500 Word Abstract
The mask is a common theme of Paul Klee’s oeuvre, particularly his later years from
the 1920’s onwards, such as Mask of Fear, Actor’s Mask and Mask with the little Red Flag.
Klee’s faces are not realistic representations, but often distorted and primitive, consisting
sometimes of just a few lines and gestures. Why did the theme of the mask appear so often in
Klee’s later works? Was Klee inspired by the Bauhaus theatricality and use of masks as a tool
for performance, or by his interest in Primitive and tribal art? To answer these questions, I
will draw on the writings of three critics. The first of these is Max Alfert who states how
tribal art was more openly embraced by German art movements over French: “In general, the
Germans openly acknowledged their appreciation of the primitives as soon as they had
discovered them.”1 Alfert also mentions how around a decade before Klee’s mask paintings,
he had been a member of Der Blaue Reiter, a spiritual art movement who were also
influenced by the primitive.2 This could be where Klee’s love of the tribal art began. Der
Blaue Reiter were known to use art as an expression of spirituality, an idea which would be
carried on by those who developed abstraction.
Alfert believes this is a key point as he discusses how primitive masks served “ritual
or devotional purposes,” something which would have interested Der Blaue Reiter and their
cause.3 The critic E.T Kirby also discusses how tribes used masks and costumes for spiritual
ceremonies, as a means of performance. He states how the Australian aborigines would
transform totally into an ancestor by means of costumes and masks.4 This idea of masks
being used for performance leads me onto Koss’s article on “Bauhaus Theatre of Human
Dolls” in which she discusses the use of dolls and puppets for performance and play. Klee
himself was a teacher at the Bauhaus and also made puppets for his son during his time
there.5 Koss elaborates on these dolls saying how the doll’s “playfulness...suggests a
determination to re-enchant the world.”6
Could this explain Klee’s choice of title for Actor’s Mask? Was this, and other Klee
masks, created solely for play and to reflect the culture of carnival and performance? The
purpose of my essay is to answer these questions. In order to do so, I will look at the context
Alfret, Max, “Relationships between African Tribal Art and Modern Western Art”, Art Journal, College Art
Association, 1972, p391
2
Ibid, p387
3
Alfret, Max, “Relationships between African Tribal Art and Modern Western Art”, Art Journal, College Art
Association, 1972, p391
4
Kirby, E.T, “The Mask: Abstract Theatre, Primitive and Modern”, The Drama Review, MIT Press, 1972,p10
5
Koss, Juliet, “Bauhaus Theatre of Human Dolls”, The Art Bulletin, College Art Association, 2003, , p728
6
Ibid.
1
1
of the period in which Klee worked, to conclude whether the masks were based on his love of
the primitive, or as a response to the Bauhaus environment. It is only when we investigate
these perspectives that we can understand what really is the meaning behind Klee’s masks.
2
Research Paper: Behind the Masks of Paul Klee
Total Word Count: 2829
3
Let us begin with a description of three of Klee’s paintings; these are Mask of Fear
(fig 1), Actor’s Mask (fig 2) and Mask with the Little Red Flag (fig 3). Firstly, these paintings
are all of masks or faces, both suggested by their subject matter and their title. Secondly, the
masks are not realistic representations, but are distorted and primitive looking, consisting
sometimes of just a few lines and gestures. All three of the masks are different shapes, with
Mask with the Little Red Flag appearing more round and Mask of Fear more of an elongated
oval. The three masks also vary in their colour palettes, intensity and saturation of colour:
Mask with the Little Red Flag is vivid and intense with its bold red colour appearing striking
to the viewer, while Mask of Fear is painted with more pastel tones and appears more stark
and cold in contrast.
The three faces also have various expressions. Mask of Fear is clearly represented as
anxious and in fear, while Mask with the Little Red Flag appears almost confused and
distorted. These are perhaps contrasted by Actor’s Mask, which appears closed off and
introverted, as demonstrated by the repetitive lines across its surface. While these paintings
all differ in form and colour, they all represent the same theme – the mask. These three
paintings come from Klee’s later career as an artist and are just a few examples of the
common theme that was prevalent in his later oeuvre. But why did the theme of the mask
appear so often in Klee’s later works? What was the inspiration behind them? Was Klee
inspired by the Bauhaus theatricality and use of masks as a tool for performance, or by his
interest in Primitive and tribal art? To understand these questions, we must look at the social
and historical period in which he worked, as well as his personal life and traumas. It is only
