plate no. 7147

A pressure of Tegernsee

Paul Klee, 1919

watercolorExpressionismcityscapecityscapechurchmountainsskygeometric shapesbuildings

what to study here

It shows how one dark, defined shape can hold a composition built from soft wet-in-wet washes and bare paper.

The useful thing to study here is how a dark, fairly hard-edged shape sits inside soft, wet-blended color. The vision guide describes a dark green church silhouette with a peaked roof and tower, set against concentric blue and red washes that form a halo. Edges in the sky and stripes are soft and bleeding, with visible horizontal streaking and color runs left to mingle. The church and mountain shapes are slightly crisper but keep soft halos where dark pigment met damp surroundings. Check the value structure: dark greens below, mid-tone purples, blues and magentas in the upper half, and light cream paper showing through in the center and lower areas. Bare paper does real work as the lightest value. Vertical bands of deep blue and coral-orange frame the scene and act as a rhythmic border. Geometric red and lime-green mountain shapes anchor the lower third. Look at how a flat, simplified structure is combined with loose washes, and how much of the page is left unpainted. The recreation text adds only general context: Klee's grid-like structures in this period and his mix of transparent and opaque color.

key decision

Klee set a dark green church silhouette against diffused blue and red washes, keeping its edges firmer than the surroundings so it reads as the anchor. He also left cream paper bare as the lightest value.

recreation guide

A Pressure of Tegernsee (1919) is a watercolor work from Paul Klee’s 'Mystical-abstract period' (1914–1919), a time when he sought to create compositions analogous to nature's formative principles rather than imitating nature directly (Source 2). The artwork reflects Klee’s breakthrough in synthesizing draftsmanship with color, a development catalyzed by his 1914 trip to Tunisia where he realized 'Color and I are one' (Source 4). During this period, Klee often employed grid-like structures and geometric forms to dissolve scenery into colored harmony, moving toward abstraction while retaining a connection to the object (Source 2). The piece likely exhibits the 'fragile childlike quality' and small scale characteristic of his watercolors from this era, combining graphic signs with color fields (Source 3).

estimated time

10-15 hours over 3-4 sessions, allowing for drying time between washes and layers

materials

5 items

steps

5 in sequence

materials

item	purpose	modern equivalent
High-quality watercolor paper (linen rag preferred)	Support for the watercolor; must be properly sized to prevent uneven absorption and staining	Cold-pressed 300gsm cotton or linen rag watercolor paper
Watercolor paints (transparent and opaque/body colors)	To achieve the mix of transparencies and opacities described in Klee's practice	Professional grade tube watercolors
Gum arabic	Agglutinative medium for watercolors, as historically used in the period	Included in most modern watercolor formulations, but can be added for specific effects
Fine brushes (round and flat)	For applying washes and detailed graphic signs	Sable or synthetic watercolor brushes
India ink or pen (optional)	Klee often combined watercolor with pen and India ink for graphic elements	Black India ink and fine liner pens

preparation

surface prep

Use dry, high-quality watercolor paper that has not suffered from dampness, as dampness causes sizing to ferment and decompose, leading to stains (Source 1). The paper should be well-sized to prevent it from being too absorbent, ensuring the sizing is distributed in the paste rather than just on the surface (Source 1). Klee often worked on small-scale supports, including cardboard and paper (Source 3).

underdrawing

Klee was a natural draftsman and often combined graphic signs with color (Source 3). For this period, he used grid-like structures and geometric forms to organize the composition (Source 2). Begin with a light pencil sketch establishing the grid or structural framework, consistent with his method of conveying scenery in a grid to dissolve it into colored harmony (Source 2).

underpainting

Apply initial transparent washes to establish the color harmony. Klee’s approach involved creating compositions analogous to nature’s formative principles, using color blocks with limited overlap (Source 4). Reserve the paper for lights, as is traditional in watercolor wash techniques (Source 1).

color palette

Varied polychromatic hues

Dependent on the specific 'musical key' Klee chose for the piece; likely includes complementary or dissonant pairs

General use in this artist's palette; Klee used a great variety of color palettes from nearly monochromatic to highly polychromatic (Source 3)

Transparent washes

Watercolor diluted with water and gum arabic

Creating depth and harmony, allowing the paper to show through for lights (Source 1)

