PAUL KLEE PEDAGOGICAL SKETCHBOOK FREDERICK A. PRAEGER— New YorkINTRODUCTION by Sibyl Moholy-Nagy “for the artist communication with nature remains the most essentiel condiion, The actst fs human; himéelf nature; part of nature within natural space.” * This statement, written in 1923 by Paul Kloe, was the Leitmotif of @ eative life that derived almost equal inspiration from painting and from music, Man painted and danced long before he learned to write land construct. The senses of form and tone ate hs primordial heritago, Paul Klee Fused both of these creative impulses into a new entity. His farms are derived from nature, inspited by observation of shape and Gpelle change but their appearance only matters in so far as it sym= Boizes an ‘nner actuality that receives meaning from its reltionship to the coumos There is a common agreement among men on the place and fonction of external features: eyo, leg, roof, sal star. In Paul Klee's pictures they are used as bescons, pointing away from the surface into epiltual realty. Just as @ magician performs the miraculous with ob- jocks of utter familiarity, such as cards, handkerchiefs, coins, rabbits, 30 Pol Klee uses the familiar object in unfamiliar relationships to mate- ‘ializa the unknown. {The Symbol Expressionists and the Cubists during the first decade of the Twaneth Century hed steady questioned the validity of Academic Noturelism. Their peinting had tooked below the surface with the MMalyitcal eye of psychology and x-ray. But the multt-layered figures of Kirchner and Kekoschke ar the simultaneous views of Braque and Picasso, were analyticel—statements, resting statically on the canvas, Klee's figures and forms are not only transparent, as if seen through @ Rusroseape, they exist in a magnetic Field of eress currents: lines, forms, {plotchen, arrows, color waves. As i it ware 2 symphonic composition, ihemain motf moves from vatiation to variation in its relationship to Sher objects on the canvas, A bird in THE TWITTERING MACHINE, for instance, is uiflecent from all other birds through its relationship 10 iransmision belt crank shaft, and musical notations, floeting in the Without contradicting himself, Klee could confess to “communication Sogn the crate te Tae a Nia” soto "Wea Mokeat, TE Monge Santon 7with nature” asthe essence of work, but he rould also say that “all {tue creation is 2 thing born obt of nothing.” The seeming contrest is feselved through his unfailing originality “born out of nathing” which is the spiritual couse. The optical effect is pictorial composition that Uses the identifiable natural shape as mediary. In THE ROOM AND ITS INHABITANTS from 1921, floor boards, window frame and door, are recognizable, together with the faces of woman and child. But they mere points of reference in a world of lines, arows, reflections, fade~ Outs that reveal intuitively the mysterious man-shelter relationship thet has determined the course of civilization ever on artist understood the visual aspirations of his epoch it was Peul Klee, and the civilized world came to recognize his contomporane ‘Susness even before his desth In. 1940, Exhibitions. end publications have constantly increased in number; and it might be assumed that, together with Cezanne and Picass0, he will be the most reproduced and Unnotaied painter of this century. But its known to few that Paul Klee svar more than # painter. His "communication with nature” produced truch more than the tranefiguration of the perceived form. It produced {philosophy thal rested on empathy with the created world, sccepring everything that is with equal love and humlliy. As a very young man he had spoken of his art 32 "andacht zum Kleiner” (devotion to small things): In the Micracoary of Kis own visual seorld he worshipped the ‘Macrocosm of the universe. This wes his revolution. Academie art had bbeen based since the Renaissance on the Aristotelian principle of de- duction, meaning that all representation was deduced from the broad ‘general principles of absolute beauty and conventional color canons Paul Klee replaced deduction by induction. Through observation of the Sellest manifestation of form and Interrelationship, he could conclude tbou! the magnitude of natural order. Energy and substance, that which ‘mover and that which is moved, were of equal importance as symbols (of creation. He loved the natural event; therefore he knew its meaning in the universal scheme. And with the instinct of the true lover he had to comprehend what he loved. The phenomenon perceived and analyzed, was ated until its signifeance was beyond doubt. ft isin Paul Kies that science and art fuse. Exacitude winged by intuition ‘was the goal he held out for his students. 