Paul Klee's Late Work

Several late Klees

The final years of Paul Klee's work cannot be described by one mood or one kind of mark. In 1933, after the National Socialists removed him from teaching in Düsseldorf, he made drawings of threatening figures and an oil-painted face crossed by a black X. In the same year he made the luminous Fire at Full Moon. Later Bern pictures could be enormous or small, dark or vividly coloured, composed of a few heavy signs or crowded with fine lines. What connects them is a sustained effort to make images under altered political, personal and physical conditions.^[1][2][3]

Klee returned to Bern with Lily in December 1933. Serious illness began in 1935, and the number of works entered in his register fell sharply in 1936. Yet in 1939 the Zentrum Paul Klee records 1,253 works, most of them drawings. Those figures describe a change in output, not a simple sequence of decline followed by recovery. Nor can the illness retrospectively diagnose a brushstroke. To understand the late work, we need to keep the documentary history, the materials and the actual pictures in view together.^[4][5][6]

Contents

1. What happened in 1933?
2. Building a working life in Bern
3. A surge of forms, 1937–39
4. The 1939 drawings and angels
5. What can the final pictures tell us?

What happened in 1933?

Klee had left the Bauhaus in 1931 to teach at the Düsseldorf Academy. An academy report reproduced by the Zentrum Paul Klee records his suspension from teaching on 21 April 1933; formal dismissal followed in October. The regime's public defamation of his art and the search of the family home in Dessau added to the pressure. The sequence matters. It is misleading to make a single April event cover the later dismissal, or to treat the accusation made against Klee in a Nazi administrative document as a fact about his identity.^[7][1]

The family still tried to navigate a life in Germany. Klee moved belongings to Düsseldorf in May despite the suspension, according to the German exile archive's account. A letter to Felix written on 22 December conveys the strain of leaving while also showing Klee's continuing sense of humour. Klee and Lily crossed to Switzerland the next day. They had not simply changed studios; they left an employment and exhibition network damaged by official persecution. That context can inform our reading of works made in 1933, but it does not supply a one-to-one code for every shape in them.^[8][1]

The Schirn Kunsthalle's 2003 exhibition identified 245 drawings from 1933 that caricatured violence, militarism, coercion and the new rulers. That is a curator's grouping within a larger year's production, not a count of every work Klee made in 1933. The drawings challenge the idea that Klee's response was only private retreat. Their grotesque bodies and charged gestures can be political without adopting the language of straightforward reportage. Any single sheet still needs its own title, date and object record before a detailed claim about what it depicts.^[1]

Struck from the List (von der Liste gestrichen, 1933, 424) is one of the clearest places to test the relationship between evidence and interpretation. The ZPK-owned work is oil on paper mounted on card, about 31.5 × 24 cm. A schematic face is divided by dark diagonals, including a heavy X. The title makes exclusion part of the picture. The Arts in Exile archive says it can be interpreted as a self-portrait and links the cross to the loss of Klee's post and standing. The Jewish Museum's 2026 label goes further, saying he painted it to memorialise the whole series of events. The first is a bounded reading; the second is a stronger claim about intention for which the label does not present Klee's own statement. We can see the X and identify the title, but should attribute the proposed autobiographical meaning.^[8][9]

There is a second, useful corrective to a uniformly dark account of 1933. Museum Folkwang records Fire at Full Moon (Feuer bei Vollmond, 1933, 353) as watercolour over paste colour on prepared canvas and regards a summer date as probable. Its yellow disc, red cross-like form and layered colour require visual and material attention before being converted into a political emblem. Folkwang explicitly poses, rather than settles, the possibility of a political meaning. Together, the work and Struck from the List show how different procedures and emotional registers coexisted in one year.^[3]

Building a working life in Bern

The move was followed by temporary accommodation, then a more settled studio in the family's Kistlerweg 6 home from June 1934. Bern was Klee's birthplace and held long-standing friends and collectors. The Zentrum Paul Klee's account of the city names Hermann Rupf, Hanni Bürgi and Victor Surbek among an established support network. At the Kunsthalle Bern in 1935, Klee showed more than 270 works, chiefly from the preceding five years. Exile reduced his access to German institutions, but it did not make his work invisible or sever all professional connections.^[10]

