert Museum]
* {{cite web |publisher= [[Victoria and Albert Museum]]
|url= http://www.vam.ac.uk/content/articles/c/computer-art-artworks-in-detail/
|title= Manfred Mohr,'P-62 (floating points)', 1970 and 'P-176', 1975 - in detail
|work= Prints & Books
|accessdate= 2011-03-24}}

{{Authority control}}
{{DEFAULTSORT:Mohr, Manfred}}
[[Category:German digital artists]]
[[Category:1938 births]]
[[Category:Living people]]
[[Category:German contemporary artists]]

User:DomenikaBo

2020-01-10T12:48:12Z

DomenikaBo: Edited user page

[[File:Benutzerin DomenikaBo (de).jpg|150px|left|thumb|DomenikaBo wearing a traditional hat at [https://de.wikipedia.org/wiki/Heimatmuseum_Prien Heimatmuseum Prien], [[Germany]]]]

{{Babel|de|mw=w|en-4|fr-3|hu-2|es-1|bar-1|titel=<span></span>|}}

<br> <br>
<center>
'''I'm also curious about things that don't interest me:'''

{{quote|There is always something to look at if you open your eyes.|author=[[Doctor Who]]|source=[https://en.wikiquote.org/wiki/Fifth_Doctor S19 E3]}}
<br> <br>
If you want to know more, come and find me on [https://de.wikipedia.org/wiki/Benutzerin:DomenikaBo German Wikipedia] :)
</center>
<br> <br>

Manfred Mohr

2020-01-10T12:33:26Z

DomenikaBo: Adding new gallery, as in German article. All image rights are approved.

[[File:Manfred Mohr Portrait 2019.jpg|thumb|Manfred Mohr posing in front of his work (2019)]]
[[File:Manfred Mohr P-777 D.jpg|thumb|Piece "P-777_D" (2002/04). LCD Screen and PC]]
'''Manfred Mohr''' ('''b.''' June 8, 1938 in [[Pforzheim]]/[[Germany]]) is a German artist considered to be a pioneer in the field of [[digital art]].<ref>[http://www.siggraph.org/publications/newsletter/v32n3/contributions/truckenbrod.html Pioneering Computer Artists, Siggraph 1998]</ref> He has lived and worked in New York since 1981.

==Life and career==
Mohr started his career as an [[action painting|action painter]] and [[jazz musician]]. He began using a computer in 1969 because of a growing interest in creating [[algorithmic art]]. He lived in [[Barcelona]] in 1962 and in [[Paris]] between 1963 and 1983.

His early [[computer art|computer works]] are algorithmic and based on his former drawings with a strong attitude on rhythm and repetition. In 1990 he was awarded the [[Prix Ars Electronica]] (Golden Nica) at [[Ars Electronica]] festival in [[Linz]], [[Austria]]. He maintained an art studio in [[Paris]] from 1963 to 1983. Mohr attended Kunst + Werkschule in [[Pforzheim]] and [[École des Beaux-Arts]] in Paris.

In 1968 he co-founded the seminar "Art et Informatique" at the [[University of Vincennes]] and in May 1971 had a solo exhibit at ARC - Musée d'Art Moderne de la Ville de Paris.<ref>[http://www.bibliothequedesartsdecoratifs.com/cgi-bin/visu.pl?75505 Manfred Mohr computer graphic : une esthétique progammée A-R-C- Musée d'Art moderne de la ville de Paris, 1971]</ref> Since then, that exhibition has become known historically as the first [[solo exhibition|solo show]] in a museum of works entirely calculated and drawn by a computer.

Recent solo exhibitions of his work include Art Basel "Art Features" with bitforms gallery NY in [[Basel]],<ref>[http://www.artbasel-online.com/index.php5?id=311476&compact=0&path=Galleries&Action=showCompany Manfred Mohr Featured Artist ArtBasel | Basel]</ref> DAM Gallery in [[Berlin]], Mueller-Roth Gallery in [[Stuttgart]], Carroll / Fletcher Gallery in [[London]], bitforms gallery in [[New York City]], Galerie Charlot in [[Paris]],<ref>[http://newsarttoday.tv/expo/galerie-charlot-manfred-mohr/]</ref> the Museum of Kulturspeicher in [[Würzburg]], and Galerie Wack in [[Kaiserslautern]].

Major retrospectives of his work include [[ZKM]] | Media Museum in Karlsruhe in 2013,<ref>[http://on1.zkm.de/zkm/stories/storyReader$8350 Manfred Mohr exposition ZKM, Karlsruhe]</ref> the [[Kunsthalle Bremen|Kunsthalle in Bremen]] in 2007, Joseph Albers Museum in [[Bottrop|Bottrop, Germany]] in 1998, and the Wilhelm-Hack-Museum in [[Ludwigshafen am Rhein|Ludwigshafen, Germany]] in 1987.

Mohr's work is collected by the [[Centre Pompidou]] in Paris, the Joseph Albers Museum, the [[Museum Ludwig|Ludwig Museum]] in [[Cologne]], the Museum for Concret Art in [[Ingolstadt]], the [[Kunstmuseum Stuttgart]], [[Musée d'art contemporain de Montréal|Musee d’Art Contemporain]] and [[Musée des beaux-arts de Montréal|Musée des Beaux-Arts in Montreal]], the [[Stedelijk Museum]] in Amsterdam, [[Musée de l'Élysée]] in Switzerland, and many others. Mohr has had numerous solo exhibitions in both museums and galleries in New York, [[Zürich]], [[Cologne]], Paris, Amsterdam, [[Stuttgart]], Berlin, [[Montreal]], [[São Paulo]], and [[Seoul]]. Additionally, he has participated in group exhibitions at the [[Leo Castelli]] Gallery and at the [[Museum of Modern Art]] in New York.

Mohr has received many awards including the 2013 ACM SIGGRAPH Distinguished Artist Award for Lifetime Achievement in Digital Art,<ref>[http://www.siggraph.org/discover/news/acm-siggraph-announces-award-recipients-2013 SIGGRAPH Distinguished Artist Award]</ref> 2006 (ddaa) Digital Art Award Cologne/Berlin,<ref>[http://www.ddaa-online.de/manfred-mohr-52 ddaa - d.velop digital art award, 2006]</ref> a fellowship from [[New York Foundation for the Arts]] in 1997, the 1990 [[Prix Ars Electronica|Golden Nica]] <ref>[http://archive.aec.at/#22794 Arts Electronica, Golden Nica, Computer Graphics, 1990]</ref> from [[Ars Electronica]] in Linz, the 1990 Camille Graeser Prize <ref>[http://www.camille-graeser-stiftung.ch/body_3.html Camill Graeser Stiftung, 1990]</ref> in [[Zürich]], and the 1973 Ljubljana Print Biennial. In 1994, the first comprehensive monograph on his work was published by Waser-Verlag in [[Zürich]].<ref>Lieser, Wolf. ''Digital Art''. Langenscheidt: h.f. ullmann. 2009 pp.163-167</ref>