11 Klee the painter could not help becoming 2 teacher in the original meaning of the term, The word “to teach” derives from the Gothic ‘Maiko'sign” (our word token) tis the mission of the teacher fo observe what goes unnoticed by the multitude, He is an interpreter of signs When Welter Gropivs developed the curriculum of his German Bauhaus, he gave back fo the word tescher is basic significance. Kandinsky, Klee, Feininger, Moholy-Nagy, Schlemmer, Albers, who taught there, were interpreters of the visual as tokens of a fundamental optical and struc- tral order that had been obscured by centuries of literary allegorism, In thie community of guides Pavl Klee chore for himeelt the fark of Pointing out new ways of studying the signs of nature, "By conten plating the optical-physical appearence, the ego atives a! intuitive con Elusions about the inner substance.” The art student was to be more than a refined camera, rained fo record the surface of the object. He ust reliza that he fs “child of this earth yet also child of the Universe, Rave ofa star among ators” ‘A mind s0 in vx, 40 sensitive to intuitive insights, could never write an Seademie textbook, All he could retsin on paper were indications, hints, Sllsions ike the delicate color dots and line plays on his pictures. The PEDAGOGICAL SKETCHEOOK Is the absirec of Paul Kloe's ‘sion, In i the natural objec je not merely rendared twe-dime ii becomes “rSumlich,” related to physical and intellectual space con. cepts, through four main approaches that form the four divisions of the Sketchbook: Proportionate Line and Structure Dimension and Balance ~ Gravitational Curve Kinetic and Chromatic Energy ‘The fst part of the Sketchbook (Sections 1.14.19) introduces the trans- formation of the static dot ine linear dynamics. The line, being succes: sive dot progression, walks, circumscribes, creates passive-blerk and {Scliveillad planes, line rhythm i measured like « musical score or an “rithmetical problem. Gredvally, line emerges as the measure of all Structural proportion, from Euclid’s Golden Section (7) fo the energetic power lines cf ligaments and tendons, of water currents and plant Fibers, Esch of the four divisions of the Sketchbook has one key-sen- fence, sewn slmest casully-without the pompousness ofa theorem ‘among soeciic observations. This one sentence in each chapter points the path from the particular to the universal. The fist part on “Propor- fonate Line and Structure” it condensed into one laconic statement: 9fore steetucal” (1.6), explaining in five “putly ropetive and re I structure as the repetitive accumulation of swords the pate of ver! ice nie She second part of the Sketchbook (I .25) deals sith "Dimension {ng Bloc” Here the obec, enderod by re, elated the sabe fective power ofthe human eye. Man vses hs ability Yo move freely in pace to create for Rimual apheal adventures. What are raioad Hes? Fonction rosebeameycecrting st rogue intrvla, Yes, but fey m tho subalvisions of inte space capable of bisacing The third dimen Son at's hundred diferent angles {i-13). Man, precsriously balanced ilsion as 2 sfaty device, Horizon inary safety bol oat has To be iatioved in, ove onemplifed on he graceful exemple of the tightrope Swalcerand’his Bamboo pole (121), The purely mareril bal ale finds it counterpart inthe purly prytologieal balance of Se darks weightew and Remy eslort I'34) The key word ths fection roadenonaymmetncal balance” (1,29). seve that "the Biateral contrmy of two pers” which is the old datinition of sym metry, has been superseded by “the equliation of unequal but equ tlent pats" Dimantion i in sell nothing but bm erbitary expansion of form into Neigh, width, depth and time. I the baloncing and froporioning poe of eye and bran that regulate tha expansion of {he object toward equilisrum and harmony. The