The pictures of these years should not be used only to illustrate that biography. Each could rework an older problem: how a figure emerges from a field, how a title changes what we see, or how a sign becomes both shape and apparent writing. Klee's late exploration of these questions had roots in his earlier painting and Bauhaus teaching. In World Harbor (welthafen, 1933), discussed in a Fondation Beyeler exhibition guide, black lines on a grey-white field can read as a mesh of signs or, prompted by the title, as many small boats. The guide stresses the viewer's role in constructing that relation between title and image. What looks like a novel late shorthand therefore also extends a longer experiment with line and legibility.^[11]

In the summer of 1935 Klee became seriously ill. Walther Fuchs's documentary study follows Lily Klee's letters, contemporary accounts, treatment and photographs rather than simply reading symptoms out of pictures. The illness affected everyday life and Klee's capacity to work; the Zentrum Paul Klee records only 25 works in 1936. This is a real interruption in the register. It is not proof that the later broad lines were an involuntary response, or that every ominous title describes a symptom. Those stronger claims require work-specific evidence.^[5][6]

The name scleroderma is widely attached to Klee's illness, but its history needs care. A ZPK exhibition assembled with the University of Bern medical faculty stated that the diagnosis appeared in specialist literature only 14 years after his death and remained hypothetical in the absence of contemporary doctors' records. Fuchs argues that interpretations of the final works have often leaned too heavily on that retrospective diagnosis. His study is not a claim that illness was irrelevant. It is a demand to distinguish a documented limitation, a witness's memory and a modern medical inference.^[6][12]

A surge of forms, 1937–39

By 1937, Klee's work had also been attacked through the Nazi campaign against modern art. The ZPK says 102 works were confiscated from German museums. Counts of the number shown in the 1937 Entartete Kunst exhibition differ in authoritative accounts, so that narrower figure should not be used without comparing the exhibition's changing versions and inventories. Confiscation is a documented institutional fact; the precise role of the campaign in making a particular new picture is often a question of interpretation.^[5][9]

God of War (Kriegs Gott, 1937, 25), now in Cleveland, makes the political world part of its physical support. Klee painted gouache and tempera on newspaper, then attached that sheet to an artist's mount. Cleveland identifies printed text about the Spanish Civil War still visible among the marks. A large pale face and several smaller gesturing figures occupy the sheet; areas of print sit beneath and beside the paint. The newspaper is not a metaphor supplied by a critic but material in the object. Cleveland presents the work as suggesting the period's anxiety. The Jewish Museum's 2026 label brings Guernica and the war into its reading, but the surviving visible newsprint does not by itself prove that each figure stands for a specific combatant or event.^[13][9]

The painting known here as Viaducts Break Ranks is Klee's Revolution des Viaductes (1937, 153), held by the Hamburger Kunsthalle. The museum identifies oil on cotton. Its repeated bridge arches appear to have legs; they lean, separate and vary in warm colours. A 2026 Jewish Museum label sees a rebuke to regimented military display in their refusal to march alike. Earlier scholarship has likewise treated the picture as a response to fascism, while the Hamburg record and the visual wit leave room to ask exactly how specific that response is. Klee's known political circumstances make the reading plausible. They do not turn the coloured arches into an artist-authored diagram with a fixed key.^[14][9]

The work is also evidence against a singular late palette. Its comic motion and red, orange and yellow forms sit beside more sombre contemporaries. Nor is every change of scale a simple sign of declining dexterity. The broad figure of God of War, the ordered disorder of the viaducts and fine drawings entered in the same years demonstrate different decisions about line and surface. A comparison of actual works is more revealing than a blanket statement that illness made Klee abandon colour or detail.^[13][14][6]

Klee's 1938 work offers further alternatives. Centre Pompidou describes Threatening Signs (Bedrohliche Zeichen) as paste colour and graphite on wrapping paper mounted on card, 50.3 × 35 cm. Its French catalogue essay reads the separated, thick black marks as a field of signs whose sense remains elusive. The author Guitemie Maldonado treats the intervals and coloured ground as active parts of the composition, and cautions that formal change reflects the logic of Klee's work as well as the tragedies around him. Her description makes it possible to look at the signs as spatial construction, not merely a diary of fear.^[15]

