m i-

ni<iii
' ''''^^'"^'T^BiW.:^. 1

J
ND5e3
.K5;R3

ART FOR CH I L P? EN
 2

P.K.

UP TO 1

GR. 4-6

$3.95

THE AUTHOR
Ernest Raboff, artist, painter, art critic,

and art dealer, has been associated

with art and artists for thirty years.
As a young poet, he studied art in

France and Italy, where he came in

contact with Picasso, Leger, and the

sculptor Giacometti. From Paris,

Raboff traveled to Sweden, where

he was employed by the U.S.
Embassy as lecturer on the art of the
United States. At this time he
published a book of poetry
illustrated by himself. The book
received a special award as Book of
the Year and Raboff's drawings were
exhibited along with the book at the
National Museum in Stockholm.
Mr. Raboff has been lecturing in

Los Angeles for the past fifteen

years to various art organizations
and educational groups and has
been director of his own art gallery
for most of this period. As an art
dealer, he organized the first exhibit
of Rouault's graphics in the western
United States and followed that with
a show of engravings of Piranesi.

His continuing interest in twentieth-

century art is reflected in his choice
of exhibits for his gallery, which is

at present showing five works by

Paul Klee, some twenty lithographs
of Chagall, and five or six works by
Picasso.
rb cfi

clf9

^^ sjMs^^^B
^"^^

^MJm
pl^^
L^^'^PVBLIC UBRARY ';)

a
|bH^^^^^lS
f ^OF^THE CITY OF. 9

^^^^^^J^^

-P ^

'O^&cri
 COVER
THE PICTURE WITH QHtZH STOCK-
INOS'' RCPROOUCeD OM THE FRONT
OP THtd BOOK; 5HOV4/S HOW
A MASTER PAINTER CAM TELL
A CONVPkETE STORY WITH
pent Ktee coi.i.,BeRNe .939
^ pew LINES. A LITTLE GIRL
vutTH LONG REP HAIR, A GRSEN
6ALI, AND GREEN STOCK )(0-S IS
PLAYIWG OUTDOORS. THE G-OtoeN
survi IS /^EPLEcrro on ^er
ARMS; IN THE AIR AI^OUND NER
AND t;PON THE GROUND. ABOl/E
HB.fl /^AD ARE 6luB PATCHES
OP SKY AMD A HINT OF THE SON
ITSELP AT THe TOP Of^ HER UEPT

T/^R Vy SHAPED 6Y HER ARO^S

/s REPEATro IN T/^fi i./a;S

OF //ER SKIRT.

PO.<>eTFUl. ANB-tL ,l999 K LBf-STlpruNQ, BERNr

ernest rabofp and arMiNi-svuTw inc. P\R'b^ printing-, /968

\wo^LD Ria-HTs ReRvro by

LieRARY OP CONG-RESa CATALO&UC CARD NO. 68-26550. PRINTED IN JAPAN BY TOPPAN

ftARftARJAN CAPTAIN ptkiK Kkir cewttcTioN .eBANf
DEDICATED TO MY WIFE, INA ANDERS RABOFF
PAUL KLEE

cn I L
A(^i?MlNISMlTHBOOK
eoneo by bradley smith

PUBL18HeO BY
DOUBLEDAY&CO.JNC.
AROCN CITY, NEW YORK
1966
PAUL KLEE VAS AORfU tN

5u;lT2. R L AND ON DCCSmeeft 18,1879. HIS

PATHER HANS WAS A f^U^IC TMAQHSlt /^A/0 ^/&
MOT//eR IDA mARiA LIKfO TO ORAU/.

PAUL KLEE 6CA/nff A VIOklfVJIST A/Od AN ARTlST.

AS A CHiLO, He i-OU0 CATS; AND THfiOUQHOUT Hl%

LIPB H^ ZONTINUBO TO 0/?AU/ AA/0 f=>AlNT "^^^/M.

H/S FAl^O/e/rr CAT U/AS BifABO.