third sapect of the study of nature in the Sketchbook (I, 26..32) deste withthe ting tween mans abit to project himeelf tnd the object into space, and the lations imposed upon this urge by the gravitation pull The linear extension ofthe ft section of te book andthe balance of emensional form inthe second section she followed up with the projection of motion above and below the hor an of the human eyes The plump ine (I. 26) mun's umole! cord to'the center ofthe earth: symbolizes the ragic termination of his will Ry, but alto symbolizes femmers and rhythm and the assuring Sirection foward rest, he fang stone, the ascending fier, the shooting Sta onthe femament (il.30.98] ae natral dynamics whose courte decided by she gravitational curves “But Klee concludes, “here a gions with different lows and new symbols, signifying freer move: ‘ent and more dynamical postion.” With this mere hin 26) st the txstence of purely apiitualdyramia, that supersedes the phenomenal 10 world and its earthbound fate, Klee defines his Naturalis as 9 sym- bolisg of great depth. The core of this thed section, which is trans tion from observation Yo intuition, is defined In the aaiom that is pe haps Klee’s deepest wisdom: TO STAND DESPITE ALL POSSIBILITIES TO FALL! The concluding chapter (ll.33-43) allows the student 2 glimpse at the forces that create oatical rensation, forces that are either Kinetic mobile, or chromsticcaloie. Plato spake of EIDOS as the inner essence of an object as distinguished from the apparent outer form; and Aristotle uses the term ENTELECHY when he defines the form-giving cause that mani= fests an idea in a material configuration. Trus to his inductive creed, Paul Klee damanstrotes inner exsence and form-giving cause on the most insignifican objects, the spinning top, for instance (I-33) that defies {gravity by the centrifugal energy of its gyrations, or the feathered arrow UiWl.37) whose path is hampered by gravitational fretion. "To be im- pelled toward motion, and not to be the motor!” Thought and intention {hat send the arrow on ifs way are identified with the supra-mechanical force of the Eidos. With the ease of the perfect dancer who has subli: mated his intense effor into seeming play, Paul Klee presents his new naturalism theough an interchange of natural phenomenon and pure Idea. The propertionate relationship of point and rudder fo shaft in the ‘etual arrow {Ill.38) is calculated on a strictly mechanical boss. But the Same exactitude is applied in ealeulting the orbit of the symbolic arrow, ‘overcoming the frilion of human fer by aiming "a bit farther than cottomary-farther than possible!” The final decision reste with man’s willingness to produce energy. “The stronger the pull of the ascension udder, the higher the vse; the stronger the pull of the drop rudder, the steeper the fall” Energy, the Sketchbook concludes, is without termination only in the thromatie and thermo-dynamie Feld. Motion that may be called infinite Inthe sense of unending solf-ransformation, exists only in the activa- tion of colar, moving between the fervid contrasts of utter black and utter white (Iil40) with the theema-dynamie implications of intense heat and extreme cold, The last rix diagrams complete the cyclo that hhad staried an page one when the dot was sired from its static exst- fence into line progression. On its way through the Sketchbook it has nbeen transformed by the counter forces of earth and world, of mechani= Cal nw and imaginative vision, and it as found equilivium int cen- trality that na longer points away but rests within 2 unified diversity {ll.43), The sum total is what Paul Klee cally "Resonanaverkili meaning a reverberation ef the nite in the infinite, of outer perception nd inner vista, The experience of this dual really of the SEEN and the FELT orconce of nature, pelle the student toward "a free creation of abstracted forms which supersede di- Sactc principle with a naw nsturainere the naturalness of the work, Me produces or patcipates in the produc tion of works whlch are indiestions of the work of Gos.” 12 teINITIAL PLAN FOR A SECTION OF THE THEORETICAL INSTRUCTION AT THE GERMAN BAUHAUS1.0 1 en QO mete oo Hie fy, the same line, accompanied by complementary forms (Figs. 2 and 9): 16 "7Passive lines