when we investigate these perspectives that we can understand what the meaning is behind
Klee’s masks.
Firstly, let us look at the environment in which Klee was working. At the beginning of
the twentieth century “several colonial exhibitions took place in Europe, particularly in
France and Germany.”7 Tribal art had become popular as it was seen as being “new and
exotic”8 and was highly valued by “collectors and artists for its immediacy and impact.”9
However, it has been argued by some critics that this new wave and trend of tribal art had
more of an influence on German art movements rather than French as “the Germans openly
Max Alfert, “Relationships between African Tribal Art and Modern Western Art”, Art Journal, College Art
Association, 1972, p387
8
Richard and Susan Lewis, The Power of Art, Cengage Learning, Kentucky, 2008, p10
9
Ibid.
7
4
acknowledged their appreciation of the primitives as soon as they had discovered them.”10
This statement can be justified by the German group of artists known as Der Blaue Reiter,11
whose art was largely spiritual in meaning but was also heavily influenced by primitivism. It
was known that Klee associated with members of this group, in particular Wassily Kandinsky
and Franc Marc,12 and he subsequently joined their artistic endeavours at a later date.13
It must also be noted that Klee was working during the outbreak of World War 1.
Initially Klee’s attitude towards the war was similar to many other German artists believing
that the war may be beneficial to their country. We are aware of Klee’s thoughts and feelings
from his diaries and various letters he wrote to Marc and Kandinsky. One letter in particular
which demonstrates Klee’s initial thoughts on the war was in his response to Kandinsky’s
August 18th letter from 1911 in which Klee states “who knows whether Germany’s national
uplift may not also bring us opportunities.”14 However, we are aware that over the course of
the war, Klee lost two of his friends, first Macke in 1914 and then Marc in 1916.15 These
losses, as well as the turmoil and destruction of war, had a serious impact on Klee’s art and, I
believe, led to his repetitive use of the mask in his later paintings.
Klee’s involvement with Der Blaue Reiter had an enormous impact on his style and
approach to his art, as well as his appropriation of tribal masks. Not only was this art
movement influenced by a wide variety of tribal and primitive art, but they also regarded
tribal art as an expression of spirituality. This is evident from the Der Blaue Reiter Almanac
that was published in 1912 and again in 1914. In it was an essay by August Macke entitled
Masks,16 in which he discusses expression, gesture and most importantly the idea of
abstraction. Macke states how “the African considers his ideal the comprehensible form for
an incomprehensible idea, the personification of an abstract concept.”17 It is evident from this
essay that the members of Der Blaue Reiter were aware that tribes used costumes and masks
for “ritual or devotional purposes.”18 African and other tribes used masks and costumes for
spiritual ceremonies as a means of performance and to “transmit the messages of the Gods or
Max Alfert, “Relationships between African Tribal Art and Modern Western Art”, Art Journal, College Art
Association, 1972, p391
11
Ibid, p387
12
Otto Karl Werckmeister, The Making of Paul Klee’s Career, University of Chicago Press, Chicago, 1989, p13
13
Max Alfert, “Relationships between African Tribal Art and Modern Western Art”, Art Journal, College Art
Association, 1972, p387
14
Otto Karl Werckmeister, The Making of Paul Klee’s Career, University of Chicago Press, Chicago, 1989, p12
1515
Ibid, p64
16
Charles Harrison, Art in Theory, Wiley-Blackwell, Massachusetts, 2009, p95
17
Charles Harrison, Art in Theory, Wiley-Blackwell, Massachusetts, 2009, p96
18
Max Alfert, “Relationships between African Tribal Art and Modern Western Art”, Art Journal, College Art
Association, 1972, p391
10
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ancestors.”19 Therefore, Der Blaue Reiter appropriated masks and tribal art to create their
own form of art that was based on ideas of spirituality and abstraction. Could this be the
reason behind Klee’s masks? Were they created as spiritual expression, perhaps as a release
from war ravaged Europe?
Let us take these two perspectives, Klee’s involvement with Der Blaue Reiter and his
personal experiences of the war, and set them in relation to one of Klee’s mask paintings –
Mask of a Girl (fig 4). This mask differs again in style from the masks previously mentioned
with Klee using a more “hairy technique.”20 The head is “roughed out in concentric circles
and the eyes combine the look of being stuck carelessly with a hypnotic stare.”21 This mask’s
style can be argued as being inspired from Klee’s time with Der Blaue Reiter as the “nose
and mouth come through in a kind of Expressionist Impressionism.”22 However, the mask’s