==Studies, exhibitions, and prizes==
* 1957 - Kunst + Werkschule, Pforzheim (gold- and silversmith, painting); jazz musician (tenor-sax, oboe)
* 1960 - [[Action painting]]
* 1961 - Received school prize (art) of the City of Pforzheim
* 1962 - Began the exclusive use of black and white as a means of visual and aesthetic expression
* 1965 - Studied [[lithography]] at the [[Ecole des Beaux Arts]], Paris; geometric experiments led to hard edge painting
* 1968 - First one-man exhibition at the Daniel Templon Gallery, Paris; systematization of the picture content
* 1969 - Publication of the visual book ''Artificiata I''. First drawings with a computer.
* 1971 - First one-man show of computer generated art in a museum, ARC, Museé d'Art Moderne de la Ville de Paris, Paris / France
* 1972 - Sequential computer drawings were introduced; began to work on fixed structures: the cube
* 1973 - Received awards at the World Print Competition-73, San Francisco, and the 10th Biennial in [[Ljubljana]]
* 1977 - Began to work with the 4-D [[hypercube]] and graph-theory
* 1980 - Workphase: divisibility, dissection of cube
* 1982 - Quasi-organic growth programs on the cube
* 1987 - First retrospective exhibition, Wilhelm-Hack-Museum, Ludwigshafen; renewed work on the 4-D hypercube; four-dimensional rotation as generator of signs
* 1989 - Extended work to the 5-D and 6-D hypercube. Rotation as well as projection as generators of signs
* 1990 - Received the Golden Nica at Ars Electronica in Linz and the Camille Graeser Prize in Zürich
* 1991 - Workphase: laserglyphs, diagonal paths through 6-D hypercube are cut from steel plates with a laser
* 1994 - The first comprehensive monograph on Manfred Mohr was published by Waser-Verlag, Zürich
* 1997 - Was elected a member of the [[American Abstract Artists]]; received an Artists' Fellowship from New York Foundation for the Arts
* 1998 - Started to use color (after using black and white for more than three decades) to show the complexity of the work through differentiation
* 2002 - Designed and built small PCs to run his program "space.color" and since 2004 also the program "subsets". The resulting images were visualized on LCD flat panels in a slow, non-repetitive motion.
* 2006 - Received the [ddaa] Digital Art Award (for digital pioneering- and original geometric research), Köl
* 2013 - Received the ACM SIGGRAPH Distinguished Artist Award for Lifetime Achievement in Digital Art
* Honored with retrospective show The Algorithm of Manfred Mohr, 1963-now at ZKM - Media Museum, Karlsruhe and was chosen as Featured Artist in a solo show at ArtBasel/Basel with bitforms gallery

== Gallery ==
<gallery>
Manfred Mohr P-306-O.jpg|Piece "P-306-O" (1980/82). Acryl/ Canvas/ Wood/ 4 parts
Manfred Mohr P-792 32.jpg|Piece "P-792_32" (2000-2007). Pigment ink on Canvas/ Wood
Manfred Mohr P1640 1322.jpg|Piece "P1640_1322" (2014). Pigment ink on
Manfred Mohr P1611 5220.jpg|Piece "P1611_5220" (2012/13). Pigment ink on Canvas
</gallery>

==References==
{{reflist|2}}

==External links==
*[http://www.emohr.com/ Artist's website]
*[http://www.ddaa-online.de/manfred-mohr-52 The ddaa prize winner 2006]
*[http://archive.aec.at/#22794 Winner Prix Ars Electronica 1990 - Golden Nica, computer graphics, Manfred Mohr]
*[http://www.lastplace.com/EXHIBITS/Spotlight/MMohr/ Show at "Truly Virtual Web Art Museum" of Dr. Rodney Chang (Pygoya)]
*[http://kunstforum.twoday.net/stories/4304512/ Ein radikaler Rationalist - Manfred Mohr im Kunstforum]
*[http://www.kunsthalle-bremen.de/Ausstellungen/Rueckblick/#top Kunsthalle Bremen - Manfred Mohr - broken symmetry]
*[http://www.kunsthalle-bremen.de/upload/Presse/Texte/pm_mohr_.pdf Kunstahalle Bremen Manfred Mohr - broken symmetry - press release]
*[http://www.siggraph.org/publications/newsletter/v32n3/contributions/truckenbrod.html Siggraph 1998 - Pioneering Artists]
*[http://www.nyfa.org/nyfa_artists_detail.asp?pid=2002 New York Foundation of the Arts - Manfred Mohr Artist's Fellowship 1997]
*[http://www.zeit.de/1996/42/mohr.txt.19961011.xml?from=rss Die Zeit 1996 - Manfred Mohr ist ein Purist unter den Computerkünstlern by Manfred Dworschak]
* [http://emohr.com (complete reference homepage)]
* [https://collections.vam.ac.uk/name/mohr-manfred/35164/ List of works held by the Victoria and Albert Museum]
* {{cite web |publisher= [[Victoria and Albert Museum]]
|url= http://www.vam.ac.uk/content/articles/c/computer-art-artworks-in-detail/
|title= Manfred Mohr,'P-62 (floating points)', 1970 and 'P-176', 1975 - in detail
|work= Prints & Books
|accessdate= 2011-03-24}}

{{Authority control}}
{{DEFAULTSORT:Mohr, Manfred}}
[[Category:German digital artists]]
[[Category:1938 births]]
[[Category:Living people]]
[[Category:German contemporary artists]]

Manfred Mohr

2020-01-10T12:29:58Z

DomenikaBo: Adding new pictures, as in German article. All image rights are approved.

[[File:Manfred Mohr Portrait 2019.jpg|thumb|Manfred Mohr posing in front of his work (2019)]]
[[File:Manfred Mohr P-777 D.jpg|thumb|Piece "P-777_D" (2002/04). LCD Screen and PC]]
'''Manfred Mohr''' ('''b.''' June 8, 1938 in [[Pforzheim]]/[[Germany]]) is a German artist considered to be a pioneer in the field of [[digital art]].<ref>[http://www.siggraph.org/publications/newsletter/v32n3/contributions/truckenbrod.html Pioneering Computer Artists, Siggraph 1998]</ref> He has lived and worked in New York since 1981.

==Life and career==
Mohr started his career as an [[action painting|action painter]] and [[jazz musician]]. He began using a computer in 1969 because of a growing interest in creating [[algorithmic art]]. He lived in [[Barcelona]] in 1962 and in [[Paris]] between 1963 and 1983.

His early [[computer art|computer works]] are algorithmic and based on his former drawings with a strong attitude on rhythm and repetition. In 1990 he was awarded the [[Prix Ars Electronica]] (Golden Nica) at [[Ars Electronica]] festival in [[Linz]], [[Austria]]. He maintained an art studio in [[Paris]] from 1963 to 1983. Mohr attended Kunst + Werkschule in [[Pforzheim]] and [[École des Beaux-Arts]] in Paris.

In 1968 he co-founded the seminar "Art et Informatique" at the [[University of Vincennes]] and in May 1971 had a solo exhibit at ARC - Musée d'Art Moderne de la Ville de Paris.<ref>[http://www.bibliothequedesartsdecoratifs.com/cgi-bin/visu.pl?75505 Manfred Mohr computer graphic : une esthétique progammée A-R-C- Musée d'Art moderne de la ville de Paris, 1971]</ref> Since then, that exhibition has become known historically as the first [[solo exhibition|solo show]] in a museum of works entirely calculated and drawn by a computer.

Recent solo exhibitions of his work include Art Basel "Art Features" with bitforms gallery NY in [[Basel]],<ref>[http://www.artbasel-online.com/index.php5?id=311476&compact=0&path=Galleries&Action=showCompany Manfred Mohr Featured Artist ArtBasel | Basel]</ref> DAM Gallery in [[Berlin]], Mueller-Roth Gallery in [[Stuttgart]], Carroll / Fletcher Gallery in [[London]], bitforms gallery in [[New York City]], Galerie Charlot in [[Paris]],<ref>[http://newsarttoday.tv/expo/galerie-charlot-manfred-mohr/]</ref> the Museum of Kulturspeicher in [[Würzburg]], and Galerie Wack in [[Kaiserslautern]].

Major retrospectives of his work include [[ZKM]] | Media Museum in Karlsruhe in 2013,<ref>[http://on1.zkm.de/zkm/stories/storyReader$8350 Manfred Mohr exposition ZKM, Karlsruhe]</ref> the [[Kunsthalle Bremen|Kunsthalle in Bremen]] in 2007, Joseph Albers Museum in [[Bottrop|Bottrop, Germany]] in 1998, and the Wilhelm-Hack-Museum in [[Ludwigshafen am Rhein|Ludwigshafen, Germany]] in 1987.

