Paul Klee and the Bauhaus；吳瑪悧 譯：保羅．克利；
Between 1916 and 1925, Paul Klee (1879–1940) created approximately fifty hand puppets for his son Felix, with thirty still extant. For the heads, the artist utilized materials from his household: beef bones and electrical outlets, bristle brushes, leftover bits of fur, and nutshells.
Paul Klee and the Bauhaus Hardcover – April 30, 1973 英譯本 Text: English, German (translation)
研究室：藝術學院 學歷. 德國杜塞道夫國立藝術學院畢業
《保羅．克利》
出版社：藝術家
作者：吳瑪俐 譯
裝訂：平裝
出版日：1987
這本書有的時候將Klee 翻譯成正確的"克雷" (第26頁)；Weimar 翻譯成麥瑪 (23)有誤。
"1924年他在葉那Jena 藝術公會作品展的演講" (p. 26)另外一說：Jena 大學演講，英譯北書名 Klee on Modern Art他幻想"作品能有無限的寬廣度，能統合元素性、物理性的、內容的、風格的領域。"
另一方面，康丁斯基已離開德國藝術界多年，投入俄國革命後文化機構的重組工作。由於構成主義者的意識形態限制——他們拒絕接受他的主觀主義和理想主義——他返回德國，再次成為激烈爭論的焦點。他從柏林寫信給在包浩斯的克利，表達了想見老朋友的願望。
幾個月後，克利幫助康丁斯基夫婦搬到魏瑪，康丁斯基在那裡加入了包浩斯的教職。他們逐漸成為同事，並恢復了在彼此生日和聖誕節互贈小型繪畫和紙上作品的傳統。
1926年，包浩斯遷至德紹，他們再次成為鄰居，在新校址的兩棟半獨立式教師住宅中並肩而居。在這裡，他們過著輕鬆的生活：工作、教學、與妻子們社交，並在易北河谷漫步。
1933年，隨著納粹黨上台，德國對這兩位藝術家而言都變得危機四伏。
進入1930年代，德國日益複雜且危險的政治局勢帶來了動盪不安的時期。 1931年，克利辭去了包浩斯的教職，前往杜塞爾多夫藝術學院任教；1932年，德紹包浩斯學院解散，康丁斯基則搬到了柏林。然而，1933年納粹黨上台後，德國對這兩位藝術家而言都變得危機四伏。
克利被當局解僱，他和康丁斯基都被新政府貼上了「墮落藝術家」的標籤，他們的作品也被沒收。兩人都為國家做出了貢獻，克利回到了位於中立國瑞士的故鄉伯爾尼，康丁斯基則去了巴黎。在此期間，他們一直保持著書信往來。
1937年2月，康丁斯基和妻子妮娜前往瑞士首都伯恩，參加他在伯恩美術館舉辦的個人回顧展。他們特意去探望了克利，克利自1935年起就飽受疾病折磨，大部分時間都臥床不起。康丁斯基帶來了水彩畫《上下》，並題獻給「我多年的摯友」。
兩人一直保持著親密的友誼，直到克利在1940年去世。康丁斯基在餘生中也一直透過文字緬懷這位朋友。？
Kandinsky, on the other hand, had been absent from the German art scene for a number of years, working on the reorganisation of the cultural establishment in Russia following the Revolution. After encountering the ideological limitations of the Constructivists, who rejected his subjectivism and spiritualism, he returned to Germany where he was, once again, the subject of fierce controversy. From Berlin he sent a letter to Klee at the Bauhaus, expressing his desire to see his old friend.
Just a few months later, Klee would assist Kandinsky and his wife in their move to Weimar, where Kandinsky joined the faculty of the Bauhaus. They came to know each other as colleagues and revived their tradition of exchanging small paintings and works on paper on each other’s birthdays and at Christmas.
When the Bauhaus moved to Dessau in 1926, they became neighbours again, living side-by-side in two semi-detached masters’ houses on the new Bauhaus site. Here they fell into an easy routine, working and teaching, socialising together with their wives, and taking long walks in the valley of the Elbe river.
With the rise to power of the National Socialists in 1933, Germany became a dangerous place for both artists to live
As they entered the 1930s, an increasingly complex and dangerous political climate in Germany ushered in a period of intense uncertainty and upheaval. Klee resigned from his Bauhaus position in 1931 to begin a new post at the Art Academy in Dusseldorf, while the dissolution of the school in Dessau in 1932 saw Kandinsky move to Berlin. However, with the rise to power of the National Socialists in 1933, Germany became a dangerous place for both artists to live.
Klee was dismissed from his teaching post by the authorities, and both he and Kandinsky were labelled ‘degenerate’ artists by the new government, who confiscated their works from public collections. Both fed the country, Klee moving to his hometown of Bern in neutral Switzerland and Kandinsky to Paris. They remained in contact during this time via regular letters.
Klee and Kandinsky saw each other for the last time in February 1937, when Kandinsky and his wife Nina travelled to the Swiss capital for the opening of a retrospective of his work at the Kunsthalle Bern. While there, they made a point of visiting Klee, who was largely housebound due to the debilitating illness that had plagued him since 1935. Kandinsky brought with him the watercolour Above-Below, which he dedicated ‘To my dear friend of many years’.
The two would remain close until Klee’s death in 1940, and Kandinsky continued to remember his friend in his writings for the rest of his life.
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