symbolism and meaning can also be read from a Der Blaue Reiter perspective also. This
mask is not an imitation of primitive forms but is “an abstract concept.”23 The girl’s face does
not “symbolize something definite” but rather “stands at the edge of preconscious,
concentrating and releasing a flood of emotion.”24 The painting can also be regarded as a
response to the war as the child does not appear innocent or carefree, but rather traumatised.
This can be argued due to the lack of a mouth, which is merely represented by a single red
line. She cannot speak; she only stares transfixed into space.
However, there could be another contribution to Klee’s appropriation of the mask, and
that was the Weimar and Dessau Bauhaus. Klee himself was a teacher at the Bauhaus from
1921 to 1931, where he was the Form Master. The Bauhaus was renowned for its theatre and
various performances25 and “where experiments in stage and theatre design took place both
on and off the premises.”26 An example of this can be seen by the various themed parties that
were held for students and the public.27 It is also known that Klee took part in this theatrical
environment by making puppets for his son Felix.28 Could this help explain Klee’s
appropriation of the mask? Were they created solely for play and as a reflection of the culture
of carnival and performance in the Bauhaus?
19
Richard and Susan Lewis, The Power of Art, Cengage Learning, Kentucky, 2008, p11
John A Thwaites, “Paul Klee and the Object: Second Part”, College Art Association, New York, 1937, p8
21
Ibid.
22
Ibid.
23
Charles Harrison, Art in Theory, Wiley-Blackwell, Massachusetts, 2009, p96
24
John A Thwaites, “Paul Klee and the Object: Second Part”, Parnassus, College Art Association, New York,
1937, p8
25
Juliet Koss, “Bauhaus Theatre of Human Dolls”, The Art Bulletin, College Art Association, 2003, p724
26
Ibid
27
Ibid, p739
28
Ibid ,p728
20
6
The painting Masks (fig 5) could therefore be argued as a justification of this idea, as
a reflection of the Bauhaus ideas of carnival and performance. Here the viewer is met with a
group of six figures, all of various shapes and sizes. More importantly, they all wear elaborate
clothing and costumes, as well as having different and distorted faces. They appear to be
performing, with the figure on the far left singing and walking towards the middle of the
composition, and the small figure wearing a skirt appearing to be dancing. The central
figure’s attire is reminiscent of the costumes made for Oskar Schlemmer’s Triadic Ballet (fig
6) (which was performed in 1923,29 the year this painting was produced). The spiralling
headdress of the Triadic Ballet is mimicked by the swirls on the central figures costume.
Their faces are also unrealistic and even exaggerated, such as the right hand side figure’s
nose. They all appear to be partaking in some sort of performance or spectacle. Could the title
of the work therefore be an abbreviation of masquerade? Is the painting purely a
representation of theatricality and all that implies?
Besides being famous for its experiments in theatre and performance, it was also
known that the Bauhaus favoured the concept of abstraction. Their concept was perhaps
developed by Wassily Kandinsky when he joined the Bauhaus in 1922.30 The Bauhaus
believed that “abstraction of the human form...creates an image in the higher sense.”31 They
also argued that the reduction of forms to their basic elements would make the form “purely
and forcefully itself”32 and would become a post humanist symbol. The influence of
abstraction on the Bauhaus led to objects and subjects being “striped of representational or
communicative functions”33 in order to “reshape human perception”34. This development of
abstraction can also be seen as a response to the “destruction and dereliction witnessed during
the First World War.”35 Therefore the Bauhaus embraced abstraction as a means to transcend
the horrors and trauma of the war and to create new, pure and abstract forms that were
representative of a new age.
Therefore, can Klee’s masks be regarded as both theatrical as well as abstract? Are
they perhaps an amalgamation of his time with Der Blaue Reiter and the Bauhaus, and are
fusions of the main ideals from both these movements? It can certainly be agreed upon that
Juliet Koss, “Bauhaus Theatre of Human Dolls”, The Art Bulletin, College Art Association, 2003, p736
Barry Bergdoll & Leah Dickerman, Bauhaus 1919-1933: Workshops for Modernity, MoMa, New York, 2009,
p23
31
Juliet Koss, “Bauhaus Theatre of Human Dolls”, The Art Bulletin, College Art Association, 2003, p730
32
Ibid.
33
Barry Bergdoll & Leah Dickerman, Bauhaus 1919-1933: Workshops for Modernity, MoMa, New York, 2009,
p33
34
Ibid
35
Liz Wells, Photography; A Critical Introduction, Routledge, London, 2004, p264
29
30
7
Klee’s masks, such Mask of Fear show an influence of primitive tribal costumes through its
shape and design. This contact with and knowledge of tribal art is connected to his time with