Mohr's work is collected by the [[Centre Pompidou]] in Paris, the Joseph Albers Museum, the [[Museum Ludwig|Ludwig Museum]] in [[Cologne]], the Museum for Concret Art in [[Ingolstadt]], the [[Kunstmuseum Stuttgart]], [[Musée d'art contemporain de Montréal|Musee d’Art Contemporain]] and [[Musée des beaux-arts de Montréal|Musée des Beaux-Arts in Montreal]], the [[Stedelijk Museum]] in Amsterdam, [[Musée de l'Élysée]] in Switzerland, and many others. Mohr has had numerous solo exhibitions in both museums and galleries in New York, [[Zürich]], [[Cologne]], Paris, Amsterdam, [[Stuttgart]], Berlin, [[Montreal]], [[São Paulo]], and [[Seoul]]. Additionally, he has participated in group exhibitions at the [[Leo Castelli]] Gallery and at the [[Museum of Modern Art]] in New York.

Mohr has received many awards including the 2013 ACM SIGGRAPH Distinguished Artist Award for Lifetime Achievement in Digital Art,<ref>[http://www.siggraph.org/discover/news/acm-siggraph-announces-award-recipients-2013 SIGGRAPH Distinguished Artist Award]</ref> 2006 (ddaa) Digital Art Award Cologne/Berlin,<ref>[http://www.ddaa-online.de/manfred-mohr-52 ddaa - d.velop digital art award, 2006]</ref> a fellowship from [[New York Foundation for the Arts]] in 1997, the 1990 [[Prix Ars Electronica|Golden Nica]] <ref>[http://archive.aec.at/#22794 Arts Electronica, Golden Nica, Computer Graphics, 1990]</ref> from [[Ars Electronica]] in Linz, the 1990 Camille Graeser Prize <ref>[http://www.camille-graeser-stiftung.ch/body_3.html Camill Graeser Stiftung, 1990]</ref> in [[Zürich]], and the 1973 Ljubljana Print Biennial. In 1994, the first comprehensive monograph on his work was published by Waser-Verlag in [[Zürich]].<ref>Lieser, Wolf. ''Digital Art''. Langenscheidt: h.f. ullmann. 2009 pp.163-167</ref>

==Studies, exhibitions, and prizes==
* 1957 - Kunst + Werkschule, Pforzheim (gold- and silversmith, painting); jazz musician (tenor-sax, oboe)
* 1960 - [[Action painting]]
* 1961 - Received school prize (art) of the City of Pforzheim
* 1962 - Began the exclusive use of black and white as a means of visual and aesthetic expression
* 1965 - Studied [[lithography]] at the [[Ecole des Beaux Arts]], Paris; geometric experiments led to hard edge painting
* 1968 - First one-man exhibition at the Daniel Templon Gallery, Paris; systematization of the picture content
* 1969 - Publication of the visual book ''Artificiata I''. First drawings with a computer.
* 1971 - First one-man show of computer generated art in a museum, ARC, Museé d'Art Moderne de la Ville de Paris, Paris / France
* 1972 - Sequential computer drawings were introduced; began to work on fixed structures: the cube
* 1973 - Received awards at the World Print Competition-73, San Francisco, and the 10th Biennial in [[Ljubljana]]
* 1977 - Began to work with the 4-D [[hypercube]] and graph-theory
* 1980 - Workphase: divisibility, dissection of cube
* 1982 - Quasi-organic growth programs on the cube
* 1987 - First retrospective exhibition, Wilhelm-Hack-Museum, Ludwigshafen; renewed work on the 4-D hypercube; four-dimensional rotation as generator of signs
* 1989 - Extended work to the 5-D and 6-D hypercube. Rotation as well as projection as generators of signs
* 1990 - Received the Golden Nica at Ars Electronica in Linz and the Camille Graeser Prize in Zürich
* 1991 - Workphase: laserglyphs, diagonal paths through 6-D hypercube are cut from steel plates with a laser
* 1994 - The first comprehensive monograph on Manfred Mohr was published by Waser-Verlag, Zürich
* 1997 - Was elected a member of the [[American Abstract Artists]]; received an Artists' Fellowship from New York Foundation for the Arts
* 1998 - Started to use color (after using black and white for more than three decades) to show the complexity of the work through differentiation
* 2002 - Designed and built small PCs to run his program "space.color" and since 2004 also the program "subsets". The resulting images were visualized on LCD flat panels in a slow, non-repetitive motion.
* 2006 - Received the [ddaa] Digital Art Award (for digital pioneering- and original geometric research), Köl
* 2013 - Received the ACM SIGGRAPH Distinguished Artist Award for Lifetime Achievement in Digital Art
* Honored with retrospective show The Algorithm of Manfred Mohr, 1963-now at ZKM - Media Museum, Karlsruhe and was chosen as Featured Artist in a solo show at ArtBasel/Basel with bitforms gallery

==References==
{{reflist|2}}

==External links==
*[http://www.emohr.com/ Artist's website]
*[http://www.ddaa-online.de/manfred-mohr-52 The ddaa prize winner 2006]
*[http://archive.aec.at/#22794 Winner Prix Ars Electronica 1990 - Golden Nica, computer graphics, Manfred Mohr]
*[http://www.lastplace.com/EXHIBITS/Spotlight/MMohr/ Show at "Truly Virtual Web Art Museum" of Dr. Rodney Chang (Pygoya)]
*[http://kunstforum.twoday.net/stories/4304512/ Ein radikaler Rationalist - Manfred Mohr im Kunstforum]
*[http://www.kunsthalle-bremen.de/Ausstellungen/Rueckblick/#top Kunsthalle Bremen - Manfred Mohr - broken symmetry]
*[http://www.kunsthalle-bremen.de/upload/Presse/Texte/pm_mohr_.pdf Kunstahalle Bremen Manfred Mohr - broken symmetry - press release]
*[http://www.siggraph.org/publications/newsletter/v32n3/contributions/truckenbrod.html Siggraph 1998 - Pioneering Artists]
*[http://www.nyfa.org/nyfa_artists_detail.asp?pid=2002 New York Foundation of the Arts - Manfred Mohr Artist's Fellowship 1997]
*[http://www.zeit.de/1996/42/mohr.txt.19961011.xml?from=rss Die Zeit 1996 - Manfred Mohr ist ein Purist unter den Computerkünstlern by Manfred Dworschak]
* [http://emohr.com (complete reference homepage)]
* [https://collections.vam.ac.uk/name/mohr-manfred/35164/ List of works held by the Victoria and Albert Museum]
* {{cite web |publisher= [[Victoria and Albert Museum]]
|url= http://www.vam.ac.uk/content/articles/c/computer-art-artworks-in-detail/
|title= Manfred Mohr,'P-62 (floating points)', 1970 and 'P-176', 1975 - in detail
|work= Prints & Books
|accessdate= 2011-03-24}}

{{Authority control}}
{{DEFAULTSORT:Mohr, Manfred}}
[[Category:German digital artists]]
[[Category:1938 births]]
[[Category:Living people]]
[[Category:German contemporary artists]]

Szőny

2017-10-31T12:45:50Z

DomenikaBo: added new source

{{Infobox settlement


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'''Szőny''' was a town in [[Hungary]]. Since 1977, it has been part of the city of [[Komárom]].

==History==
The Roman legion [[Legio I Adiutrix]] was based here from 86 AD to the mid-5th century and took part in several [[Roman–Parthian Wars|Parthian wars]].<ref>[http://www.legionxxiv.org/legionshist/ LEGIONS OF THE IMPERIAL ROMAN EMPIRE]</ref>

The town was known as '''Brigetio''' to the Romans, and was the site of the death of Roman Emperor [[Valentinian I]]<ref>[http://www.clas.ufl.edu/users/rhatch/pages/03-Sci-Rev/SCI-REV-Home/Historical-Research/Latin-Names/Latin_Names.html Latin Names of Modern Cities]</ref> An important [[Roman military diploma]] was found in the town in the early twentieth century - it is now in the [[British Museum]]'s collection.<ref>[https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=399814&partId=1&place=34673&plaA=34673-3-1&page=1 British Museum Collection]</ref> Later during the Middle Ages the town was called ''Camarum''. The town has one of the earliest records of conjoined twins - Helen and Judith.<ref>http://www.thehumanmarvels.com/the-hungarian-sisters/</ref>

During the [[Oil Campaign of World War II]], the Szőny oil refinery was a strategic bombing target.