Fondation Beyeler's Forest Witches (Wald-Hexen, 1938, 145) gives another test of how a late image is read. Its dark bands cross the field while passages of red and other colours catch the eye. The museum's guide locates female figures among those bars, then notes how readily they disappear back into the network. The painted structure produces a movement between recognition and uncertainty. A later medical reading may connect heavy lines to Klee's disease, but the visual operation—how signs alternately reveal and conceal bodies—can be described without claiming that a specific brush width was medically compelled.^[11][6]

Insula dulcamara (1938, 481) stretches the question of signs across a much broader field. The Zentrum Paul Klee records oil and coloured paste paint on newsprint on jute on a stretcher, with its original frame strips. At 88 × 176 cm, its width is twice its height. Black strokes move through and across a pale, changing ground; some resemble letters, bodies, a vessel or a shoreline, while none compels one reading. A MoMA exhibition catalogue grouped it with six other large horizontal pictures of 1938 and argued that an enlarged line could become a shape with its own weight rather than merely an outline. That is a formal account grounded in the work's scale, not a claim that the painter had forgotten how to draw finely.^[16][17]

The title has proved equally resistant to a single translation into subject matter. Insula means island; dulcamara brings together sweet and bitter, and names a plant. An older MoMA catalogue associated the scene with an island of Calypso and with the comic operatic character Dr Dulcamara, but it described “Calypso's Island” as a suggested title, not an established original inscription by Klee. The current owner caption gives the Latin title. The painting's possible snake, boat or face remains a proposal made by viewers, and no title alone proves that Klee painted an account of his medical treatment. This large, layered object helps explain why late Klee cannot be reduced to heavy black line: colour, support, format and the act of naming all do work.^[16][17]

The 1939 drawings and angels

The ZPK's figure of 1,253 works in 1939 is striking beside the 25 of 1936. It counts entries in Klee's oeuvre, not 1,253 large finished canvases. Drawing was central to this renewed productivity. Titles, changing character types and recurring signs allowed one sheet to answer another, while larger and more layered works pursued different questions. Fuchs also reconstructs a period in which Klee's condition had stabilised enough for sustained work. The output cannot simply be read as a feverish final burst.^[5][6]

The late angels are unusually open to tender, comic and unsettling readings. The Metropolitan Museum says Klee made 29 works featuring angels in 1939, more than in his earlier years. Its Angel Applicant (Engel-Anwärter, 1939) was made with dark gouache on newspaper, a thick graphite outline and a pale wash. The creature's face is awkward, not a polished heavenly ideal; the crescent beside it complicates the scene. The Met suggests that Klee possibly felt kinship with such incomplete figures. That qualifying word matters. An angel's title and visible imperfection are facts of the work; identifying every one with the artist's own approaching death is a later psychological proposal.^[18]

The speed of 1939 production also needs to be put beside working conditions. Lily handled much correspondence and care during the illness, as Fuchs documents. Bern collectors and international dealers helped maintain circulation. An account of Klee as isolated from the world overlooks those relationships; an account of uninterrupted triumph overlooks treatment, displacement and practical dependence. The drawings belong to a life that contained both constraints and active exchange.^[6][10]

What can the final pictures tell us?

Klee continued working into 1940. Fuchs reconstructs 366 numbered entries in his work register before Klee travelled to Ticino on 10 May; he considers further production after that journey unlikely. Klee first entered the Viktoria clinic at Locarno-Orselina, moved to Sant'Agnese at Locarno-Muralto on 8 June, and died there on 29 June 1940. The order comes from a specialist reconstruction of contemporary evidence; some later summaries reverse the clinics. The ZPK gives 5 July 1940 for the approval of Swiss naturalisation, after his death.^[6][5]

