Six Species 1921 by Paul Klee
Six Species
Paul Klee’s Six Species and the Bauhaus Vision of Unity in Diversity
In 1921, as the Bauhaus school was redefining the boundaries between art, craft, and technology, Paul Klee created Six Species, a work that distills his fascination with organic forms and their symbolic potential. This painting emerged during Klee’s tenure as a master at the Bauhaus in Weimar, where he taught from 1921 to 1931. The period marked a pivotal shift in his practice, as he moved away from the more lyrical, watercolor-dominated works of his earlier years toward a rigorous exploration of geometric abstraction infused with biological motifs. Six Species exemplifies this transition: its grid-like composition and muted palette reflect the Bauhaus emphasis on structure, while the ambiguous, cell-like shapes hint at Klee’s enduring interest in the microscopic and the cosmic.
The title itself invites interpretation. “Species” suggests both biological classification and a broader meditation on types or categories—a theme that resonated with Klee’s pedagogical approach at the Bauhaus. As The Museum of Modern Art notes, Klee’s work from this era often balanced precision with playfulness, using modular forms to explore how individual elements could coalesce into a harmonious whole. Here, the six distinct yet interrelated shapes float against a neutral ground, their arrangement evoking a scientific diagram as much as a poetic constellation. The painting’s restraint—its limited chromatic range and absence of overt narrative—belies a complexity that rewards prolonged engagement.
Klee at the Bauhaus: Where Pedagogy Met Abstraction
By 1921, Paul Klee had already established himself as a singular voice in European modernism, but his appointment to the Bauhaus that year marked a turning point. The school’s founding manifesto, drafted by Walter Gropius, called for the unification of art and craft—a principle that aligned with Klee’s own belief in the interconnectedness of visual forms. At the Bauhaus, Klee taught courses on form theory and color, developing a pedagogical method that emphasized the analysis of elemental shapes. Six Species can be read as a visual corollary to these teachings: each “species” functions as a discrete module, yet their collective arrangement creates a dynamic tension between autonomy and interdependence.
This period also saw Klee engaging with the theoretical writings of his colleagues, particularly Wassily Kandinsky’s Concerning the Spiritual in Art (1911). While Kandinsky advocated for abstraction as a path to spiritual transcendence, Klee’s approach remained more grounded in the tangible world. As he wrote in his own lecture notes, later published as The Thinking Eye (1961), “Art does not reproduce the visible; rather, it makes visible.” In Six Species, the visible takes the form of an enigmatic taxonomy—one that resists definitive interpretation while inviting viewers to project their own associations onto the canvas.
Six Species is less a depiction of nature than a meditation on how we categorize it. Klee’s genius lies in transforming a seemingly dry exercise in classification into a composition that hums with quiet energy, its rhythm derived from the interplay of repetition and variation.
The Making of Six Species: Technique and Materiality
Composition: The Grid as Armature
The painting’s underlying grid serves as both a structural scaffold and a conceptual framework. Klee divides the picture plane into a loose matrix, with each of the six forms occupying its own quadrant yet bleeding slightly into adjacent spaces. This approach reflects his interest in the “dynamic equilibrium” of forms—a principle he explored in his Bauhaus lectures. The grid is not rigid; instead, it functions as a flexible armature that accommodates the irregular contours of the shapes, creating a sense of controlled spontaneity.
Surface and Texture: Oil on Cardboard
Klee’s choice of cardboard as a support was pragmatic yet expressive. The material’s slight texture interacts with the thinly applied oil paint, producing a matte finish that softens the edges of the geometric forms. Unlike his more luminous watercolors, Six Species relies on subtle tonal variations—ochres, grays, and muted blues—to define its shapes. The absence of bold color shifts attention to the relationships between the forms, their proximity generating a quiet visual rhythm. This restraint aligns with the Bauhaus ethos of “truth to materials,” even as Klee’s subject matter remains resolutely abstract.
Own This Bauhaus Masterpiece
Bring Paul Klee’s Six Species into your space with our gallery-quality framing and free worldwide shipping. Each print is crafted to preserve the subtleties of Klee’s original composition, from the textured surface to the precise tonal balance.
Add to Cart — Ships FreeDisplaying Six Species: A Curator’s Approach to Interior Harmony
Klee’s Six Species thrives in environments that balance intellectual rigor with understated elegance. Its muted palette—dominated by earthy ochres, soft grays, and hints of blue—makes it a versatile anchor for both modern and transitional interiors. For optimal impact, consider the following placements:
In a study or home office, the painting’s cerebral quality complements deep wood tones and leather textures. Hang it at eye level above a writing desk, where its grid-like structure can dialogue with the linear geometry of bookshelves or architectural details. The 30×40 cm (12×16") dimensions suit intimate spaces, inviting close inspection of Klee’s nuanced forms. Alternatively, in a minimalist living area, pair it with neutral walls (think warm white or pale gray) and furnishings in natural linen or wool. The artwork’s quiet complexity will serve as a focal point without overwhelming the room. Avoid overly bright or patterned backdrops, which could compete with the painting’s subtle tonal variations.
Frequently Asked Questions
Is the frame included? What quality is it?
Yes, every print includes a custom gallery frame crafted from solid wood with a matte finish. The framing is designed to complement the artwork’s era—here, a slim profile in natural oak or black to echo the Bauhaus aesthetic—with UV-protective glass to prevent fading.
Where do you ship, and how long does delivery take?
We offer free shipping to all countries, with no minimum purchase. Orders are processed within 2 business days and typically arrive in 5–10 business days, depending on your location. Tracking is provided for every shipment.
How archival is the print? Will the colors fade over time?
Our prints use pigment-based inks on acid-free, 300gsm cotton rag paper, ensuring longevity without yellowing or fading. The UV-protective glass in the frame further guards against light damage, preserving the integrity of Klee’s original tones for decades.
What is your return policy?
You may return your framed print within 30 days of delivery for a full refund, no questions asked. We cover return shipping costs and provide a prepaid label for your convenience. The artwork must be in its original condition.
Sources & Further Reading
- The Museum of Modern Art. "Paul Klee: 1921–1931." moma.org
- The Art Story. "Paul Klee and the Bauhaus." theartstory.org
- Tate. "Bauhaus: Art as Life." tate.org.uk
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