Opaque body colors

Watercolor mixed with more medium or ground with gum for solidity

Adding solidity and contrast to transparent areas, as Klee mixed opacities and transparencies (Source 1, Source 4)

composition

The composition likely employs a grid format or geometric forms, as Klee characteristically used these to dissolve scenery into colored harmony during his 1914–1919 period (Source 2). The arrangement may reflect a 'musical composition' analogy, with colored rectangles acting as notes (Source 4). Specific visual details of Tegernsee are not described in the sources, so the focus should be on the abstracted, grid-like structure rather than literal representation (Source 2).

step by step

underdrawing→first pass→refining→finishing

underdrawing

step 01
Sketch a light grid or geometric framework on the paper, establishing the basic structure of the composition.
Tip — Keep lines light to allow for correction and to avoid interfering with the watercolor washes.
Grid composition

first pass

step 02
Apply transparent washes to establish the overall color harmony, reserving areas for lights.
Tip — Ensure the paper is dry before applying subsequent layers to prevent muddiness.
Watercolor wash

refining

step 03
Add opaque body colors or impastements to create contrast and solidity, mixing transparencies and opacities.
Tip — Use gum arabic to adjust the transparency and solidity of the colors as needed.
Mixing opacities and transparencies
step 04
Incorporate graphic signs or pen lines if desired, combining watercolor with ink for added detail.
Tip — Allow ink to dry completely to prevent bleeding into wet watercolor areas.
Mixed media (watercolor and ink)

finishing

step 05
Review the composition for balance and harmony, making final adjustments to color and form.
Tip — Step back to view the work from a distance to assess the overall effect.
Color harmony

critical techniques

Mixing opacities and transparencies

Klee used a complex style of painting that included impastements, opacities, and transparencies, mixing ancient techniques with modern washes (Source 1).

Grid composition

Klee conveyed scenery in a grid to dissolve it into colored harmony, a method developed during his Tunis trip (Source 2).

Color harmony analogous to music

Klee viewed colored rectangles as musical notes, combining them to create a color harmony analogous to a musical composition (Source 4).

common pitfalls

→Using paper that has suffered from dampness, which can cause sizing to ferment and lead to stains (Source 1).
→Applying surface sizing only at the last moment, which can wear out and cause irregular sponginess and stains (Source 1).
→Overlapping colors without allowing layers to dry, resulting in muddy tones instead of clear harmonies.
→Failing to reserve lights, which is essential in traditional watercolor wash techniques (Source 1).

what the sources don't tell us

Where the corpus is silent, we say so rather than guess. These are the gaps a complete recreation guide would normally cover that our source passages don't.

·Specific color palette for 'A Pressure of Tegernsee' is not described in the sources; the guide relies on Klee's general practice of the period.
·Exact compositional layout of the cityscape is not detailed; the guide infers grid-like structure from general period characteristics.
·Specific brushwork techniques for this particular piece are not documented; the guide uses general watercolor techniques.

grounded in

The technical procedure in this guide traces to the following classical art-instruction texts.

The Science of Painting↗
- CHAPTER XIII. WATER COLOURS — applied to Paper preparation, mixing opacities and transparencies, and general watercolor techniques

cross-referenced from

Named facts about this artwork and artist were checked against these reference pages.

Wikipedia bio — Paul Klee↗
- part 11 — applied to Mystical-abstract period characteristics, grid composition, and color harmony
- part 8 — applied to Mixed media use, graphic signs, and general artistic style
- part 4 — applied to Color breakthrough and musical analogy for color composition

Read more about the corpus on the sources page and how the guides are built on the methods page.

read from the painting

observed from the image, not the label

6 dominant colors, measured

what the eye sees

This composition centers on a dark green silhouette of a church with a peaked roof and tower, positioned in the middle ground against concentric washes of blue and red that create a halo effect around it. The eye enters at the bright red-orange sun or atmospheric form in the upper center, then settles on the church structure. Geometric mountain shapes in red and lime-green anchor the lower third, while the entire composition is framed by vertical bands of alternating color—deep blue and coral-orange strips create a rhythmic border that contains the scene.

value structure

The darkest darks are the deep forest green of the church and mountains (nearly black in shadow). Mid-tones dominate: purples, blues, and magentas create a soft, luminous band in the upper half. The lightest lights are the pale cream-beige background paper showing through, particularly visible in the center and lower passages. When squinting, the value masses separate into three zones: dark green forms below, glowing mid-tone atmosphere in the middle, and repeating light-dark stripes at the edges.