THIS ARTIST H/AS A S/e/Ot/S ST(;DEA;r U///0

/nASTERED rr\Af\)S tAn;ci;Acs^///sroA/5/ ^^^ ^c/a;cs.
// W/AS ALSO A F/A/F M/^/T^
AA^D TEACHE/^, HB U/A S APmi/^EO
AAIDRESPECTED BY ALL OF THE
/^AmouS PEOPLE HB KfUeuu
AfVO \UHO KMEU^ OF H/^\.

PAUL. KLEE WAS

A Vi/ORKIA/O /^RT/ST,

W^HEA) HS DIED AT
SIXTV YEARS OFAQE
/A) 1940, /^E LEFT AT
LEAST 8926
^ORKS OP ART.
DR/kWlNS- OF PAUL KLCe 6^ TM.C Ai;THOR

BOSTON PUBLIC LIBRARY

PAUL KILE WROTE : IT IS NOT MY
TASK TO REPRODUCE APPEARANCES... FOR THAT
THfRE IS THE PHOTOGRAPHIC PLATE.

I WANT TO PENETRATE TO THE INISAOST MEANING

OF THE MODEL.

/WANT TO REACH THE HEART.

I WORDS ON THE FOREHEADS AND ROUND

WRITE
THE LIPS- BUT hAY FACES ARE TRUER THAN LIFE/

''ART DOES NOT R.EPRDDi;CE THE VISIBLE.

tt
IT RENDERS IT VISIBLE .

\fi THIS
WAY WE
LEARN TO
LOOK BEYOND
THE SURFACE
AND GET TO
THE ROOTS
OF THINGS.'*
PALL 1938 KLer-STlFTyiMfr, BERNE
WHO WOULD NOT WANT TO HAVE A TREE HOUSE LIKE
PAUU KLEES ? WHAT A MAGNIFICENT TREE. ON IT

ARE BUILT LADDERS THAT REACH FROM THE GROUND, UP

AND AROUND THE TRUNK ^
TO LITTLE HOUSES SET ON
THE BRANCHES. SorV\EONe IS STANDING- AT THE BOTTOfY\
OF THE LADDER WITH ONE HAND ON IT, READY TO CLIMB.

WHEN VOU LIVE IN A TREE HOUSE YOU ARE

, HIGH IN
TME SKY. THE BIRDS PLYING PAST YOUR DOOR ARE SO
CLOSE YOU CAN ALMOST COUNT THE FEATHERS ON
THEIR WIDESPREAD
WINGS AND THE SPOTS
ON THEIR BODIES.

A TREE HOUSE IS A

GOOD PLACE TO
WATCH THE SUNSET
TURN ALL THE SKY A
BRILLIANT RED.

AT NIGHTTIME THE
STARS ARE SO BIG
THAT THEY SEBhA TO

S
UH
PA RKLING-
LIKE

C H R ISTAAAS TREE
FORMvm. KETTLE DRU N\KSCR , 1940 RN A AAE NT S.
THK TUCf HOUSE PASADCNA ART MU&CUIM
 ,

PAUL KIBS P^fNTBO THIZ \A/ f^T Cf^^CU^Ok

''the NI^^^H'\ FCLLOUJJNG- a trip to north AFRiQA
IN /3/4. AFTeR\Nf^RO //" 5/4/0, ''/
P05SSSeO
f\f\f\

ey COLOU, ., IT WILL possess /ViS porevsr,

I ANO COLOR ARE cnjE, I AM A PAtAlTtR .'^

THE SLUE PYRAn\IO f>l/^^BS ITS NCS INIO THE SKV.

THE s/oes sr^ETCH oyr
LIKE PROTCr//V(r/qms,

THE WMLT/-COLCREO
SQUARED LOOK kIKS
BUILD/N(r BLOCKS
SPAftKLING^/NTHE HOT
SAND UNDER T>/r di*.AZ-

\N^ SUN.

THE MAA/y blPPEREN T

SHAPES SURROUfVO THE
Py^AM^D AS THOUQ-H
THS^ WERE A(jROUP
OF PEOPLE LISTE/Oyn/C.