Death and Fire (Tod und Feuer, 1940, 332) invites a reading of mortality through both title and form. The ZPK identifies the letters T O D in a face-like structure and treats an autobiographical self-portrait as possible rather than certain. A Berlin museum checklist records oil and coloured paste on a layered jute support. Its material construction and spare colour are as important as the pun. An image made close to death can speak about death without becoming a medical chart or a prediction of the exact day on which its maker would die.^[19]

The ZPK's Untitled (Last Still Life) (Ohne Titel [Letztes Stilleben], 1940) is oil on canvas, 100 × 80.5 cm. The Jewish Museum states that the work remained untitled and unsigned on an easel and that Felix Klee supplied the later title. The ZPK guide confirms its current designation and physical details; the story of how the title was supplied remains a curatorial account to be checked against the estate record. Its assembled figures, flowers and dark ground invite several readings. They deserve to be looked at as parts of a still life and a visual construction, even when its posthumous name pulls us toward finality.^[20][9]

Daniel-Henry Kahnweiler, remembering a 1939 visit, later attributed Klee's broad late lines and planes to greater difficulty moving his arm. Fuchs records this as a witness statement. It cannot be ignored, but neither should it settle the interpretation of every sign, colour block or canvas. A better account allows physical limitation to be one condition among many: persistent experiments in writing and drawing, fresh choices of support, political experiences, studio habits and the interaction between a work's title and its form.^[6][15]

Klee's last years produced political drawings, theatrical figures, angels, landscapes, colour structures and images that make letters difficult to separate from faces. The sequence is not a march toward one final style. To follow one strand, the biography gives the life chronology, materials and techniques examines the supports and paint, and the pages on Struck from the List, Viaducts Break Ranks, Insula dulcamara and Death and Fire return to individual works. Looking from one object to another reveals the continuity and variety that a single label for “late Klee” can conceal.^[14][15][19]

Explore selected works from Klee’s much larger oeuvre. Titles without a link have an authenticated catalogue identity but no reviewed article yet.