observed palette and mixes

#232f4b
Ultramarine blue + Alizarin crimson (heavy blue bias)
Deep shadow areas in church and left border stripes; darkest accents
#47617f
Cerulean blue + raw sienna or light purple
Mid-tone blue washes in upper atmosphere and center halo
#973645
Alizarin crimson + ultramarine (burgundy)
Vertical magenta-red bands on left and right edges, atmospheric washes
#b55d66
Alizarin crimson + cadmium orange
The bright sun form, top border stripe, warm mid-tones in sky
#e4dfd7
Paper left bare or very pale wash of yellow ochre + white gouache if available
Background showing through; lower foreground and scattered reserves
#9c8c9d
Ultramarine + alizarin + ochre (desaturated purple-brown)
Softer purple-gray washes in vertical bands and transition zones

edges and brushwork

Edges are deliberately soft and bleeding—wet-on-wet washes create diffused boundaries between color zones, especially visible in the atmospheric halo and vertical stripes. The church and mountain shapes have slightly crisper edges but retain soft halos where the dark green meets wet surrounding pigment. Brushwork is gestural and loose, with visible horizontal streaking in the sky washes and deliberate color runs allowed to mingle naturally.

a working sequence

01
Map the composition lightly
With a pencil, lightly sketch the vertical stripe divisions (left blue, center, right blue with alternating coral bands). Mark the rough position of the church silhouette—peaked roof and tower in the center. Indicate the mountain triangle shapes below. Keep lines soft; they are guides only.
02
Establish the sky and halo washes
Wet the upper two-thirds of the paper evenly. Drop in a large warm red-orange shape at the top center (using #b55d66), then let it diffuse. Surround it with cool blues (#47617f) and allow purples and magentas (#973645) to bloom into the wet areas. Let pigments merge naturally—the halo effect comes from water, not precision. Work quickly before it dries.
03
Develop the vertical border stripes
Paint the left and right edges with alternating vertical bands: start with deep blue (#232f4b), then coral-orange (#b55d66), then magenta (#973645). Let these washes be bold and loose. The top and bottom edges should receive darker blues. Leave your stripe edges soft where they meet the center composition.
04
Block in the church silhouette
Once the background is damp but not soaking, paint the dark green church form (#232f4b mixed with a touch of green—you may need to add viridian or cadmium green to your blue-crimson mix). Include the peaked roof, the tower structure with its lighter cross detail, and the vertical shadow lines. The shape should have soft edges where it meets the wet atmosphere but hold its definition.
05
Place the mountain and foreground shapes
Below the church, paint the geometric mountain peaks: a bright lime-green triangle in the center-bottom (#a8d45a or cadmium yellow + cerulean), flanked by warm red-orange triangular shapes (#e86e4a or cadmium orange + alizarin). Let these shapes overlap slightly and maintain crisp lower edges. Add small dark green foothills where mountains meet the church shadow.
06
Add atmospheric mid-tone washes
Layer soft purple-gray washes (#9c8c9d) in the vertical bands and where the mountains meet the lower border. These soften hard edges and create depth. Let them blend slightly into the blue and red stripes. This step bridges the dark forms and bright borders.
07
Refine edges and darken accents
Once layers are dry enough, strengthen the church outline and its internal details—the cross on the tower, the shadow lines on the roof. Deepen the darkest vertical bands with another pass of #232f4b. The goal is contrast without harsh lines; soften any edges that feel too hard by lifting with a damp brush.
08
Reserve and reveal the light ground
Step back and observe where the cream paper (#e4dfd7) shows through. These gaps between washes give the painting luminosity. If you've covered too much, carefully lift pigment with a clean, damp brush on spots in the center and lower areas. The paper's natural tone is a color itself—embrace it.

where studies of this painting go wrong

Overworking the atmosphere—the soft blur of blues, reds, and purples in the upper half is achieved by letting wet pigments mingle, not by scrubbing. Stop brushing once colors are applied; let water do the blending.
Making the church too light or too soft. The green-black silhouette must read clearly as a distinct shape. It should be the darkest, most opaque form in the composition; don't let it dissolve into the background washes.
Painting the border stripes as thin, neat lines. They should be bold, substantial vertical bands of color that frame the scene. They're not decorative borders—they're an integral part of the composition's rhythm.
Losing the geometric clarity of the mountain peaks. The lime-green and red triangles must have relatively crisp bases and clear shapes; avoid making them too soft or blurred, or they'll read as amorphous forms rather than simplified landscape.

measured difficulty