Der Blaue Reiter. However, it can also be asserted that Klee was influenced by the Bauhaus
realm of performance and theatre. This is evident from his painting Masks which was
discussed earlier in this essay. Therefore it can be asserted that Klee’s masks are a
combination of elements and ideas from both Der Blaue Reiter and the Bauhaus.
Let us discuss this perspective in relation to Actor’s Mask. Firstly, the title of the work
reflects the theatrical atmosphere of the Bauhaus. Secondly, the shape of the mask can also be
associated with Bauhaus costumes. It has been argued that the masks and costumes of the
actors of the Bauhaus often resembled “the protective gear of fencers.”36 This is an
interesting idea when compared to Actor’s Mask. The oval shape of the head and lines across
the face do bear some resemblance to a fencer’s mask. The lines echo that of the mesh that is
used to protect the fencer’s face. A fencer’s sword will not penetrate the tightly knitted metal
meshing of their mask, in the same manner nothing can break through Klee’s Actor’s Mask.
Similarly, the lines on the mask also resemble another figurine from the Triadic Ballet (fig 7).
Here the figure is made up of various colourful rings that vary in thickness and width, and are
mimicked by the mask’s neck.
Likewise, there are elements of this mask that can be argued as being influenced by
Der Blaue Reiter. First of all the vibrant and intense colours used for the mask and hair, as
well as the contrasting dark background, are similar to those used by other members of Der
Blaue Reiter. The simplicity and rigidity of the lines across the masks surface are also
reminiscent of some Der Blaue Reiter paintings, particularly those by Franz Marc, such as
Fate of the Animals (fig 8). The basic form of the face can also be argued as similar in style to
Der Blaue Reiter works. Only a few marks signify the nose, eyes and mouth, same as only a
few lines signify the outline of the animals in Marc’s painting. The mask also appears flat
against the background, similar to Marc’s work.
However, the mask is also a representation of both movements’ concepts of
abstraction. The simple, basic form of the mask, as well as the reduced palette of only four
colours, can be argued as expressing the ideas of abstraction Klee came in contact with from
his time with the Bauhaus and Der Blaue Reiter. It is the mask’s basic shape and simple
colours that make him “shine like a translucent screen through which we receive the words or
36
Koss, Juliet, “Bauhaus Theatre of Human Dolls”, The Art Bulletin, College Art Association, 2003, p724
8
gestures of a higher force.”37 The mask also draws the viewer in and forces the viewer to
accompany Klee “on his quest to discover the moment which transcends and synthesizes the
representation’s ambiguity.”38 If you look through the performance of Actor’s mask and read
between the lines, so to speak, the viewer is met with a chilling expression of anxiety and
devastation caused by the war. By being a combination of ideas taken from Der Blaue Reiter,
the Bauhaus and abstraction, this mask is ultimately a tool of performance, which Klee uses
to convey his messages about the war. The mask’s ambiguous representation causes the
viewer to look through the painting and behind the mask to find the true meaning hidden
beneath its surface. Klee’s mask is ultimately a masquerade to conceal hidden emotions.
Overall, the masks of Klee can be regarded as being influenced by a number of
different events and movements. These influences can be argued as his personal traumas from
the war, and his time spent with Der Blaue Reiter and the Bauhaus. The resulting masks he
created can be seen as a reflection of all these influences. They are not a true representation
of a face as they are merely a mask, which itself is a “distortion of natural form.”39 His masks
are not about immediacy, but are about transience and require meditation. They are simply a
front or performance which covers up a deeper and significant meaning, which is ultimately
an emotional response to the chaos and destruction of the war. It is in this rejection of lifelike
representation that the viewer is compelled to delve into the work to uncover its true purpose.
By not being a realistic portrayal of the war, and by being a tool used for performance, Klee’s
expressions and feelings about the war are heightened and intensified for the viewer. Overall,
the function and meaning behind Klee’s masks can be summed up in by his simple credo, that
“art does not represent the visible; rather, it makes visible.”40
37
Marcel Franciscono, Paul Klee: His Work and Thought, University of Chicago Press, Chicago, 1991, p198
Ann C Colley, “Paul Klee and the Fantasy of Synthesis”, The Kenyon Review, Kenyon College, Ohio, 1987,
p13
39
Charles Harrison, Art in Theory, Wiley-Blackwell, Massachusetts, 2009, p363
40
Leah Dickerman, Dada Zurich Berlin Hanover Paris New York, D.A.P publishers, New York, 2005, p184
38
9
Bibliography

