Please use this identifier to cite or link to this item: http://hdl.handle.net/10995/111278
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dc.contributor.authorPurgin, S. P.en
dc.date.accessioned2022-05-12T08:15:39Z-
dc.date.available2022-05-12T08:15:39Z-
dc.date.issued2021-
dc.identifier.citationPurgin S. P. Angelic Dynamism: Humanity in Paul Klee's Drawing Series of 1939-1940 [Динамизм ангела: человек в графическом цикле Пауля Клее 1939–1940 гг.] / S. P. Purgin // Vestnik Sankt-Peterburgskogo Universiteta, Iskusstvovedenie. — 2021. — Vol. 11. — Iss. 3. — P. 512-531.en
dc.identifier.issn2221-3007-
dc.identifier.otherAll Open Access, Bronze, Green3
dc.identifier.urihttp://hdl.handle.net/10995/111278-
dc.description.abstractSince Walter Benjamin in "The Theses on the Philosophy of History" showcased Paul Klee's angels, they remain mysterious figures that represent time, history or soul. The article focuses on the series of drawings that were created in the artist's later period (1939-1940). The series can be regarded as the artist's final will and testament as it expresses Klee's condensed philosophy and mature views on man's place in the universe. It also reflects the master's cherished artistic methods and techniques, consistently honed in on during the course of his life. The author studies the relations within the series and the series relation to other artworks by Klee. It is demonstrated that it is humankind that is the main theme of the series. By contrasting human and angelic forms in his drawings Klee reinvigorates the European tradition of defining humanity through its relation to angelic orders and through its position on the hierarchy of creation. However, Klee strives to re-imagine the universe as a whole, for him it is not the ladder of perfections, which rises to angels and God. Therefore, the relations between human and angelic creatures are intimately familial rather than hierarchical. The author highlights that the artistic style and techniques emphasize visual dynamic and form creation ("formation"). In depicting angels, the artist brings forth his concern with temporal dimension of human nature and its significance in human life. Thus, in this dynamic interrelation, human beings become "angelic grotesque" with their own ontic temporality. This temporality specific to human creatures is defined as the "moment that transcends itself " - since the latter is essentially "ecstatic" and "self-propelling". © 2021 Saint Petersburg State University. All rights reserved.en
dc.description.sponsorshipThis work was supported by the Russian Science Foundation (RSF grant no. 19-18-00342).en
dc.format.mimetypeapplication/pdfen
dc.language.isoruen
dc.publisherSaint Petersburg State Universityen1
dc.publisherSaint Petersburg State Universityen
dc.relationinfo:eu-repo/grantAgreement/RSF//19-18-00342en
dc.rightsinfo:eu-repo/semantics/openAccessen
dc.sourceVestn. St.-Peterbg. Univ. Iskusstv.2
dc.sourceVestnik Sankt-Peterburgskogo Universiteta, Iskusstvovedenieen
dc.subjectANGELen
dc.subjectDYNAMISMen
dc.subjectGROTESQUEen
dc.subjectHUMAN BEINGen
dc.subjectKLEEen
dc.subjectMOMENTen
dc.subjectORDER OF CREATIONen
dc.subjectTIMEen
dc.titleAngelic Dynamism: Humanity in Paul Klee's Drawing Series of 1939-1940en
dc.title.alternativeДинамизм ангела: человек в графическом цикле Пауля Клее 1939–1940 гг.ru
dc.typeArticleen
dc.typeinfo:eu-repo/semantics/articleen
dc.typeinfo:eu-repo/semantics/publishedVersionen
dc.identifier.scopus85119154151-
local.contributor.employeePurgin, S.P., Ural Federal University Named after the First President of Russia B. N. Yeltsin, 19, Mira ul., Ekaterinburg, 620002, Russian Federationen
local.description.firstpage512-
local.description.lastpage531-
local.issue3-
local.volume11-
local.contributor.departmentUral Federal University Named after the First President of Russia B. N. Yeltsin, 19, Mira ul., Ekaterinburg, 620002, Russian Federationen
local.identifier.pure23824503-
local.identifier.eid2-s2.0-85119154151-
local.fund.rsf19-18-00342-
Appears in Collections:Научные публикации, проиндексированные в SCOPUS и WoS CC

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