TO V/?y U/oaD OF
THIS AI\)CieNT , \JUiSE^

PATIENT ANO //Wf^RESS-

tVE PROPHET.
TH? KIESrN 9\5 WATPRCOkOR. ^ HRUPF CCLUe C T lOM,BRNe
"/V\AID AN EXCELLENT EXAMPLE OF
OF SAXONY IS

THE US OF SIMPLE LINEb AND STRONG COLORS TO

CREATE A PAINTING THAT REVEALS MORE EACM TIME
11 IS STUDIED.
THE VOUNG GIRL
HA^ BRIGHT ORANGE
HAIR. PAUL KLEE
PAINTS HER WITH
CURVING LINES
AND THE" S/MPLE
A ROUNDED FOR/V\S
'''^'
OF YOUTH .

HER GREEN
EVES MATCH
THE COLOR OF
HER BLOUSE.
THEY ARE SET
FAR APART AND
ARE WIDE OPEN
TO SEE ALL THE
WORLD AROUND
AfUlCAN U.LLAGE SCewE 1525
HER. SHE HAS
A SLIGHT SfVIILE

ON HER FACE AND

ARE SWINGING AS SHE WALKS. THE
HEI^ AR.fV\S
BEAUTIFUL DEEP BLUE' SKY IS ALL AROUND HER,
isAAio OF aAvioNY i9aa PASAOMA AKT MW6CUfA
u/o^K. SOFT aR/^A/c/ycs set^t Ik) The i^io-Hr

SPRING SHOiVER..

OP THB TUUiOS LiKff BUTTOA/S.

r*/^ py/uK BAZKGficu/vo looks fas%h

AfOO MEU/eoRN. WINTER 15 Ol/ER.

/T IS TlWr FOR ^LL YCUNG- THJA/O-^

TO GO OUT TO PLAY ANO GROU/ IN

THe SUN.

Z\JSti THE BF{ANCHB% ARC RAlSifUG

THSMSELVe-S T0V4//^RD TH SKV.

T>yr AkTi^r RE/n/zuDS (/5 /^do; ^o/oobufvl t^e spr//vg- is.

Te ^VietyJAGERlE parapes I
"5^6
yOUN& TREE 1932. PAlVATC COLLtC T lO N / B ERM t
"landscape u/ith ykllou; birds."
THIS ENTIRE WATERCOkOft /S ^AOS Of SfVULiA/G^
/L/A^es... WHICH eecofne g-z^acefolly cuR^t/v<^

PLANTS.

TUSr PAINTING- /S /MADE OF C/^C^S ANO^MAkP-QfJ^CLBS

P0Rir\Si0 flK r//c ^hap op thb i^eave^. Afrep, ioo
LOCK AT T^EM FO/? 4 UJHILS fTHCY SfffiA^ TC? 8

r>y yei.Lcw^ e//eos /wake >^ circif t^at yuE

comptcre u^ith ot/^ cyS.
THtS ^HOU/S l^S
HO\JJ TO A^AKr
AAoae CIRCLES
F/^Oft^ THff S>^APS
OF THff kffAv/es

AND ePANCHes,

Bl/eP'^THlNG^ c\)^v^j

IN THIS LANDSCAPE.

THBRE AR,e

NO ^ ^</MKS
IN NATURE.
SHIPWRECKED 138 KLEe-ST.FTUN.,BeRMe
l-ANOSCAPe WITK VrLUOW aiRDS 15X3 WATffRCO.0R-66l/ACH8
"A child's game" ;s a pwinting that moves sAH/v.
THE LITTLE G-IRL IS GARDEN OF
RUNNING- THROUGH A
FLOWERS A &OOSe. IS ATHEft SIDE. ONEOF HER EVES
IS A BALL. THE OTHER EYE IS AN S. TE FIRST ONE

IS TO PtAV WITH THE

SECOND IS FOU SEEtNO.

EVEN THE GOOSE

sesMS TO eE
PLAYING- THf
&A<V\e.
PERHAPS
THE UTTLE
GIRL IS
POINTING TO
WHERE ALL
THE FUNIS.