==References==
{{Reflist}}

{{DEFAULTSORT:Szony}}
[[Category:Oil Campaign of World War II]]
[[Category:Former municipalities of Hungary]]
[[Category:Roman settlements in Hungary]]
[[Category:Komárom]]
[[Category:Roman legionary fortresses in Hungary]]
[[Category:Roman fortifications in Pannonia Superior]]

{{Hungary-geo-stub}}

Szőny

2017-10-31T12:44:13Z

DomenikaBo: deleted not working link

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'''Szőny''' was a town in [[Hungary]]. Since 1977, it has been part of the city of [[Komárom]].

==History==
The Roman legion [[Legio I Adiutrix]] was based here from 86 AD to the mid-5th century and took part in several [[Roman–Parthian Wars|Parthian wars]].<ref>[http://www.legionxxiv.org/legionshist/ LEGIONS OF THE IMPERIAL ROMAN EMPIRE]</ref>

The town was known as '''Brigetio''' to the Romans, and was the site of the death of Roman Emperor [[Valentinian I]]<ref>[http://www.clas.ufl.edu/users/rhatch/pages/03-Sci-Rev/SCI-REV-Home/Historical-Research/Latin-Names/Latin_Names.html Latin Names of Modern Cities]</ref> An important [[Roman military diploma]] was found in the town in the early twentieth century - it is now in the [[British Museum]]'s collection.<ref>[https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=399814&partId=1&place=34673&plaA=34673-3-1&page=1 British Museum Collection]</ref> Later during the Middle Ages the town was called ''Camarum''. The town has one of the earliest records of conjoined twins - Helen and Judith.

During the [[Oil Campaign of World War II]], the Szőny oil refinery was a strategic bombing target.

==References==
{{Reflist}}

{{DEFAULTSORT:Szony}}
[[Category:Oil Campaign of World War II]]
[[Category:Former municipalities of Hungary]]
[[Category:Roman settlements in Hungary]]
[[Category:Komárom]]
[[Category:Roman legionary fortresses in Hungary]]
[[Category:Roman fortifications in Pannonia Superior]]

{{Hungary-geo-stub}}

Dream On (Aerosmith song)

2017-05-27T19:41:06Z

DomenikaBo: added source

{{Infobox single 
| Name = Dream On
| Cover = DreamOnsingle.jpg
| Alt =
| Caption = 1976 [[United Kingdom|UK]] promotional single
| Artist = [[Aerosmith]]
| Album = [[Aerosmith (album)|Aerosmith]]
| B-side = "[[Somebody (Aerosmith song)|Somebody]]"
| Released = {{Start date|1973|06|27}}<ref name="notes">{{cite AV media notes |title=Greatest Hits |others=[[Aerosmith]] |origyear=1980|year=1993 |type=CD liner |publisher=[[Columbia Records]] |id=CK 57367 |location=[[United States]] }}</ref>
| Format = [[7-inch single]]
| Recorded = Intermedia Studios, [[Boston]], 1972<ref name="Pandora">{{cite AV media notes |title=Pandora's Box |titlelink=Pandora's Box (album) |others=[[Aerosmith]] |origyear=1991|year=2002 |type=CD liner |publisher=[[Columbia Records]] |id=C3K 86567 |location=[[United States]] }}</ref>
| Genre = [[Hard rock]], [[blues rock]]
| Length = 3:25 (single version)<br>4:28 (album version)
| Label = [[Columbia Records|Columbia]]
| Writer = [[Steven Tyler]]
| Producer = [[Adrian Barber]]<ref name="notes" />
| Last single = "[[Mama Kin]]"<br />(1973)
| This single = "'''Dream On'''"<br />(1973)
| Next single = "[[Same Old Song and Dance]]"<br />(1974)
| Misc =
{{Extra track listing
| Album = [[Aerosmith (album)|Aerosmith]]
| Type = studio
| prev_track = "[[Somebody (Aerosmith song)|Somebody]]"
| prev_no = 2
| this_track = "'''Dream On'''"
| track_no = 3
| next_track = "[[One Way Street (song)|One Way Street]]"
| next_no = 4
}}
{{Extra music sample |Type=single |filename=Aerosmith_-_Dream_On.ogg|title="Dream On"}}
{{External music video|1=[https://www.youtube.com/watch?v=89dGC8de0CA "Dream On" (audio)]<br />[https://www.youtube.com/watch?v=sZfZ8uWaOFI "Dream On" (official live video)]<br />on [[YouTube]]}}
}}

"'''Dream On'''" is a [[power ballad]] by [[Aerosmith]] from their 1973 debut album, ''[[Aerosmith (album)|Aerosmith]]''.<ref name="Aerosmith - MTV">{{cite web|url=http://www.mtv.com/music/artist/aerosmith/artist.jhtml#biographyEn|archiveurl=https://web.archive.org/web/20120629145041/http://www.mtv.com/music/artist/aerosmith/artist.jhtml#biographyEnd|archivedate=2012-06-29|publisher=[[MTV]]|title=<nowiki>Aerosmith | Music Videos, News, Photos, Tour Dates, Ringtones, and Lyrics | MTV</nowiki>|accessdate=2017-04-05}}</ref> Written by lead singer [[Steven Tyler]], this song was their first major hit and became a [[classic rock]] radio staple. Released in June 1973, it peaked at number 59 on the [[Billboard Hot 100|''Billboard'' Hot 100]] but hit big in the band's native Boston, where it was the number one single of the year on [[WBZ-FM]], number five for the year on [[WRKO]] and number 16 on [[WMEX (AM)]].{{Citation needed|date=May 2016}} The song received immediate heavy airplay too on the former WVBF (FM), often showing up in the #1 position on "The Top Five At Five" in June 1973.

The album version of "Dream On" (4:28, as opposed to the 3:25 1973 [[gramophone record|45rpm]] edit) was re-issued in late 1975, debuting at number 81 on the ''Billboard'' Hot 100 chart on January 10, 1976, breaking into the Top 40 on February 14 and peaking at number 6 on April 10. [[Columbia Records]] chose to service Top 40 radio stations with both long and short versions of the song; thus, many 1976 pop radio listeners were exposed to the group's first Top 10 effort through the 45 edit.

"Dream On" was first played live in [[Mansfield, Connecticut]] at the Shaboo Inn.<ref name="song">[http://www.songfacts.com/detail.php?id=1296 Song Facts – Dream On by Aerosmith], viewed May 24th 2017</ref> In a 2011 interview, Tyler reminisced about his father, a [[Juilliard School|Juilliard]]-trained musician. He recalled lying beneath his dad's piano as a three-year-old listening to him play classical music. "That's where I got that ''Dream On'' chordage," he said.<ref>"The Emancipation of Steven Tyler," ''Rolling Stone'', May 12, 2011.</ref>

Tyler says that this was the only song on the band's first album where he used his real voice. He was insecure about how his voice sounded on tape, so for the other songs, he tried to sing a bit lower and sound more like soul artists, such as [[James Brown]].<ref name="song" /> The song is also famous for its building climax to showcase Tyler's trademark screams. The main riff and chorus of the song were sampled in the 2002 song "[[Sing for the Moment]]" by rapper [[Eminem]] on ''[[The Eminem Show]]'' that also features a solo from Joe Perry.

The song is composed in the key of [[F minor]].

==Single track listings==

===7" 45 RPM===
;Side one
#"Dream On"
;Side two
#"Somebody"
The original 1973 issue of this 45 (45894) has a shorter edit of "Dream On" (3:25). Most of the intro has been edited out and the first chorus is replaced with the second chorus. The second issue from 1976 (10278) contains the album version (4:28).

