plate no. 7662

Part of G

Paul Klee, 1927

oil, watercolor, paperSurrealismcityscapecityscapebuildingsgeometric shapesskyclock towerflags

recreation guide

Paul Klee’s 'Part of G' (1927) is a work from his mature period, characterized by a synthesis of oil and watercolor on paper. This mixed-media approach is consistent with Klee’s documented practice of combining diverse materials to explore color theory and form (Source 4). The artwork belongs to a style often associated with Surrealism and Abstraction, reflecting Klee’s interest in making the invisible visible through symbolic representation rather than direct imitation of nature (Source 6). Klee’s work from this era frequently employs grid-like structures and geometric forms to dissolve scenery into colored harmony, a technique he developed during his Tunis trip and refined throughout his career (Source 2). The piece likely exhibits the 'fragile childlike quality' and small scale typical of his output, utilizing a palette that ranges from monochromatic to highly polychromatic (Source 4).

estimated time

20-30 hours over 5-7 sessions

materials

5 items

steps

5 in sequence

materials

item	purpose	modern equivalent
Oil paints	Primary medium for opaque layers and structural definition	High-quality tube oil paints (linseed or walnut oil base)
Watercolor paints	For transparent glazes and initial tonal washes, mixed with oil as per Klee's practice	Professional grade watercolor pans or tubes
Paper support	Klee frequently worked on paper, cardboard, or newsprint rather than canvas for smaller works	Heavyweight watercolor paper or toned paper board
Brushes	Various sizes for both broad washes and fine linear details	Synthetic and natural hair brushes
Palette knife	Klee employed knife application for texture and impasto effects	Standard palette knives

preparation

surface prep

Klee often worked on paper or cardboard, sometimes preparing the surface with a ground that allowed for the combination of watercolor and oil. Given the medium is listed as 'oil, watercolor, paper,' the artist likely used a sized paper surface to prevent warping and allow oil adhesion. Klee’s practice involved experimenting with supports like cardboard and newsprint (Source 4). The surface should be prepared to accept both water-based and oil-based media, possibly using a gesso or acrylic medium barrier if mixing directly, though Klee’s specific preparatory grounds are not detailed in the sources.

underdrawing

Klee was a natural draftsman and often used geometric forms and grid formats (Source 4). The underdrawing likely involves a structural grid or linear framework that organizes the composition. Klee’s works often include 'spidery hieroglyph-like symbols' and lines that serve as visual paths (Source 4, Source 7). The drawing phase should focus on establishing the 'formative principle' analogous to nature rather than strict realism (Source 2).

underpainting

Klee’s technique often involved layering. While specific underpainting methods for this piece are not detailed, his general practice included glazing and mixing media (Source 4). An initial wash of watercolor may have been used to establish tonal values and color harmony before applying oil. This aligns with his Tunis period experiments where he dissolved scenery into colored harmony (Source 2).

color palette

Varied Polychromatic Tones

Dependent on specific visual analysis, but Klee used a wide variety of palettes

General use in this artist's palette; Klee’s works range from nearly monochromatic to highly polychromatic (Source 4)

Complementary Contrasts

Pairs of complementary colors to exploit simultaneous contrast

Harmonizing colors and modifying tone as per Klee’s color theory studies (Source 1)

composition

Klee characteristically used geometric forms and grid format compositions to organize space (Source 4). The composition likely avoids direct imitation of nature, instead creating an analogy to nature’s formative principles (Source 2). Elements are arranged to create a 'colored harmony' where the grid dissolves the scenery (Source 2). The work may include symbolic elements or 'hieroglyph-like' signs that reflect Klee’s interest in music, poetry, and dreams (Source 4).

step by step

underdrawing→underpainting→first pass→refining→finishing

underdrawing

step 01
Sketch the basic geometric structure and grid lines using a light pencil or thin ink. Focus on the organizational framework rather than detailed realism.
Tip — Ensure the grid serves to dissolve the form into harmony, not just to contain it.
Geometric structuring

underpainting

step 02
Apply watercolor washes to establish initial color fields and tonal values. Use transparent layers to build up depth.
Tip — Allow layers to dry completely before proceeding to oil to prevent muddiness.
Watercolor glazing

first pass

step 03
Apply oil paint in opaque or semi-opaque layers over the watercolor. Use brushes and palette knives to create texture and impasto where needed.
Tip — Klee used knife application and impasto; vary the texture to add tactile illusion (Source 4, Source 7).
Mixed media application

refining

step 04
Adjust color contrasts based on the law of simultaneous contrast. Ensure that adjacent colors modify each other’s appearance as intended.
Tip — Observe how the lightest tone is lowered and the darkest heightened when tones differ (Source 1).
Simultaneous contrast

finishing

step 05
Add final linear details or symbolic marks. Klee’s later works feature spidery, hieroglyph-like symbols.
Tip — Keep the scale small and the quality fragile and childlike, consistent with Klee’s style.
Linear symbolism

critical techniques

Simultaneous Contrast

Klee studied color theory extensively. He applied the law that two colored objects viewed together appear modified by their complementary colors. This technique is used to harmonize the composition and modify tones (Source 1).

Mixed Media Layering

Klee frequently combined oil with watercolor, ink, and other media in a single work. This allows for a range of transparencies and opacities that pure oil or watercolor cannot achieve alone (Source 4).

Geometric Abstraction

Using grids and geometric forms to dissolve natural scenery into abstract harmony. This reflects his aim to create compositions analogous to nature’s formative principles rather than imitating nature directly (Source 2).

common pitfalls

→Attempting to deceive the eye with illusionistic realism. Klee believed art is not a substitute for nature but an expression of feeling through painted symbols (Source 3).
→Ignoring the interaction of adjacent colors. Failing to account for simultaneous contrast can lead to inaccurate color perception and disharmony (Source 1).
→Over-modeling or being too tied to outlines. Klee’s work often has a fragile, childlike quality; excessive detail can destroy this aesthetic (Source 4, Source 5).
→Using a support that cannot handle mixed media. Paper must be properly sized to accept both watercolor and oil without warping or degradation.

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 'Part of G' is not described in the sources; the guide relies on Klee’s general polychromatic tendencies.
·Exact preparatory ground recipe for the paper support is not detailed in the sources.
·Specific symbolic content or 'hieroglyphs' present in this particular painting are not described, so the recreation must rely on general stylistic markers.
·The exact sequence of oil vs. watercolor application (which came first) is inferred from general practice but not explicitly stated for this work.

grounded in

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

Laws of Contrast of Colour↗
- 315-318 — applied to Color harmony and simultaneous contrast techniques
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Importance of medium vitality and avoiding illusionistic deception

cross-referenced from

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

Wikipedia bio — Paul Klee — part 11↗
- Mystical-abstract period — applied to Use of grid, abstraction, and Tunis period influences
Wikipedia bio — Paul Klee — part 8↗
- General practice — applied to Mixed media use, geometric forms, and scale
Wikipedia bio — Paul Klee — part 14↗
- Innovative approach — applied to Making the invisible visible and symbolic representation