SHE /Vtl&HT
RE GOING-
TO THE NEXT
PA&E TO
WATCH THE
BOATS IN
THE
AtlOTHER CANVEL 1 1939 F. SCHAWG COLL ^ CT lOfO , NEW YCft.v;
HARBOR,
A child's GA^AE. 1939 Oil. -TEf^PCP^A FEUX. Kl.ee COLteCT lUN ,
fetH-N^
PEOPLE ARE ALk/AVS O^^I^n ^-.^ ^AAjNiG'.

IN THE "departure OF SHIPS'* THB AATiST TELLS US

T/^AT EVERY DAY AND NGHT SO^B U^HBRB A fiOAT

S LEA^/N& ON A JOURNEY. ^

UNDER A BLl/E MOON WTH ORAWGE^ AND RED SAILS,

T/^E V'ESSELS POkLOU; T/^E ARROIA/ TO THE SEA.

HAVE YOU SBEN THE WAV SHADCU/S IN THE

EV/ER

MOONLIGHT AAAKE A CRAZY-QUILT PATTERN?

THE ARTIST SEES AND RECORDS U/oNDERFUL
MEMORIES
WITH HIS

PAINTS

5*ii.iN& Ships ^Aovl^(G. geutuy j927 fKwjt^n couue'CTiow^eEKue

OBPAMORE OP ^HIPS 192.7 O/L W. ALLENftACW COULECT ON / BKRNE
I
 ^^p

**Tff FLAOOED TOWN*

ZKCN IN /S THI% PAINT^NO-
>NnH BOTH The SUN ANO THE /V)00/V

/A/ THE SKK.

Ol/r/? Tf^e C/TK TA'^ M///t/0/

BLOKf/A/G rtfi^T PR.Off\ OfUS 0//lSCTfOf>i AA/D THEN

F9K0tf\ THe OTHER t KE'EPS THE- FL/^^S
UNPURLEO.

TH^ BUILt>iN&S SEE/r\ TO FLOAT IN THE AIR,

HELO VP 5V G-AY AHO J5RIG/fTLY QOUorEO BALLOONS

THE STRUCTURES Of THE CITV ARE ETCHED IN

SIUVCRV AAOONLIGHT AGAINST THE DEEP SLUE
SKY.

EVEN AT NIGHT
THE TOWN,
ALTHOUGH SLEEPING
QUIETLY, (S
GLCU/ZA/G-. THE
FLAGS STAHb
GUARD, FULL OF

JOY
AfMD

LIFE.
0A&E1.8ER& 193^
FLA&Cep TOWN I9Z7 WATBCOl-OR, PRlVATb" COLLECTION
THE MAGICIAN STANDING AT THE BOTTOM OF THIS
PAINTING OF "FISH A^AGIC", SBE/y\S TO LOOK IN
TWO DIRECTIONS WHILE JUGGLING FISH, FLOWERS^
VASES, AND BALLS.

NOTICE THE PERSON WEARING THE DUNCE CAP IN

THE LOWER LEFT CORNER. PERHAPS THIS
CHARACTER AND THE AAAGIC/AN ARE ONLY PUPPET
SKIN DIVERS MOVING IN A STRANGE AND BEAUTIFUL
AQUARIU^A.

WE CAN ALMOST IMAGINE A FACE INTHE UPPER LEFT

CORNER. COULD IT BELONG TO THE REAL /\AAGICAN?

WHAT WE REALLY SEE IS PAUL KLEE S UNUSUAL

TALENT AS A PAINTER. IT IS TRULY THE ARTIST's

MAGIG.

^6H,T0 - FCHdAlO -tLBt ItZ^ P.HART COi. I. ff CT OV

I , . S. A
FISH MAeiC I9ft7 AREN^effHO. COkkCCTION
 .

21 s SE
IS A TUNE OF THE

DESERT PEOPLE OF ARABIA.