===CD-Maxi===
#"Dream On"
#"Dream On" [Live]
#"[[Walk This Way]]"

==Chart performance==
{{col-begin|width=60%}}
{{col-2}}

===U.S. ''Billboard'' Hot 100===
{| class="wikitable sortable"
|-
!align="left"|Year
! style="text-align:center;"|Peak <br> position
|-
|1973
| style="text-align:center;"|59
|-
|1976
| style="text-align:center;"|6
|}
{{col-2}}

===U.S. ''Billboard'' Hot 100 Year-End Chart===
{| class="wikitable"
|-
!align="left"|Chart (1976)
! style="text-align:center;"|Rank
|-
|U.S. ''Billboard'' Hot 100<ref>{{cite web|url=http://longboredsurfer.com/charts/1976.php |title=Billboard Hot 100 - 1976 |accessdate=2010-02-09 |deadurl=yes |archiveurl=https://web.archive.org/web/20110521072510/http://longboredsurfer.com/charts/1976.php |archivedate=2011-05-21 |df= }}</ref>
| style="text-align:center;"|51
|}
{{col-end}}

{{col-begin|width=60%}}
{{col-2}}

===Canada ''RPM'' Top 100===
{| class="wikitable sortable"
|-
!align="left"|Year
! style="text-align:center;"|Peak <br> position
|-
|1973
| style="text-align:center;"|87
|-
|1976
| style="text-align:center;"|10
|}
{{col-2}}

===Canada ''RPM'' 100 Year-End Chart===
{| class="wikitable"
|-
!align="left"|Chart (1976)
! style="text-align:center;"|Rank
|-
|Canada ''RPM'' Top 100<ref>{{cite web|url=http://www.collectionscanada.gc.ca/rpm/028020-119.01-e.php?file_num=nlc008388.5173b&brws_s=&type=1&interval=20&PHPSESSID=u9874ano8k0c5b6bkp4r8qrbp3|title=Top 200 Singles of '76|accessdate=2016-10-25}}</ref>
| style="text-align:center;"|107
|}
{{col-end}}

==Live performances==
Long a concert staple, the song's piano part has been played live by Tyler. The band has also played "Dream On" with an orchestra on a couple of occasions. One of these performances, conducted by [[Michael Kamen]], was performed live for [[MTV]]'s 10th Anniversary (in 1991) and included on the soundtrack for the movie ''[[Last Action Hero]]''. Additionally, in 2006, Steven Tyler and [[Joe Perry (musician)|Joe Perry]] performed the song live with the [[Boston Pops Orchestra]] at their Fourth of July spectacular. On September 19, 2006, Aerosmith dedicated the song to captured Israeli soldier [[Ehud Goldwasser]]. On September 22, 2007, at a concert in [[Atlantic City, New Jersey]], Aerosmith dedicated the song to one of their fans, Monica Massaro, who had been murdered earlier that year. In August 2010, Tyler performed much of the song on a grand piano on top of the "[[Green Monster]]" at an Aerosmith concert at [[Fenway Park]] in [[Boston]], before the rest of the band joined in to close out the song. On May 25, 2013, Tyler performed a brief rendition of the song live during the finale of the [[American Idol (season 10)|tenth season]] of ''[[American Idol]]''. After the Boston Marathon Attacks, Tyler performed the song at the [[Boston Strong]] Concert.

==Music video==
A coinciding video directed by [[Marty Callner]] was also created at the MTV 10th anniversary special performance with the orchestra.

==Personnel==
*[[Steven Tyler]] – [[Lead vocalist|lead vocals]], [[Mellotron]]
*[[Joe Perry (musician)|Joe Perry]] – [[guitar]]
*[[Brad Whitford]] – [[guitar]]
*[[Tom Hamilton (musician)|Tom Hamilton]] – [[bass guitar]]
*[[Joey Kramer]] – [[Drum kit|drums]]

==Appearances on other albums==
The song has appeared on almost every Aerosmith greatest hits and live compilation, including:

*''[[Live! Bootleg]]''
*''[[Greatest Hits (Aerosmith)|Greatest Hits]]''
*''[[Classics Live I]]''
*''[[A Little South of Sanity]]''
*''[[Big Ones]]'' (as a bonus track in CD 2)
*''[[Young Lust: The Aerosmith Anthology]]''
*''[[O, Yeah! Ultimate Aerosmith Hits]]''
*''[[Devil's Got a New Disguise: The Very Best of Aerosmith|Devil's Got a New Disguise]]''
*''[[Last Action Hero#Music from the Motion Picture album|Music from the Original Motion Picture "Last Action Hero"]]''

It also appears on both of the band's box sets.

==Achievements==
{{RRHF500|Dream On}} It is also ranked #173 on [[Rolling Stone]]'s list of the [[500 Greatest Songs of All Time]].

==Cover versions==

*In 1988, [[Greg X. Volz]] formerly of [[Petra (band)|Petra]] covered this song on the album ''Come Out Fighting''.
*In 1988, the song was covered by [[The Mission (band)|The Mission]] on their album ''[[Children (The Mission album)|Children]]''.
*In 1994, [[Andru Donalds]] covered the song for his self-titled album.
*In 1999, [[Ronnie James Dio]], [[Yngwie Malmsteen]], [[Stu Hamm]], [[Gregg Bissonette]] and [[Paul Taylor (Winger)|Paul Taylor]] covered the song for the Aerosmith tribute album ''Not the Same Old Song and Dance''. Additional guitars were by the album's producers [[Bob Kulick]] and [[Bruce Bouillet]].
*In 2002, "Dream On" was covered by [[Fisher (band)|Fisher]] on their ''Uppers & Downers'' dual-disc album. The cover version performed by Fisher was featured in the series-finale episode of the [[NBC]] drama ''[[Windfall (television series)|Windfall]]''.
*In 2002, an instrumental jazz cover of the song by [[Alex Skolnick Trio]] was included on their album ''Goodbye to Romance: Standards for a New Generation''.
*In 2005, [[Michael Angelo Batio]] included an instrumental cover of this song on his album ''[[Hands Without Shadows]]''.
*In 2005, [[Tori Amos]] covered the song during her live performance at the B of A Pavilion in Boston, MA. A recording of the song was included on her [[The Original Bootlegs]] 6-CD release.
*In 2007, [[electropop]] [[singer-songwriter]] [[Kelly Sweet]] covered the song on her debut album ''We Are One''.
*In 2008, [[power metal]] band [[HolyHell]] covered the song during their live performance at [[Magic Circle Festival#2008|Magic Circle Festival 2008]] in [[Bad Arolsen]], Germany. A recording of the performance was released on Magic Circle Festival 2008 DVD.
*In 2010, [[metalcore]] band [[Blessthefall]] recorded a cover of the song for the compilation cover album ''[[Punk Goes Classic Rock]]'', which is part of the ''[[Punk Goes...]]'' series.
*In 2010, [[Neil Patrick Harris]] and [[Matthew Morrison]] covered the song as a duet in the TV series [[Glee (TV Series)|Glee]].
*In 2011, [[Reece Mastin]], winner of the Australian edition of [[The X Factor (Australian TV series)|The X Factor]], covered this song for his [[Reece Mastin (album)|eponymous album]].
*In 2011, American [[post-grunge]] band [[Cold (band)|Cold]] covered this song which later appeared on their fifth album ''[[Superfiction (album)|Superfiction]]'' as bonus track.
*In 2012, [[Anastacia]] covered the song for her fifth studio album ''[[It's a Man's World (Anastacia album)|It's a Man's World]]''. The song was released as album's lead single, only in Austria, Germany and Switzerland.
*In 2013, [[Martha Wash]] (of [[The Weather Girls]] fame) covered the song for her album ''Something Good''.
*In 2014, ''[[American Idol]]'' winner of season 13 [[Caleb Johnson (singer)|Caleb Johnson]] performed the song and released a studio version for the deluxe edition of his album ''[[Testify (Caleb Johnson album)|Testify]]''.
*In 2016, [[Postmodern Jukebox]] featuring [[Morgan James]] covered the song on the PMJ YouTube channel.

