TRANSFERÊNCIAS DE ÓLEO NA OBRA DE PAUL KLEE: ESTRATÉGIA REPRODUTIVA E MEMÓRIA

O presente texto é fruto de uma reflexão acerca da técnica de transferência de imagem explorado pelo artista Paul Klee. A partir de uma série de desenhos do artista, reflete-se sobre as estratégias reprodutivas associada ao desejo de economia de meios, compreendida como uma economia psíquica, que o conduzia a reproduzir desenhos a fim de duplicá-los ou transportá-los para outras mídias. Derivada desta dupla economia, ensaia-se a aproximação delas com o funcionamento da memória, representada pelo Wunderblock, ou bloco mágico, cujo funcionamento é descrito por Freud e associado ao funcionamento do aparelho perceptivo da mente.

A Study of Long-Form Works for the Jazz Ensemble

<p>Reflections (In Mosaic) is a long-form work written for a modern jazz orchestra. While made up of seven smaller parts, it is intended to be listened to as a single continuous performance. Reflections (In Mosaic) serves as an exploration into formal structures more complex than the standard blues and cyclical AABA forms. This is achieved through the use of inter-related musical themes, transitional material that develops musical themes and propels the story of the piece forward, programmatic themes, and a consideration towards a more integrative approach to improvised sections in a modern jazz composition context. This exegesis features a comprehensive musical and topical analysis of four case studies: Duke Ellington’s Harlem (1951), Charles Mingus’s Fables of Faubus (1959), Gunther Schuller’s Seven Studies on Themes of Paul Klee (1959), and Pat Metheny and Lyle Mays’s The Way Up (2005). In my analysis I examine the features of long-form works from a range of different angles through discussions on: (1) the formal features of the symphonic jazz genre and the integration of concert-style gestures into the jazz big band tradition, (2) the role performance and improvisation can have in communicating an idea within a composed structure, (3) the use of programmatic themes, and (4) a model for a structural design which draws on comparisons to narrative structure. Of particular importance to my compositional project is the use of a programmatic theme. Reflections is directly inspired by the film Magnolia (1999), written and directed by Paul Thomas Anderson. I do not attempt to mirror the narrative or structure of the film in Reflections but, instead, loosely base the composition on the film’s characters and topical themes. The culmination of this exegesis is a discussion of how the four case studies informed my own compositional processes.</p>

A Study of Long-Form Works for the Jazz Ensemble

<p>Reflections (In Mosaic) is a long-form work written for a modern jazz orchestra. While made up of seven smaller parts, it is intended to be listened to as a single continuous performance. Reflections (In Mosaic) serves as an exploration into formal structures more complex than the standard blues and cyclical AABA forms. This is achieved through the use of inter-related musical themes, transitional material that develops musical themes and propels the story of the piece forward, programmatic themes, and a consideration towards a more integrative approach to improvised sections in a modern jazz composition context. This exegesis features a comprehensive musical and topical analysis of four case studies: Duke Ellington’s Harlem (1951), Charles Mingus’s Fables of Faubus (1959), Gunther Schuller’s Seven Studies on Themes of Paul Klee (1959), and Pat Metheny and Lyle Mays’s The Way Up (2005). In my analysis I examine the features of long-form works from a range of different angles through discussions on: (1) the formal features of the symphonic jazz genre and the integration of concert-style gestures into the jazz big band tradition, (2) the role performance and improvisation can have in communicating an idea within a composed structure, (3) the use of programmatic themes, and (4) a model for a structural design which draws on comparisons to narrative structure. Of particular importance to my compositional project is the use of a programmatic theme. Reflections is directly inspired by the film Magnolia (1999), written and directed by Paul Thomas Anderson. I do not attempt to mirror the narrative or structure of the film in Reflections but, instead, loosely base the composition on the film’s characters and topical themes. The culmination of this exegesis is a discussion of how the four case studies informed my own compositional processes.</p>

The Vulture of History in The Kingdom of This World by Alejo Carpentier

In thesis IX of the Theses on the Philosophy of History, Walter Benjamin indicates, from the painting “Angelus Novus” by Paul Klee, that the Angel of History has his face turned back, contemplating a catastrophe. He wants to stay, but the great wind of progress is pushing him forward into the future, leaving rubble on its pass. The new historical novel The Kingdom of this World by Alejo Carpentier narrates the long and tortuous process of the Haitian Revolution and beyond. At the end of the novel, there is a great green wind that sweeps across the Northern Plain and the ruins of the old sugar mill. In Carpentier's novel, there is a “wet vulture”, which I will call the Vulture of History, which is thrown over Bois Caïman, the sacred space where the revolution originated. My purpose in this essay is to explore the Vulture of History as a baroque allegory of the Haitian Revolution. Unlike the angel from Benjamin's thesis, who wants to go back to the past to reconstruct history, Carpentier's vulture is an angel of death who feeds on the detritus of history.

Paul Klee and systemic sclerosis

Paul Klee represents one of the pillars of avant-garde art of the early 20th century. He produced an enormous amount of artistic works in the sixty years of his life. Systemic sclerosis appeared five years before he died, but this did not reduce his creative activity. This article analyzes his life and his illness that so influenced his work and that is a paradigmatic example of resilience in the face of adversity.

Paul Klee’s gastrointestinal maladies: A series of historical and clinical vignettes, part IV

Paul Klee (1879–1940), the 20th century Swiss-German artist, suffered and died from complications of systemic sclerosis (SSc, scleroderma). In a series of clinical and historical vignettes the various symptoms and complications of Klee’s scleroderma are described. Here, I present evidence of Klee’s multiple gastrointestinal (GI) symptoms and the significant impact they had on the quality of his life.

Poesía e imagen. A propósito de «Teoría del arte moderno» de Paul Klee

A partir de los escritos de Paul Klee (Apuntes sobre teoría del arte moderno y los Diarios), revisamos su teoría del arte, reconocida como una de las reflexiones más relevantes de la primera mitad del siglo XX. Utilizando una metodología estructuralista basada predominantemente en la exclusión (selección) y la antítesis (combinación), Klee persigue la anulación de los contrarios. Su teoría del arte sobre la pintura, concebida, por oposición a la poesía, como espacio de simultaneidad, combina el poder expresivo del color y la forma. Su obra tiende a la totalidad de una visión extática o eterna, guiada por la anamnesis (el recuerdo).