which are the result of an activation of planes (line pro saression) (Fig. 8) i W@ HE ms ~ nt y 4 In the process of being crested, these figures have linear character; but ence Passive angular lines and passive citevlar ines become active as planae complated, this linearity is replaced by constituents, Fg planaty 18 9©) sonar a far ee open ar Cute Eo. OR Active lines, passive planes; linear energy (cause), linar impact (effect secondary planar effec. OmAO Media ins; linear energy (caves), planar impact (oe) THIRD CASE a Active planes, passive lines; planer energy (cause), planar impact plus secondary linear effect 20 THREE CONJUGATIONS. Semantic explanation ofthe terms setve, medial, and pessve actives [fll (he man fells» tree with his a0 medi fall be tee falls undar the ax teaserneed passive! am being felled (the tee Fes felis} a{(Oivisional Articulation) | | from lett to rah re Fig. 12: The most primitive structural shythim based on a repetition of the same unit from left to right, or top to bottom, Fig. 15: This rhythm is more comple. Fig. 14: Very primitive Ins therse ic one plus two (1-+2)- structural ehythm double motion top 10 — QUANTITATIVE STRUCTURE, moving to two dimensions (he chessboard) ao Horizontal and vertical suis (Fig 16): HIS TOF s1O= 1 HO)+CT+1O)rOrFIO)= 21421421 bottom and left to rat veins 192+1+2 in metric presentation 1420:2 in stress presentation HW 1e 24142 ave replaced by (1+2) + (142) it equals 34+3+3+3 which amounts to another repetition of the Basie theme. 22 a Fig, 17: fone considers section 17a a8 # unit with 6 values, one arivee st the following numeral presentation of Fig. 17 purelyrpottiveand Eededee = 1 11 thereforestuctuel. fatten yy bid sce 23Fig. 16: Both dimensions combined, xeen diagonally In contrast to structural units, individ (or abstract) numerical divisions Fgt8 ‘anno! be reduced tol, But must stop at proportions such as 2:35 or 711817 oF ecb =b;(a-+b) (Golden Section). Fig. 19: Linear variation e_ Therefore the structural 2% ce character i divisionalfa Structural concept in natures 26 youping of the smallest recognizable entities in matter: Bone matter is cellular or tubular. Ligament structure is a sinuous-brous web, Tendons are continuous with the connec. ve tissue of tho muscle, strengthened vy ers grain, Oe aelcpe veell Ay bones are coordinated 1o form the skeleton, Even at est they depend on mutual support This is furnished by the ligaments Tt i seconde function one could speck of 2 hierarchy of The next sep in motorie organization leads from bone to muscle. The tendon isthe mediary between these wo Kyat op28 Fig 28 [And what isthe relationship of muscle ro bone? tel, the muscle brings Through its ability to contract or shorten two bones ino 2 new angular relationship. If one considers further the realm of kinetic organisms, one com- pprehandsin the relationship of bone to muscle the mediary function of the tendon. The position of two bones toward each other must change if the muscle so decides. -Mvsele function supersedes bone function; in relationship to muscle function, the Bone function is passiv Bones give support to the total organism; also when in motion, ‘Muscles have a higher function because they act baside each other. (One bends, the other stretches. ‘One bone alone achieves nothing. the independence of he we fnston tof cours rainy tells ely inltionsip to bone fonction, Actaly the muscl inet independent but cbeys orders, issued from the brain t doe fer want to at Bes, vans fo choy. The hanson oF {brain coder cen be compared to's telegrar, with nerves ct In order to visualize the relative intarelatonship of serving ancy ‘commanding, or of structural to individual function, Fig. 24 pre ‘ante diagram comparable to nesting toy boxe.(based on the Trichotomy) Fist organ active (brain) Second organ medial (muscle. Thied organ passive (bones). 4) Waterwheel and Hammer (Fig. 25). 1 Two energies: a} gravity, 6) the obstructing mountain (active. Diagonal force to energies Ta and Tb: The Waterfall (medial) Ill The turning wheel (passive).