===Live cover performances===
*[[Danny Gokey]] sang this song on [[American Idol (season 8)|season 8]] of ''[[American Idol]]'' in 2009 during the Top 4 round. He received negative reviews from the judges, and was also mocked in many media outlets for a long, ear-splitting scream at the end of the song.<ref>[http://weblogs.newsday.com/entertainment/music/idol/blog/2009/05/danny_gokey_tries_to_rock_but.html Danny Gokey tries to rock, but simply 'Dreams On'.] {{webarchive |url=https://web.archive.org/web/20090509150702/http://weblogs.newsday.com/entertainment/music/idol/blog/2009/05/danny_gokey_tries_to_rock_but.html |date=May 9, 2009 }} Newsday.com</ref><ref>[https://www.youtube.com/watch?v=cOAKLuAcOXA Danny Gokey's 'Dream On' Screech.] YouTube.com</ref><ref>[http://www.ew.com/ew/article/0,,20007164_20171835_20276858,00.html Danny lands the 'Get Out of Jail Free' card for his abysmal Aerosmith cover] EW.com</ref>
*Andy Mac Unfraidh performed the song during the live shows of [[The Voice of Ireland (series 2)|second series]] of ''[[The Voice of Ireland]]''.
*[[Amanda Brown (singer)|Amanda Brown]] sang this song in the live playoffs of [[The Voice (U.S. season 3)|season 3]] of ''[[The Voice (U.S. TV series)|The Voice]]''.
*"Dream On" was covered by the American rock band [[Train (band)|Train]] on an episode of the [[MTV]] show ''[[MTV Icon|Icon]]'', that was dedicated to Aerosmith.
[[Koryn Hawthorne]] sang the song in the live Top 6 of season 8 of [[The Voice (U.S. TV series)|''The Voice'']].
Adam Levine, Blake Shelton, Miley Cyrus and Alicia Keys – the latest group of Voice coaches – united on Sunday's Season 11 premiere for an explosive rendition of Aerosmith's 1973 rock epic "Dream On." The singers dedicated their performance to former contestant Christina Grimmie, who was shot and killed in June following an Orlando concert, according to Ryan Reed of Rolling Stone, August 22, 2016

==Sampling==
*In 2002, the song was [[sampling (music)|sampled]] by American rapper [[Eminem]] for the song "[[Sing for the Moment]]", from his 2002 album ''[[The Eminem Show]]''. [[Joe Perry (musician)|Joe Perry]] played the guitar solo on the track and [[Steven Tyler]] also sang the chorus for the track, with Eminem adding "sing", "sing with me" and "come on" in the refrain as well.
*In 2011, the song was sampled by [[Immortal Technique]] on his song "Angels & Demons", on his album ''[[The Martyr (album)|The Martyr]]''.

==In other media==

*"Dream On" was used as the background music for [[Adobe Systems|Adobe Systems']] 25th anniversary of [[Photoshop]] TV spot.<ref>{{cite web|url=https://www.youtube.com/watch?v=QmYc1MNJaQc |title=YouTube |publisher=YouTube |date= |accessdate=2016-07-27}}</ref>
*"Dream On" was used on a promotional advertisement for [[CNN]]'s documentary on the 1970s entitled ''The Seventies''.<ref>{{cite AV media | people=[[Tom Hanks]], [[Gary Goetzman]] (producers) | title=The Seventies: Dream On | medium=Television advertisement | publisher=CNN | date=2015-05-19 | url=https://www.youtube.com/watch?v=2evpWnLYAbg}}</ref>
*"Dream On" was used on the introduction montage of [[Super Bowl 50]]. The song appears when director [[Ron Howard]] pulls actor [[Kevin Bacon]] out of the interview about him and numerous celebrities' best [[Super Bowl]] memories, and begins to interview players from both the [[Denver Broncos]] and [[Carolina Panthers]] regarding what it meant to play in the 50th anniversary of the Super Bowl. The version of the song is unknown.<ref>{{cite web|url=https://www.youtube.com/watch?v=BCDl-PbuHug |title=YouTube |publisher=YouTube |date= |accessdate=2016-07-27}}</ref>
*"Dream On" was used on a promotional advertisement for Walmart, aired during 2016 Rio Olympics.<ref>{{cite web|url=https://finance.yahoo.com/news/walmart-olympics-made-america-us-000000977.html | title=Walmart's new Olympics ad highlights American job creator}}</ref>

==References==
{{Reflist|30em}}

{{Aerosmith}}
{{Aerosmith singles}}
{{Boston Red Sox}}

{{DEFAULTSORT:Dream On (Aerosmith song)}}
[[Category:1972 songs]]
[[Category:1973 singles]]
[[Category:1976 singles]]
[[Category:Aerosmith songs]]
[[Category:Debut singles]]
[[Category:1970s ballads]]
[[Category:Hard rock ballads]]
[[Category:Music videos directed by Marty Callner]]
[[Category:Songs written by Steven Tyler]]
[[Category:Columbia Records singles]]
[[Category:Boston Red Sox]]
[[Category:Baseball music]]

Dream On (Aerosmith song)

2017-05-27T19:39:42Z

DomenikaBo: added source

{{Infobox single 
| Name = Dream On
| Cover = DreamOnsingle.jpg
| Alt =
| Caption = 1976 [[United Kingdom|UK]] promotional single
| Artist = [[Aerosmith]]
| Album = [[Aerosmith (album)|Aerosmith]]
| B-side = "[[Somebody (Aerosmith song)|Somebody]]"
| Released = {{Start date|1973|06|27}}<ref name="notes">{{cite AV media notes |title=Greatest Hits |others=[[Aerosmith]] |origyear=1980|year=1993 |type=CD liner |publisher=[[Columbia Records]] |id=CK 57367 |location=[[United States]] }}</ref>
| Format = [[7-inch single]]
| Recorded = Intermedia Studios, [[Boston]], 1972<ref name="Pandora">{{cite AV media notes |title=Pandora's Box |titlelink=Pandora's Box (album) |others=[[Aerosmith]] |origyear=1991|year=2002 |type=CD liner |publisher=[[Columbia Records]] |id=C3K 86567 |location=[[United States]] }}</ref>
| Genre = [[Hard rock]], [[blues rock]]
| Length = 3:25 (single version)<br>4:28 (album version)
| Label = [[Columbia Records|Columbia]]
| Writer = [[Steven Tyler]]
| Producer = [[Adrian Barber]]<ref name="notes" />
| Last single = "[[Mama Kin]]"<br />(1973)
| This single = "'''Dream On'''"<br />(1973)
| Next single = "[[Same Old Song and Dance]]"<br />(1974)
| Misc =
{{Extra track listing
| Album = [[Aerosmith (album)|Aerosmith]]
| Type = studio
| prev_track = "[[Somebody (Aerosmith song)|Somebody]]"
| prev_no = 2
| this_track = "'''Dream On'''"
| track_no = 3
| next_track = "[[One Way Street (song)|One Way Street]]"
| next_no = 4
}}
{{Extra music sample |Type=single |filename=Aerosmith_-_Dream_On.ogg|title="Dream On"}}
{{External music video|1=[https://www.youtube.com/watch?v=89dGC8de0CA "Dream On" (audio)]<br />[https://www.youtube.com/watch?v=sZfZ8uWaOFI "Dream On" (official live video)]<br />on [[YouTube]]}}
}}

"'''Dream On'''" is a [[power ballad]] by [[Aerosmith]] from their 1973 debut album, ''[[Aerosmith (album)|Aerosmith]]''.<ref name="Aerosmith - MTV">{{cite web|url=http://www.mtv.com/music/artist/aerosmith/artist.jhtml#biographyEn|archiveurl=https://web.archive.org/web/20120629145041/http://www.mtv.com/music/artist/aerosmith/artist.jhtml#biographyEnd|archivedate=2012-06-29|publisher=[[MTV]]|title=<nowiki>Aerosmith | Music Videos, News, Photos, Tour Dates, Ringtones, and Lyrics | MTV</nowiki>|accessdate=2017-04-05}}</ref> Written by lead singer [[Steven Tyler]], this song was their first major hit and became a [[classic rock]] radio staple. Released in June 1973, it peaked at number 59 on the [[Billboard Hot 100|''Billboard'' Hot 100]] but hit big in the band's native Boston, where it was the number one single of the year on [[WBZ-FM]], number five for the year on [[WRKO]] and number 16 on [[WMEX (AM)]].{{Citation needed|date=May 2016}} The song received immediate heavy airplay too on the former WVBF (FM), often showing up in the #1 position on "The Top Five At Five" in June 1973.

