You don’t want a painting that looks like it is done from a photograph because the colors are often times generic and plane while the figures looks flat. I focus on making the portraits as realistic as possible by working from real life in my downtown studio.

The process consists of an initial meeting ideally in my studio to decide upon the subject matter. If that is not possible, we can speak over the phone or wherever is most convenient. We will go over examples of beautifully painted portraits from famous painters to get an idea of what your tastes might be as far as the setup and look of the work. We will then do a session where I sketch a preliminary pencil drawing or drawings to further establish an understanding of the desired portrait composition. Once the composition is established, we may begin the sittings at the sitter’s convenience.

Ideally, a session last 3 hours with 5 minute breaks every 25 minutes. It normally takes me between 10 and 15 sittings to complete a portrait. During the sessions, I love to talk to the sitter and listen to music the sitter desires because I understand that for some, the idea of sitting for a portrait isn’t fun. It is also okay to take breaks outside of the break period and to stretch whenever needed. I want the sitter to be comfortable.

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In 1919, Klee applied for a teaching post at the Academy of Art in Dusseldorf. This attempt failed but he had a major success in securing a three-year contract (with a minimum annual income) with dealer Hans Goltz, whose influential gallery gave Klee major exposure, and some commercial success. A retrospective of over 300 works in 1920 was also notable.

Klee taught at the Bauhaus from January, 1921 to April, 1931. He was a “Form” master in the bookbinding, stained glass, and mural painting workshops and was provided with two studios. In 1922, Kandinsky joined the staff and resumed his friendship with Klee. Later that year the first Bauhaus exhibition and festival was held, for which Klee created several of the advertising materials. And in the same year, the first series of Bauhaus books is published with works by Gropius (International Architecture), Paul Klee, Adolf Meyer, Oskar Schlemmer, and Piet Mondrian. Klee welcomed that there were many conflicting theories and opinions within the Bauhaus: “I also approve of these forces competing one with the other if the result is achievement.”

Klee was also a member of Die Blaue Vier (The Blue Four), with Kandinsky, Feininger, and Jawlensky; formed in 1923, they lectured and exhibited together in the USA in 1925. That same year, Klee had his first exhibits in Paris, and he became a hit with the French Surrealists. Klee visited Egypt in 1928, which impressed him less than Tunisia. In 1929, the first major monograph on Klee’s work was published, written by Will Grohmann.

Klee also taught at the Dusseldorf Academy from 1931 to 1933, and was singled out by a Nazi newspaper, “Then that great fellow Klee comes onto the scene, already famed as a Bauhaus teacher in Dessau. He tells everyone he’s a thoroughbred Arab, but he’s a typical Galician Jew.” His home was searched by the Gestapo and he was fired from his job. His self-portrait Struck from the List(1933) commemorates the sad occasion. In 1933-4, Klee had shows in London and Paris, and finally met Pablo Picasso, whom he greatly admired. The Klee family emigrated to Switzerland in late 1933.

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