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拍品專文
Painted in 1929, Die Schlange auf der Leiter (The Snake on the Ladder) showcases the integral role played by the natural world in Paul Klee’s artistic vision, as he sought to explore the intricate, mysterious relationship that exists between nature, the cosmos, and creative inspiration in his art. Klee believed that by reaching down into nature the artist was able to absorb impressions of the world, which could then be channeled into a subjective artistic vision that expressed the inherent truths of the universe.
Comparing the source of an artist’s creative impulse to the growth of a tree, Klee explained: “From the root the sap flows to the artist, flows through him, flows to his eye. Thus he stands as the trunk of the tree. Battered and stirred by the strength of the flow, he molds his vision into his work” (quoted in E.-G. Güse, Paul Klee: Dialogue with Nature, exh. cat., Saarland Museum, Saarbrücken, 1990, p. 26). However, as with the tree, the resulting image could not be an exact reflection of its source material. Rather, the “crown” of the tree must diverge from the pattern of its roots and develop its own identity, allowing a space for the artist’s creativity to blossom in a new, subjective manner. In this way, Klee believed that the impressions absorbed by the artist could lead to a new vision of the world, one which offered access to different realities and revealed more than just the visible, surface impressions of nature.
Klee explores this idea in Die Schlange auf der Leiter, creating a fantastical, dreamlike image filled with sources drawn from his careful observation of the natural world. The serpent of the title ascends a steep ladder to rise above an ethereal, fictitious planet, watched by a row of archetypal plant forms, while a series of curious objects – including a crystal, an egg and two undefined geometric shapes – appear to float in the space surrounding them. The unexpected juxtapositions that occur between these objects imbue the scene with an otherworldly quality, while the ambiguity of their connections heightens the sense of mystery within the composition. Klee may have drawn inspiration for this painting from the varying landscapes and terrains he encountered on his travels abroad, particularly those from his sojourn in Egypt at the end of 1928, where he journeyed from Cairo and Alexandria, to Luxor, Karnak and Aswan. Indeed, his friend and biographer, Will Grohmann, has described Klee’s time in Egypt as “the greatest single source of inspiration in his later years” (Paul Klee, London, 1954, p.76). He was fascinated by ancient Egyptian culture, particularly the symbolic power of hieroglyphs, as well as the rich rhythms of the landscape and the contrasting profiles of the barren dessert and the fertile agricultural lands of the Nile basin.
Although his artistic output was limited during the trip itself, Klee spent his time storing up impressions of this enchanting environment, which he then recalled from memory for use in his drawings and paintings. The impact of Egypt gradually expressed itself in his compositions of 1929, and in Die Schlange auf der Leiter the rich tones of the color palette and the prominence of the serpent in the composition, show the influence of Klee’s experiences in this ancient land. Snakes held an important place in Egyptian mythology and culture, occupying a liminal space between benevolent protector and dangerous monster, and after his journey the reptile came to feature in several of Klee’s compositions. By entwining the creature in the rungs of the ladder here, the artist adds a sense of whimsy and playfulness to this enigmatic painting, evoking the childhood board game of snakes and ladders.
Comparing the source of an artist’s creative impulse to the growth of a tree, Klee explained: “From the root the sap flows to the artist, flows through him, flows to his eye. Thus he stands as the trunk of the tree. Battered and stirred by the strength of the flow, he molds his vision into his work” (quoted in E.-G. Güse, Paul Klee: Dialogue with Nature, exh. cat., Saarland Museum, Saarbrücken, 1990, p. 26). However, as with the tree, the resulting image could not be an exact reflection of its source material. Rather, the “crown” of the tree must diverge from the pattern of its roots and develop its own identity, allowing a space for the artist’s creativity to blossom in a new, subjective manner. In this way, Klee believed that the impressions absorbed by the artist could lead to a new vision of the world, one which offered access to different realities and revealed more than just the visible, surface impressions of nature.
Klee explores this idea in Die Schlange auf der Leiter, creating a fantastical, dreamlike image filled with sources drawn from his careful observation of the natural world. The serpent of the title ascends a steep ladder to rise above an ethereal, fictitious planet, watched by a row of archetypal plant forms, while a series of curious objects – including a crystal, an egg and two undefined geometric shapes – appear to float in the space surrounding them. The unexpected juxtapositions that occur between these objects imbue the scene with an otherworldly quality, while the ambiguity of their connections heightens the sense of mystery within the composition. Klee may have drawn inspiration for this painting from the varying landscapes and terrains he encountered on his travels abroad, particularly those from his sojourn in Egypt at the end of 1928, where he journeyed from Cairo and Alexandria, to Luxor, Karnak and Aswan. Indeed, his friend and biographer, Will Grohmann, has described Klee’s time in Egypt as “the greatest single source of inspiration in his later years” (Paul Klee, London, 1954, p.76). He was fascinated by ancient Egyptian culture, particularly the symbolic power of hieroglyphs, as well as the rich rhythms of the landscape and the contrasting profiles of the barren dessert and the fertile agricultural lands of the Nile basin.
Although his artistic output was limited during the trip itself, Klee spent his time storing up impressions of this enchanting environment, which he then recalled from memory for use in his drawings and paintings. The impact of Egypt gradually expressed itself in his compositions of 1929, and in Die Schlange auf der Leiter the rich tones of the color palette and the prominence of the serpent in the composition, show the influence of Klee’s experiences in this ancient land. Snakes held an important place in Egyptian mythology and culture, occupying a liminal space between benevolent protector and dangerous monster, and after his journey the reptile came to feature in several of Klee’s compositions. By entwining the creature in the rungs of the ladder here, the artist adds a sense of whimsy and playfulness to this enigmatic painting, evoking the childhood board game of snakes and ladders.