The album version of "Dream On" (4:28, as opposed to the 3:25 1973 [[gramophone record|45rpm]] edit) was re-issued in late 1975, debuting at number 81 on the ''Billboard'' Hot 100 chart on January 10, 1976, breaking into the Top 40 on February 14 and peaking at number 6 on April 10. [[Columbia Records]] chose to service Top 40 radio stations with both long and short versions of the song; thus, many 1976 pop radio listeners were exposed to the group's first Top 10 effort through the 45 edit.

"Dream On" was first played live in [[Mansfield, Connecticut]] at the Shaboo Inn.<ref name="song">[http://www.songfacts.com/detail.php?id=1296 Song Facts – Dream On by Aerosmith], viewed May 24th 2017</ref> In a 2011 interview, Tyler reminisced about his father, a [[Juilliard School|Juilliard]]-trained musician. He recalled lying beneath his dad's piano as a three-year-old listening to him play classical music. "That's where I got that ''Dream On'' chordage," he said.<ref>"The Emancipation of Steven Tyler," ''Rolling Stone'', May 12, 2011.</ref>

Tyler says that this was the only song on the band's first album where he used his real voice. He was insecure about how his voice sounded on tape, so for the other songs, he tried to sing a bit lower and sound more like soul artists, such as [[James Brown]].{{Citation needed|date=May 2016}} The song is also famous for its building climax to showcase Tyler's trademark screams. The main riff and chorus of the song were sampled in the 2002 song "[[Sing for the Moment]]" by rapper [[Eminem]] on ''[[The Eminem Show]]'' that also features a solo from Joe Perry.

The song is composed in the key of [[F minor]].

==Single track listings==

===7" 45 RPM===
;Side one
#"Dream On"
;Side two
#"Somebody"
The original 1973 issue of this 45 (45894) has a shorter edit of "Dream On" (3:25). Most of the intro has been edited out and the first chorus is replaced with the second chorus. The second issue from 1976 (10278) contains the album version (4:28).

===CD-Maxi===
#"Dream On"
#"Dream On" [Live]
#"[[Walk This Way]]"

==Chart performance==
{{col-begin|width=60%}}
{{col-2}}

===U.S. ''Billboard'' Hot 100===
{| class="wikitable sortable"
|-
!align="left"|Year
! style="text-align:center;"|Peak <br> position
|-
|1973
| style="text-align:center;"|59
|-
|1976
| style="text-align:center;"|6
|}
{{col-2}}

===U.S. ''Billboard'' Hot 100 Year-End Chart===
{| class="wikitable"
|-
!align="left"|Chart (1976)
! style="text-align:center;"|Rank
|-
|U.S. ''Billboard'' Hot 100<ref>{{cite web|url=http://longboredsurfer.com/charts/1976.php |title=Billboard Hot 100 - 1976 |accessdate=2010-02-09 |deadurl=yes |archiveurl=https://web.archive.org/web/20110521072510/http://longboredsurfer.com/charts/1976.php |archivedate=2011-05-21 |df= }}</ref>
| style="text-align:center;"|51
|}
{{col-end}}

{{col-begin|width=60%}}
{{col-2}}

===Canada ''RPM'' Top 100===
{| class="wikitable sortable"
|-
!align="left"|Year
! style="text-align:center;"|Peak <br> position
|-
|1973
| style="text-align:center;"|87
|-
|1976
| style="text-align:center;"|10
|}
{{col-2}}

===Canada ''RPM'' 100 Year-End Chart===
{| class="wikitable"
|-
!align="left"|Chart (1976)
! style="text-align:center;"|Rank
|-
|Canada ''RPM'' Top 100<ref>{{cite web|url=http://www.collectionscanada.gc.ca/rpm/028020-119.01-e.php?file_num=nlc008388.5173b&brws_s=&type=1&interval=20&PHPSESSID=u9874ano8k0c5b6bkp4r8qrbp3|title=Top 200 Singles of '76|accessdate=2016-10-25}}</ref>
| style="text-align:center;"|107
|}
{{col-end}}

==Live performances==
Long a concert staple, the song's piano part has been played live by Tyler. The band has also played "Dream On" with an orchestra on a couple of occasions. One of these performances, conducted by [[Michael Kamen]], was performed live for [[MTV]]'s 10th Anniversary (in 1991) and included on the soundtrack for the movie ''[[Last Action Hero]]''. Additionally, in 2006, Steven Tyler and [[Joe Perry (musician)|Joe Perry]] performed the song live with the [[Boston Pops Orchestra]] at their Fourth of July spectacular. On September 19, 2006, Aerosmith dedicated the song to captured Israeli soldier [[Ehud Goldwasser]]. On September 22, 2007, at a concert in [[Atlantic City, New Jersey]], Aerosmith dedicated the song to one of their fans, Monica Massaro, who had been murdered earlier that year. In August 2010, Tyler performed much of the song on a grand piano on top of the "[[Green Monster]]" at an Aerosmith concert at [[Fenway Park]] in [[Boston]], before the rest of the band joined in to close out the song. On May 25, 2013, Tyler performed a brief rendition of the song live during the finale of the [[American Idol (season 10)|tenth season]] of ''[[American Idol]]''. After the Boston Marathon Attacks, Tyler performed the song at the [[Boston Strong]] Concert.

==Music video==
A coinciding video directed by [[Marty Callner]] was also created at the MTV 10th anniversary special performance with the orchestra.

==Personnel==
*[[Steven Tyler]] – [[Lead vocalist|lead vocals]], [[Mellotron]]
*[[Joe Perry (musician)|Joe Perry]] – [[guitar]]
*[[Brad Whitford]] – [[guitar]]
*[[Tom Hamilton (musician)|Tom Hamilton]] – [[bass guitar]]
*[[Joey Kramer]] – [[Drum kit|drums]]

==Appearances on other albums==
The song has appeared on almost every Aerosmith greatest hits and live compilation, including:

*''[[Live! Bootleg]]''
*''[[Greatest Hits (Aerosmith)|Greatest Hits]]''
*''[[Classics Live I]]''
*''[[A Little South of Sanity]]''
*''[[Big Ones]]'' (as a bonus track in CD 2)
*''[[Young Lust: The Aerosmith Anthology]]''
*''[[O, Yeah! Ultimate Aerosmith Hits]]''
*''[[Devil's Got a New Disguise: The Very Best of Aerosmith|Devil's Got a New Disguise]]''
*''[[Last Action Hero#Music from the Motion Picture album|Music from the Original Motion Picture "Last Action Hero"]]''

It also appears on both of the band's box sets.

==Achievements==
{{RRHF500|Dream On}} It is also ranked #173 on [[Rolling Stone]]'s list of the [[500 Greatest Songs of All Time]].