THE VEILED ARAB WOMAN
FRAMED BY HER IS
COLORFUL CLOTHING-. HER EYES PEER IN HAPPY
WONDKR OVER THE TOP OF THE ROSE-PINK VEIL,
HER LONG. 5AAILE ENDS IN A CURVE OVER HER
HeART

V^E CAN ALMOST FEEL THE HOT DESERT AIR

AROUND HER LOOSE SACK- SHAPED BURNOOSE. ^

THIS DRESS IS AAADE OF THE SAME ROUG-H

V^OVEN BURLAP ON WHICH PAUL KLEE HAS
PAINTED THE
PICTURE.

EVEN
THE s^itcVyCs
SEWN INTO THE
PAINTING- RESEMBLE
TWE PRIMITIVE NEEDLE-
WORK OF THE ARABIAN

MOMADS
WHO TRAVEL
THE DESERT
OOKKCY eATINC- OUT Or HAND, |9S7
ARAk SeN lSt THC 'HILLI (AL1.CRY , VVASHI N9T0H D.
 A SHEET OF PICTURES LOOKS LIKE BOTHA
TREASURE HUNTING GAME AND AN ANCIENT
STONE CARVING-.
PAUL KLEE HAS "carved' MANY TREASURES.
THE WOMAN
ON THE LEFT RESEMBLES A TEACHER
STANDING- BEFORE A BLACKBOARD FILLED WITH
LAROE AND SMALL ORAWING-S OF SEPARATE OB.)ECrS.

CAN YOU FIND ANY IN THE PICTURE THAT ARE

NOT LISTED HERE?

G-LASSES
PISH
A COMB
FIGURES
PENNANTS
STARS
LETTERS
A TABLE

NOTICE THAT
ALL SEEM TO
RE VOUVE

THKCr tNTLC WORPt PROWk A FOOU ; I9AS

^ SUN.
KNOWN A "VltTURe AL*l/fA" H1 IN THI PHILLIES A tl,KRy , W ASHI N TON O. C.
 k'lJ

50WVB PEOPUE SAY THAT FISH IS FOOD FOR THE

BRAIKi.

PERHAPS THAT I& WHAT THIS ARTIST MEANT

WHEN DREW AHE LINE PROM THE FISH TO AN
ARROW WHICH POINTS TO A MANS HEAD-

PAUL KLEE HAS FILLED HIS PlCTUAB UVITH

OBJECTS AND SYMfiOtS

OP LJFE...

MOON SUM PLANTS FISH

ND M^N

''
\r-^^^m7r

-rr^,

^^f^/L:J^:j:\ I 1

OMU/IN* F0 "THf trAFARP^S* \%Xl HLfE-STlFTUNG ,

BERNE
 AR.OUND THE FltiH 193.6 Oil- TsmPERa MUfteUftA OP MOOSRN 4RT MfeW VOM^
,

RENVBAftBER PAUL KLEE SAJO,

...LEARN LOOK BEYOND THE SURFACE

HOW TO
AND GET TO THE ROOTS OF THIN&S."
Vh^
J

V
 12

PAUL KLEE
This is one of a new series of books
entitled Art for Children which
present briefly, directly, and
imaginatively the work of some of
the twentieth century's fmest and
most appealing artists. Using a light

approach free and

of jargon
pedantry, Ernest Raboff has gone to
the heart of each painting, print, or
drawing to give the reader (of any
age) a genuine sense of delight and
appreciation by clarifying some of
the symbols the artist has used and
suggesting some possible
interpretations of his meaning.
Klee's gift for joyful fantasy, his
humorous use of symbols, and his

versatility <^^^^^^^.. 'ets of

his work presented in

'

The book contains a very brief

biographical sketch of the artist and
approximately fifteen full-color

reproductions of his work, as well as

many smaller drawings and designs.

.^tt.
^-.v^^. ^.y . -. ^^
l\
THE BIW CALLED PEP OlL-WATER. COLOR, I9Z5 PRIVATE COLLECTION, BERNE

PAUL KLEE
PABLO PICASSO
MARC CHAGALL