Artworks directory

217 artworks

Search artworks Medium All media Drawing Painting Reset

Name	Date	Medium
A Gate	1939	Painting and mixed media
A Woman for Gods	1938	Watercolour and mixed media
Ab Ovo	1917	Watercolour and mixed media
Above Mountain Summit	1917	Drawing and mixed media
Abstract Trio	1923	Drawing and mixed media
Acrobats	1915	Watercolour and mixed media
Actor's Mask	1924	Painting and mixed media
Ad Marginem	1930	Drawing and mixed media
Ad Parnassum	1932	Painting and mixed media
Adventurer Ship	1927	Drawing and mixed media
Affected Place	1922	Drawing and mixed media
After a Sketch from Zurich	1914	Watercolour and mixed media
After Drawing	1919	Print
After The Floods	1936	Watercolour and mixed media
All Souls' Picture	1921	Print
Ancient Harmony	1925	Painting and mixed media
Angel Applicant	1939	Drawing and mixed media
Angel Serves the Desired	1920	Print
Angel, Still Female	1939	Painting and mixed media
Angelus Novus	1920	Drawing and mixed media
Animal Terror	1926	Painting and mixed media
Arab Song	1932	Painting and mixed media
Archangel	1938	Painting and mixed media
Architecture	1923	Painting and mixed media
Architecture of the Plain	1923	Drawing and mixed media
Around the Fish	1926	Painting and mixed media
Arrival of the Air Steamer	1921	Drawing and mixed media
Asiatic God	1924	Painting and mixed media
Astrological Fantasy Portrait	1924	Drawing and mixed media
Athlete's Head	1932	Watercolour and mixed media
Aufgehender Stern	1931	Painting and mixed media
Autumn Flower	1922	Painting and mixed media
Bad Band	1920	Drawing and mixed media
Baroque Centaur	1939	Painting and mixed media
Before the Blitz	1923	Drawing and mixed media
Before the Snow	1929	Drawing and mixed media
Besessenes Madchen	1924	Watercolour and mixed media
Bird Garden	1924	Print
Bird Wandering Off	1926	Watercolour and mixed media
Blossoms in the Night	1930	Watercolour and mixed media
Blue-Bird-Pumpkin	1939	Painting and mixed media
Boats in the Flood	1937	Painting and mixed media
Botanical Theatre	1934	Drawing and mixed media
Boy in Fancy Dress	1931	Watercolour and mixed media
Broken Key	1938	Print
Brother and Sister	1930	Watercolour and mixed media
But the Red Roof	1935	Painting and mixed media
C - C = Fisch	1931	Watercolour and mixed media
Cacti	1912	Painting and mixed media
Camel (in Rhythmic Landscape with Trees)	1920	Drawing and mixed media
Captive Pierrot	1923	Drawing and mixed media
Castle and Sun	1928	Drawing and mixed media
Cat and Bird	1928	Drawing and mixed media
Cathedrals	1925	Watercolour and mixed media
Chalice of the Heart	1937	Painting and mixed media
Characters in Yellow	1937	Painting and mixed media
Chosen Site	1927	Mixed media
Christmas Picture	1923	Drawing and mixed media
City of Towers	1916	Painting and mixed media
Clarification	1932	Painting and mixed media
Collection of Figurines	1926	Painting and mixed media
Colorful Architecture	1917	Painting and mixed media
Comedians' Handbill	1938	Print
Comic Opera Singer	1927	Painting and mixed media
Composition	1939	Painting and mixed media
Composition with Figures	1915	Drawing and mixed media
Composition with the Yellow Half-Moon and the Y	1918	Watercolour and mixed media
Conch–Still Life II	1939	Watercolour and mixed media
Cosmic Composition	1919	Painting and mixed media
Crystal Gradation	1921	Drawing and mixed media
Dance of the Grieving Child	1922	Painting and mixed media
Dancing Girl	1940	Painting and mixed media
Das Licht und Etliches	1931	Mixed media
Death and Fire	1940	Painting and mixed media
Death for the Idea	1915	Print
Demon as Pirate	1926	Watercolour and mixed media
Diana	1931	Painting and mixed media
Diavolo Player	1923	Drawing and mixed media
Die Kapelle	1917	Watercolour and mixed media
Die Vase	1938	Painting and mixed media
Doctor	1930	Drawing and mixed media
Dredger and Sailboat	1931	Watercolour and mixed media
Ein Tor	1939	Painting and mixed media
Ein Weib fur Gotter	1938	Mixed media
Embrace	1939	Watercolour and mixed media
Episode before an Arab Town	1923	Print
Equals Infinity	1932	Painting and mixed media
Eros	1923	Drawing and mixed media
Error on Green	1930	Watercolour and mixed media
Evening Figure	1935	Drawing and mixed media
Falling Bird	1919	Print
Fermata	1932	Watercolour and mixed media
Fire Clown	1921	Watercolour and mixed media
Fire Full Moon	1933	Watercolour and mixed media
Fire in the Evening	1929	Painting and mixed media
Fish in the Harbour	1916	Watercolour and mixed media
Fish Magic	1925	Watercolour and mixed media
Flock of Birds	1917	Drawing and mixed media
Flora on Sand	1927	Watercolour and mixed media
Flower Myth	1918	Print
Flower Stand with Watering Can and Bucket	1910	Watercolour and mixed media
Flowering Tree (Abstraction with Reference to a Flowering Tree)	1925	Painting and mixed media
Flowers in Pots	1923	Print
Flowers in Stone	1939	Painting and mixed media
Forest Witch	1938	Painting and mixed media
Fright of a Girl	1922	Drawing and mixed media
Fruits on Red	1930	Drawing and mixed media
Full Moon	1919	Mixed media
Föhn Wind in Franz Marc's Garden	1915	Watercolour and mixed media
Garden in St Germain, The European Quarter near Tunis	1914	Watercolour and mixed media
Ghost Chamber with the Tall Door (New Version)	1925	Print