Alfret, Max, “Relationships between African Tribal Art and Modern Western Art”,
Art Journal Vol 31, College Art Association, New York, 1972, p397-396

Bergdoll, Barry & Leah Dickerman, Bauhaus 1919-1933: Workshops for Modernity,
MoMa, New York, 2009

Colley, Ann C, “Paul Klee and the Fantasy of Synthesis”, The Kenyon Review,
Kenyon College, Ohio, 1987, p1-15

Dickerman, Leah, Dada Zurich Berlin Hanover Paris New York, D.A.P publishers,
New York, 2005

Franciscono, Marcel, Paul Klee: His Work and Thought, University of Chicago Press,
Chicago, 1991

Harrison, Charles, Art in Theory 1900-2000 An Anthology of Changing Ideas, WileyBlackwell, Massachusetts, 2009

Kirby, E.T, “The Mask: Abstract Theatre, Primitive and Modern”, The Drama Review
Vol 16, MIT Press, Cambridge, 1972, p5-21

Koss, Juliet, “Bauhaus Theatre of Human Dolls”, The Art Bulletin Vol 85, College Art
Association, New York, 2003, p724-745,

Lewis, Richard & Susan, The Power of Art, Cengage Learning, Kentucky, 2008

Thwaites, John A, “Paul Klee and the Object: Second Part”, Parnassus Vol 9, College
Art Association, New York, 1937, p7-9 + 33-34

Wells, Liz, Photography; A Critical Introduction, Routledge, London, 2004

Werckmeister, Otto Karl, The Making of Paul Klee’s Career, University of Chicago
Press, Chicago, 1989
10
Iconography
Fig 1 – Paul Klee, Mask of Fear, 1932, MoMa, New York
Fig 2 – Paul Klee, Actor’s Mask, 1924, MoMa, New
York,
Fig 3 – Paul Klee, Mask with the Little Red Flag, 1925,
unknown
11
Fig 4 – Paul Klee, Mask of a Girl, c1924, unknown
Fig 5 – Paul Klee, Masks, 1923, Pushkin Museum of
Fine Arts, Moscow
Fig 6 – Karl Grill, Photograph of a Figurine with spring
costume from Schlemmer’s Triadic Ballet, c1923, J Paul
Getty Museum, Los Angeles
12
Fig 7 – Oskar Schlemmer, Figurine from the
Triadic Ballet, c1923, Neue Staatsgalerie,
Stuttgart
Fig 8 – Franz Marc, Fate of the Animals, 1913,
Kunstmuseum, Basel
13