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The Road from Unklaich to China, 1920, pen, 7 3/8 x 11".

He stopped and left on the minute. The same adventurer of art came to his studio at regular hours, worked evenly from morning to early evening, went home to play the violin for the rest of the evening—came regularly to the Bauhaus faculty meetings, etc. (though he never said a word), and was a good husband and enthusiastic father.

Only a very good critic suspected behind the somewhat painfully produced staccato lines of his drawings and handwriting, the cleverness and training of his hands. During one of his lecture illustrations on the blackboard, he drew an arrow pointing to the right, wrote over it "Movement," then another one pointing towards the left with the caption "Counter Movement." It took the audience some time to discover that with the second arrow he changed the crayon into his left hand and wrote "Counter Movement" from right to left.

There was not a trace of showiness in Klee, as well as none in his art. Both the man and the paintings are for private use—for intimate discovery. During the opening evening of his present show, I think I observed that the guests really looked at the paintings—somewhat unusual. You have to know his pictures, and the painter, better and better—to know anything about them. However, in this connection it is remarkable that probably no painter's work was so soon and so widely applied in advertising as Klee's. For instance, his stubby, violent and

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---------- Reopened for Editing 2023-08-25 11:33:31