Ghost of a Genius	1922	Drawing and mixed media
Girl in Mourning	1939	Painting and mixed media
Glance of a Landscape	1926	Watercolour and mixed media
Gluht Nach	1939	Drawing and mixed media
Golden Fish	1925	Watercolour and mixed media
Goldfish Wife	1921	Watercolour and mixed media
Green Plant, Blood, Louse	1924	Drawing and mixed media
Hafenbild	1918	Mixed media
Hammamet with Mosque	1914	Watercolour and mixed media
Harbour with Sailing Ships	1937	Painting and mixed media
Hauptweg und Nebenwege	1929	Painting and mixed media
Heavenly and Earthly Time	1927	Drawing and mixed media
Heroic Fiddling	1938	Painting and mixed media
Heroic Roses	1938	Painting and mixed media
Heroic Strokes of the Bow	—	Mixed media
Highway and Byways	1929	Drawing and mixed media
Houses near the Gravel Pit	1913	Watercolour and mixed media
Howling Dog	1928	Painting and mixed media
In the Current Six Thresholds	1929	Painting and mixed media
In the Style of Kairouan	1914	Drawing and mixed media
Individualized Altimetry of Stripes	1930	Painting and mixed media
Insula Dulcamara	1938	Print
Interior with the Clock	1913	Watercolour and mixed media
Irma Rossa the Animal Tamer	1918	Drawing and mixed media
Journey in Corsica	1927	Drawing and mixed media
Landscape with Bluebirds	1919	Watercolour and mixed media
Legend of the Nile	1937	Painting and mixed media
Lemon Harvest	1937	Watercolour and mixed media
Likeness in the Bower	1930	Watercolour and mixed media
Limits of Reason	1927	Painting and mixed media
Little Hope	1938	Watercolour and mixed media
Magdalena before the Conversion	1938	Drawing and mixed media
Mask of Fear	1932	Painting and mixed media
May Picture	1925	Painting and mixed media
Monument in a Cemetery	1922	Watercolour and mixed media
Monuments at G	1929	Watercolour and mixed media
Municipal Jewel	1917	Watercolour and mixed media
Mural from the Temple of Longing Thither	1922	Print
Nach der Uberschwemmung	1936	Watercolour and mixed media
New Harmony	1936	Painting and mixed media
New House in the Suburbs	—	Mixed media
Old Steamboat	1922	Drawing and mixed media
On the Edge	1930	Drawing and mixed media
Once Emerged from the Gray of Night	1918	Drawing and mixed media
One Who Understands	1934	Painting and mixed media
Oriental Pleasure Garden	1925	Painting and mixed media
Park of Idols	1939	Watercolour and mixed media
Passing by Red Pillars	1928	Watercolour and mixed media
Persian Nightingales	1917	Drawing and mixed media
Popular Wall Painting	1922	Painting and mixed media
Prestidigitator	1927	Watercolour and mixed media
Rainy Day	1931	Watercolour and mixed media
Red and White Domes	1914	Watercolour and mixed media
Red Balloon	1922	Drawing and mixed media
Redgreen and Violet-Yellow Rhythms	1920	Drawing and mixed media
Refuge	1930	Watercolour and mixed media
Rhythmic Rythmical	1930	Painting and mixed media
Saint of the Inner Light	1921	Print
Scaffolding of a New Building	1930	Painting and mixed media
Scholar in Dealing with Stars	1926	Watercolour and mixed media
Seated Woman	1930	Drawing and mixed media
Senecio	1922	Painting and mixed media
Separation in the Evening	1922	Drawing and mixed media
Sinbad the Sailor	1923	Drawing and mixed media
Skeptically Smiling	—	Mixed media
Small House in the Garden City	1928	Watercolour and mixed media
Small Portrait of a Girl in Yellow	1925	Painting and mixed media
Southern Gardens	1919	Watercolour and mixed media
Static-Dynamic Gradation	1923	Drawing and mixed media
Still Life	1927	Painting and mixed media
Still Life with Gladioli	1932	Watercolour and mixed media
Strange Garden	1923	Drawing and mixed media
Stricken City	1936	Painting and mixed media
Strong Dream	1929	Watercolour and mixed media
Struck from the List	1933	Drawing and mixed media
Structural I	1924	Drawing and mixed media
Sumpflegende	1919	Painting and mixed media
Temple Gardens	1920	Drawing and mixed media
The Arrow before the Target	1921	Drawing and mixed media
The Barbed Noose with the Mice	1923	Watercolour and mixed media
The Flora of the Heath	1925	Watercolour and mixed media
The Goldfish	1925	Watercolour and mixed media
The Hour Before One Night	1940	Painting and mixed media
The Man in Love	1923	Print
The Mask with the Flag	1925	Mixed media
The Pathos of Fertility	1921	Print
The Rhine at Duisburg	1937	Painting and mixed media
The Way to the Citadel	1937	Painting and mixed media
Three Houses and a Bridge	1922	Watercolour and mixed media
Tightrope Walker	1923	Print
Tomb in Three Parts	1923	Watercolour and mixed media
Tomcat's Turf	1919	Watercolour and mixed media
Tower in Orange and Green	1922	Drawing and mixed media
Tree and Architecture - Rhythms I	1920	Watercolour and mixed media
Tree and Architecture - Rhythms II	1920	Painting and mixed media
Tropical Dawn with the Owl	1921	Mixed media
Tropische Dammerung	1921	Painting and mixed media
Twittering Machine	1922	Drawing and mixed media
Variations (Progressive Motif)	1927	Watercolour and mixed media
Ventriloquist and Crier in the Moor	1923	Print
Viaducts Break Ranks	1937	Drawing and mixed media
Villa R	1919	Painting and mixed media
Village Carnival	1926	Painting and mixed media
Vor dem Blitz	1923	Drawing and mixed media
Wald-Hexen	1938	Painting and mixed media
Young Forest	1925	Drawing and mixed media

