Tomcat’s Turf
1919
Illustrative frame preview.
The Metropolitan Museum of Art, New YorkOriginal work, 1922
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Paul Klee — Firmament Above the Temple Print
Green architectural shapes rise beneath orange blocks and dark, star-like marks. Klee gives the small scene a playful sense of space, with the complete supplied paper edges retained.
A fine-art giclée reproduction on 200 gsm uncoated paper. The complete composition is presented with a white paper border. Choose from the available sizes and unframed or framed finishes.
£29.00
UK delivery. Unframed £4.99, free from £50. Wood-frame delivery included.
Paper, size & framing
Fine-art print on 200 gsm enhanced matte paper. Measurements are the paper dimensions, including the white border. Framing adds to the overall dimensions. The artwork keeps its approved composition within those margins. White, natural and dark wood frames are ready to hang with plexiglass.
About the artwork
Green architectural shapes rise beneath orange blocks and dark, star-like marks. Klee gives the small scene a playful sense of space, with the complete supplied paper edges retained.
A fine-art giclée reproduction on 200 gsm uncoated paper. The complete composition is presented with a white paper border. Choose from the available sizes and unframed or framed finishes.
- Artist
- Paul Klee
- Artwork
- Paul Klee — Firmament Above the Temple Print
- Date of work
- 1922
- Museum collection
- The Metropolitan Museum of Art, New York
About Paul Klee
German, born in Switzerland · 1879–1940
Paul Klee was born near Bern to a German music teacher and a Swiss mother. He grew up in a musical household before choosing to train as an artist in Munich. Drawing remained fundamental to his practice. His pictures bring a remarkably varied vocabulary of figures, symbols, arrows and colour arrangements into works that can be playful and deeply reflective at once.
In Munich, Klee became involved with the Blue Rider circle around Kandinsky and Franz Marc. A journey to North Africa in 1914 helped transform his understanding of colour. It could become a pictorial element in its own right, rather than simply describing an object. His art moved freely between suggestion and abstraction, allowing imagined forms to arise from lines and patches of pigment.
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