==Cover versions==

*In 1988, [[Greg X. Volz]] formerly of [[Petra (band)|Petra]] covered this song on the album ''Come Out Fighting''.
*In 1988, the song was covered by [[The Mission (band)|The Mission]] on their album ''[[Children (The Mission album)|Children]]''.
*In 1994, [[Andru Donalds]] covered the song for his self-titled album.
*In 1999, [[Ronnie James Dio]], [[Yngwie Malmsteen]], [[Stu Hamm]], [[Gregg Bissonette]] and [[Paul Taylor (Winger)|Paul Taylor]] covered the song for the Aerosmith tribute album ''Not the Same Old Song and Dance''. Additional guitars were by the album's producers [[Bob Kulick]] and [[Bruce Bouillet]].
*In 2002, "Dream On" was covered by [[Fisher (band)|Fisher]] on their ''Uppers & Downers'' dual-disc album. The cover version performed by Fisher was featured in the series-finale episode of the [[NBC]] drama ''[[Windfall (television series)|Windfall]]''.
*In 2002, an instrumental jazz cover of the song by [[Alex Skolnick Trio]] was included on their album ''Goodbye to Romance: Standards for a New Generation''.
*In 2005, [[Michael Angelo Batio]] included an instrumental cover of this song on his album ''[[Hands Without Shadows]]''.
*In 2005, [[Tori Amos]] covered the song during her live performance at the B of A Pavilion in Boston, MA. A recording of the song was included on her [[The Original Bootlegs]] 6-CD release.
*In 2007, [[electropop]] [[singer-songwriter]] [[Kelly Sweet]] covered the song on her debut album ''We Are One''.
*In 2008, [[power metal]] band [[HolyHell]] covered the song during their live performance at [[Magic Circle Festival#2008|Magic Circle Festival 2008]] in [[Bad Arolsen]], Germany. A recording of the performance was released on Magic Circle Festival 2008 DVD.
*In 2010, [[metalcore]] band [[Blessthefall]] recorded a cover of the song for the compilation cover album ''[[Punk Goes Classic Rock]]'', which is part of the ''[[Punk Goes...]]'' series.
*In 2010, [[Neil Patrick Harris]] and [[Matthew Morrison]] covered the song as a duet in the TV series [[Glee (TV Series)|Glee]].
*In 2011, [[Reece Mastin]], winner of the Australian edition of [[The X Factor (Australian TV series)|The X Factor]], covered this song for his [[Reece Mastin (album)|eponymous album]].
*In 2011, American [[post-grunge]] band [[Cold (band)|Cold]] covered this song which later appeared on their fifth album ''[[Superfiction (album)|Superfiction]]'' as bonus track.
*In 2012, [[Anastacia]] covered the song for her fifth studio album ''[[It's a Man's World (Anastacia album)|It's a Man's World]]''. The song was released as album's lead single, only in Austria, Germany and Switzerland.
*In 2013, [[Martha Wash]] (of [[The Weather Girls]] fame) covered the song for her album ''Something Good''.
*In 2014, ''[[American Idol]]'' winner of season 13 [[Caleb Johnson (singer)|Caleb Johnson]] performed the song and released a studio version for the deluxe edition of his album ''[[Testify (Caleb Johnson album)|Testify]]''.
*In 2016, [[Postmodern Jukebox]] featuring [[Morgan James]] covered the song on the PMJ YouTube channel.

===Live cover performances===
*[[Danny Gokey]] sang this song on [[American Idol (season 8)|season 8]] of ''[[American Idol]]'' in 2009 during the Top 4 round. He received negative reviews from the judges, and was also mocked in many media outlets for a long, ear-splitting scream at the end of the song.<ref>[http://weblogs.newsday.com/entertainment/music/idol/blog/2009/05/danny_gokey_tries_to_rock_but.html Danny Gokey tries to rock, but simply 'Dreams On'.] {{webarchive |url=https://web.archive.org/web/20090509150702/http://weblogs.newsday.com/entertainment/music/idol/blog/2009/05/danny_gokey_tries_to_rock_but.html |date=May 9, 2009 }} Newsday.com</ref><ref>[https://www.youtube.com/watch?v=cOAKLuAcOXA Danny Gokey's 'Dream On' Screech.] YouTube.com</ref><ref>[http://www.ew.com/ew/article/0,,20007164_20171835_20276858,00.html Danny lands the 'Get Out of Jail Free' card for his abysmal Aerosmith cover] EW.com</ref>
*Andy Mac Unfraidh performed the song during the live shows of [[The Voice of Ireland (series 2)|second series]] of ''[[The Voice of Ireland]]''.
*[[Amanda Brown (singer)|Amanda Brown]] sang this song in the live playoffs of [[The Voice (U.S. season 3)|season 3]] of ''[[The Voice (U.S. TV series)|The Voice]]''.
*"Dream On" was covered by the American rock band [[Train (band)|Train]] on an episode of the [[MTV]] show ''[[MTV Icon|Icon]]'', that was dedicated to Aerosmith.
[[Koryn Hawthorne]] sang the song in the live Top 6 of season 8 of [[The Voice (U.S. TV series)|''The Voice'']].
Adam Levine, Blake Shelton, Miley Cyrus and Alicia Keys – the latest group of Voice coaches – united on Sunday's Season 11 premiere for an explosive rendition of Aerosmith's 1973 rock epic "Dream On." The singers dedicated their performance to former contestant Christina Grimmie, who was shot and killed in June following an Orlando concert, according to Ryan Reed of Rolling Stone, August 22, 2016

==Sampling==
*In 2002, the song was [[sampling (music)|sampled]] by American rapper [[Eminem]] for the song "[[Sing for the Moment]]", from his 2002 album ''[[The Eminem Show]]''. [[Joe Perry (musician)|Joe Perry]] played the guitar solo on the track and [[Steven Tyler]] also sang the chorus for the track, with Eminem adding "sing", "sing with me" and "come on" in the refrain as well.
*In 2011, the song was sampled by [[Immortal Technique]] on his song "Angels & Demons", on his album ''[[The Martyr (album)|The Martyr]]''.

==In other media==

*"Dream On" was used as the background music for [[Adobe Systems|Adobe Systems']] 25th anniversary of [[Photoshop]] TV spot.<ref>{{cite web|url=https://www.youtube.com/watch?v=QmYc1MNJaQc |title=YouTube |publisher=YouTube |date= |accessdate=2016-07-27}}</ref>
*"Dream On" was used on a promotional advertisement for [[CNN]]'s documentary on the 1970s entitled ''The Seventies''.<ref>{{cite AV media | people=[[Tom Hanks]], [[Gary Goetzman]] (producers) | title=The Seventies: Dream On | medium=Television advertisement | publisher=CNN | date=2015-05-19 | url=https://www.youtube.com/watch?v=2evpWnLYAbg}}</ref>
*"Dream On" was used on the introduction montage of [[Super Bowl 50]]. The song appears when director [[Ron Howard]] pulls actor [[Kevin Bacon]] out of the interview about him and numerous celebrities' best [[Super Bowl]] memories, and begins to interview players from both the [[Denver Broncos]] and [[Carolina Panthers]] regarding what it meant to play in the 50th anniversary of the Super Bowl. The version of the song is unknown.<ref>{{cite web|url=https://www.youtube.com/watch?v=BCDl-PbuHug |title=YouTube |publisher=YouTube |date= |accessdate=2016-07-27}}</ref>
*"Dream On" was used on a promotional advertisement for Walmart, aired during 2016 Rio Olympics.<ref>{{cite web|url=https://finance.yahoo.com/news/walmart-olympics-made-america-us-000000977.html | title=Walmart's new Olympics ad highlights American job creator}}</ref>

==References==
{{Reflist|30em}}

{{Aerosmith}}
{{Aerosmith singles}}
{{Boston Red Sox}}

{{DEFAULTSORT:Dream On (Aerosmith song)}}
[[Category:1972 songs]]
[[Category:1973 singles]]
[[Category:1976 singles]]
[[Category:Aerosmith songs]]
[[Category:Debut singles]]
[[Category:1970s ballads]]
[[Category:Hard rock ballads]]
[[Category:Music videos directed by Marty Callner]]
[[Category:Songs written by Steven Tyler]]
[[Category:Columbia Records singles]]
[[Category:Boston Red Sox]]
[[Category:Baseball music]]