©) Theplant (Fig. 27) 1 Male organs (anthers), active 1 Pollen-carcying insects, medial 1 Female organs (rut), pas 9) Girulatory System (Fig. 28): 1 The heart pumps (2c tive). The blood is moved passive). I The lungs receive blood and participate in sending it on ransformedmesiah, W The heart pumps. m1 The blood again is moved and returns {othe hear, is point 32 of departure, © "nine The work Gite) grows pisherels "stone cmt Se, = (additive) F929 Theblock hewn "chp trom chip GiB ractive Both prow. erheYiple/ eres: building epelfeay —Sndroducing, erat wretimen Gbenctuny bound Already at the very beginning of the productive act, shortly after the inital motion o create, oceurs the first counter motion, the intial move: iment of teceptivity. This means: the crestor controls whether what he has produced #0 far is good. ‘The work as human action (genesis) ie productive as well as receptive Its continuity. Produetively itis limited by the manual limitation of the creator (eho has only two hands) tively it is limited by the of the The limitation of 1 ability to see even a small surface equally sharp af all points. The eye must “graze” over the aur face, "grasping sharply pertion after portion, to convey them to the brain which collects and stores the immpressions. travels along the paths cut out for it in the work. 33Dimensions 1. Dimension: laf (right) 3 2. Dimension: top (bottom) 3. Dimension: front (back) 35Operation in three dimensions (Fig. 24): 2) Two parallel lines, seen frontelly by the eye; b) Railroad tacks, seen frontally ©) Two parallel lines, een from a defected angle of vision ig 4) Railroad tracks, seen sideways, with fos serv ing es measure of the perspective progression from rear fo front (Fig. 32): Verticality. Fig. 35: Railroad ties, seen frontally. A distant and 2 close tle are subdivided equally. Fig. 36: The perspective progression visualized through lines running parallel to the tracks. Emphasis ©) Figure 32 seen frontally (Fig, 33): fon the frontal plump line (perpendicular. to the ties). FX Fy of f=aX Fae my 38 6 aHorizontality Verticality (continued) Shifting vertical axis in relation to a subject (spectator) moving left to right Fig. 37: The subject has moved toward lef. Fig. 38: The subject has moved toward right. Fig The horizontal signifies the proportionate height of the subject. fg ‘A line connecting all spatial points, lying on eye level, is called the fg The vertical signifies the logical divection on a plane. 39 38Fig. 41: The inserted space box ‘gives the subject a view of the ‘Upper plane; therefore this plane this pla should lie below his eye level, should lie above his eye-level. Indeed, the horizontal is situated Indeed the horizontal tine is above, below, al Fig. 43: in this case, however, the eye sees the upper plane of the space box neither from above nor from below. The plane appears merely as a horizontal line. Consequently, it must lie exactly on eye level. Indeed, the rim of the upper plane coincides with the horizontal 40 (Once more the vertical Why is Fig. 44 as copresenta: tion of a hause wall incorract? isn't wrong logically. The lower window openings are closer to the eye than the Upper anes, which means they are “larger” perspactively. AS representation of a floor pat tern, this perspective render. ing could be eosily accepted. This picture therefore is nol Fis. Incorrect logically, but prychologically. Because every creature, in order 10 preserve his balance, insists on seeing actual verticals. projected as such, ® The tightrope walker with his Horizontaity: The Horizon as pole. Horizontally. The Hor supposition, 2on at actuality. Tho, vertical indicates the straight path and the etect posture or the Position of the creature. The horizontal indicates his height, his horizon, Both are completely realistic, static fac ayThe tightrope walker is emphatically concerned shout his Bolonce. He calculates the gravity on both ends. He is the scale of the scale i the crossing of per jcular end horizon —- Disturbed balance and its effec. =f Correction through counter-weight, and the sulting counter-effect. Combination of both effects, or diagonal cross (Gymmetrical balance es restoration). a2 gpea & Nonsymmetrical balance. (Symbol) Tee | Sao Disturbed Restored Balance Balance a) Metis LN o wy wom Ee] fe | se ae ©) Character, [et fe] LH = [ Fea ey 43Diagramatic presentation 10 Fig. 50a: Overloaded through the heavy dark, the axis AB. hhas dropped from a to A, and has risen from b to B. Its orig