References

1. Schirn Kunsthalle Frankfurt, “Paul Klee: 1933,” exhibition account (English, 2003), View source.
2. Zentrum Paul Klee, “Paul Klee” institutional biography and chronology (in German), View source.
3. Museum Folkwang, “Fire at Full Moon,” owner record and interpretation (German and English), View source.
4. Zentrum Paul Klee, “Klee in Bern” exhibition research (in German), View source.
5. Zentrum Paul Klee, “Paul Klee,” 1935–40 chronology (in German), View source.
6. Walther Fuchs, “Paul Klee und seine Krankheit revisited,” Zwitscher-Maschine (in German, with English summary, 2017), View source.
7. Zentrum Paul Klee, Paul Klee: I Want to Know Nothing, reproduced Düsseldorf academy report and chronology (English), View source.
8. Arts in Exile, “Paul Klee: Von der Liste gestrichen (1933),” object and exile chronology (English, with original German letter), View source.
9. The Jewish Museum, Paul Klee: Other Possible Worlds, complete exhibition labels (English, 2026), View source.
10. Zentrum Paul Klee, “Klee in Bern,” studio, friendships and 1935 exhibition (in German), View source.
11. Fondation Beyeler, Paul Klee: The Abstract Dimension, gallery guide on World Harbor and Forest Witches (English), View source.
12. Zentrum Paul Klee and University of Bern Medical Faculty, “Paul Klee und seine Krankheit,” exhibition account (in German, 2005), View source.
13. Cleveland Museum of Art, “God of War,” owner object record, description and open-access notice (English), View source.
14. Hamburger Kunsthalle, “Revolution des Viaductes,” owner object record, bibliography and provenance (in German), View source.
15. Guitemie Maldonado, Centre Pompidou, “Bedrohliche Zeichen (Signes menaçants),” collection essay from Collection art graphique (in French, 2008), View source.
16. Zentrum Paul Klee, “Paul-Klee-Stiftung,” current owner caption for Insula dulcamara (in German), View source.
17. The Museum of Modern Art, European Master Paintings from Swiss Collections, p. 150, discussion of Insula dulcamara and the group of seven (English), View catalogue, View source.
18. The Metropolitan Museum of Art, “Angel Applicant,” owner object record and interpretation (English), View source.
19. Zentrum Paul Klee, Death and Fire interpretation (English), View guide; Staatliche Museen zu Berlin, Das Universum Klee work checklist, p. 10, exact material and catalogue number (in German, 2008), View checklist.
20. Zentrum Paul Klee, “Ohne Titel (Letztes Stilleben),” owner digital guide (in German), View source.

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