inal horizontal postion was ab, Both axes, ab and AB, havo, the point C har a common pivot. As the result of a tum, ‘around this point, leftedark is now lower than rightlight. To restore balance, black is added to the rightight. (Or: | am stumbling toward left and reach out toward right, toprovent fal. Fig. 50br The upper portion of my body is too heavy. The: vertical axis shifts toward left and | would fall if correction ‘would not take place in time by Brozdening the base through 2 step outward of my left leg. le © sting we Fig. 51: Stone | rests on the foundation stone. This upsets the balance toward left. To equalize, and causing @ new disturbance, stone Ils added to the right. Fel lowing this pattern, stone lll pulls toward lett, stone IV equalizes and pulls toward tight, et, until finslly the keystone establishes 9 definitive equlibrivm, Fig. $2: Pi, Po, Pu, ete are the pivot points of the toppling Stones. Connected with each other by a line, they form » zig-zag Barn thar cecmseribes the ver 45wan ‘Symbols of the static ares ere plummet (position) and balance. The plummet sims a the earth center where al materilly-bound existence in anchored But there are regions with diferent lave and new symbols, signifying freer movement and dynamic position, Water and atmosphere are transitional regions.© sant moun Fig. 54: A bullet, fired at 9 steep an. gle, rises with di rminishing energy Info the air it turns, and falls to earth with accelerated enero. finuity.) vis (Loose cor fig 54. eee Fig. 55: A climber (of stairs, ascending with increating en- ‘ergy from step 10 sep. {Rigid continuity.) WATER Ne F956 The leg strokes of a swimmer—rhythm in loose continuity. 48 lileae @ EARTH suns) ond Aik combined. matey selig Cet Enancgy ———P sel Eenemancey Cd Revonancey (Loose contin} esr A stone falls Increasing in acc @ sion bounces down » steep (Coninuty party loose, partly eid) Cosmic and stmorphesie ‘combined Fig, 58 A meteor moves along kr obit. airacted by the ext ‘ig defieted from ie cours and traverse the ears steno Ar shooting start bray scapes the'perl tobe ied forever tothe ttrh, end moves on inte thes eling of ard eatingushing (loovecontinity) “0deprived of its material support, and reduced to one point of Contact, will topple and tall, even if its weight has been carefully distributed (Fig. 60) Horizontal oyration will fnve this toy from falling. Thisis the principle of 7 the spinning top. (Fig. 61.) {A double top will even dance on 2 taut string without falling (Fg. 62)lill.@ ©) the pend The plumb | wansfermed inte 3 pendulum by Ewinging it back tnd forth, ‘Motion and countermotion of the pendulum result in equilibration of movement (Fig. 64). Or motion path of the pondulum with sate Fix fion point (Fig. 65). Ey 2 — Fy oflibration 32 The i This letter form (fig. 65) can be expanded through increased motion Gr the fed guidance point of the pendulum. The observable eignif rice of such a form contunity, originating at the guidence point, Is Ineponed into larger mobile forms. The purest mobile form, the cos Inic ano, however, i only created through the liquidation of gravity (through elimination of material fies ‘This moment (Fig, 66) ic imagined {i occurring while the pendulum ie in full swing. It wil ceo seribo 3 circle whieh is the purest (oF mobile forms The necessity fora back and forth Iotion of the pendiluem trom 2 Fixed point has been eliminated ‘The nevly crested form Fig. 663) femains tha same whether the motion starts from left toward pete Fight or from eight toward let The Spiral Changing lanath of the radius, combined with peripheral motion, trans forms the cele into the spiral. Langthening of tho radivs creates & vibrant apiral, Shortening of the radius narrows the curve more and tithe lovely specacie dies suddenly in the sate center. Motion finite and the question of ection regains new AT) | Tiaportance. This direction deter imines either a gradual liberation rom the center through freer and Freor motions, or an increasing 5 ependence on an eventuely de ‘Sroctive cen Ts ihe question of life and ‘and the decision costs With Fig 67 hea pueda sae. SIillee eu eel The father of the arrow is the thought: how do | expand my reach? (Over this iver? This lake? That mountain? The contrast between man’s ideological capacity to move at random through material end metaphysical spaces one hie physical imations, Is ‘the origin of all human tragedy. duslty of human existence. Half winged-half imprisoned, this is man Thought is the mediary between Gbaraton painful man's tragic imitation. To <5 ee be impelled toward motion and cer How does the arrow overcome the hindering friction? Never quite to get where motion is intermine Be winged arcows, alming a1 fulfillment and goal, even though you will ire without having reached the mark (rudder) >_> ‘The symbolic arrows direction rnecher | te IH TP Coshoat between power f ‘and prosiration that implice the anh and word The broader the not to be the motor! Action bears: Th Revelation that nothing het has str can have infinity. Knattvalanow cons of shal wh pent oc ‘nd feathering > magnitude of his reach, the more this out tere Restrabon Contolaton abit farther than cortomaryt—than possible? Fethering §—§ > combined a5 point.rudder fie 10 Equal length of the point-rudder and equal degrees of the poin-rudder from the shaft, result in straight Right (Pig. 71: mb a-P (THE ARROW) athe and uneven angle-degrees of the point.rudder resul Uneven I ina deviating course (Fig. 72). col Sa 2207 descending soa] couse The stronger the pull of the ascension rudder, the higher the vise, . ton tit ete A sewlt 8. ‘the stronger the pul ofthe drap rudder, the steeper the descent Fig73 55Fig. 74: In the world of phys ‘eal reality every ascent must be followed by a descent at the moment at which the gravitational pull of the arth overcomes the ascend Jing energy of the rudder. ‘The physical eyeve thos ends 35 9 perpendiculer line (the- iyin the center of the mic curve frees itself more find more from the earth in Infinite motion, to fo aa eile or pee, 56 Formation of the Black Arrow (fg. 76)- rere = 1 oF adequate, oF actual white receives fied energies from additive, acting, r Fut Why not the The stress lies on rare specialty 25 against broad gener acts us as competently static and cus- fomary; the first one es unusual, activating. And the areow alweys fies inthe direction af action, In a wellarranged equilibrium of both characteristics, the direction of ts itself 20 forcefully that the ambiguous symbol (arrow) may be eliminated, The given white, muchstoomuch-scen and tiresome white, is noticed by the eye with little sensation, but the contrasting peculiarity of sudden ‘ction (blac) sharpensthe vividness of vision toward the climax or the termination ofthis ation. This extraordinary increase in energy (In a productive sense) or of ‘energy food (in a receptive sense) 1s decisive for the direction of 573 2 Table of chromatic tue lea incandesconce he ulet hee (mainly blue-orange). formation, Table of chromatic y cy cooling “fe fon (mainly orange-blue). 3 jp ‘ @® segues The rad arrow. The hot arrow. Calorie arrow from fest to combustion. a of movement. en The preceding diagrams (Fe, 76-81) are svagestons for the rendering Extinguishing ‘of mobile factors in composition, The ‘compotion itself Kinetic co ablaze. ‘ordination is an intricate task and demands » concept of advanced ‘maturlty. AS norm for such 2 compesition we may postulate: » ha rmonization of elements toward an independent, calm-dynamic, and ynamiccalm entity. Thie compasition can only be complete if move: iment Is met by caunter-maverent or if solution of Kinetic lafnity hes been found, (To the frst cate t00 Fig, 82; also Fig. 65) The green-red arrow. Chromatic Fare The red-green srow, Chromatic sell.@ Cet ae aes Fo 63 At first, movement and counter-movement: #0) or ¢ fo. In this way ‘2 center is preparedthe central grey (Fig. 83). The purer the presentation of the grey, the narrower its reach, theoretic- ally confined to @ mere point. 2 Fao Left of the grey point, green Is in the ascendancy; right, close to the grey point, already red. Consequently one could be tempted to arrive {tthe following diagram (Fig. 85): 60 It's, however, not logical to bring the steps green~red end violet, (fig. 83). Therefore a diagonal presentation tod (Fg. 6) We have arrived at the spec tral color cirela where all the arrows are superfivous, Be: eause the queslion is no longer: "to move there” but to be “everywhere” and con- sequently also “There!” 22S et