ARTBAR Tuesday 16th January: Professor Mike Tooby discusses the curation at Turner Contemporary of the exhibition ‘Journeys with The Wasteland’ and the significance of T.S. Eliot’s ‘The Waste Land’ with the 60 artists taking part in the exhibition from February to May 2018.

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ARTBAR Guest: Geoffrey Bertram.

Our Artbar guest this month is the art dealer, curator, consultant, and Chairman of the Wilhemina Barns Graham Trust, Geoffrey Bertram. http://www.barns-grahamtrust.org.uk The Wilhelmina Barns-Graham Trust was established by the Scottish artist Wilhelmina Barns-Graham in 1987. The Wilhelmina Barns-Graham Trust exists to enhance the reputation and understanding of Wilhelmina Barns-Graham as one of Britain’s most significant 20th-century artists, and through her legacy supports young people and other individuals to fulfill their potential in the visual arts. http://www.barns-grahamtrust.org.uk

We’re back! Our next ARTBAR special guest on Tuesday 20th September is Paul Minott, who discusses ‘Pretty Abstract’, his exhibition of monoprints at the Black Swan Gallery in Frome.

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Next Artbar Tuesday 21st April: Albert Irvin, Life and Work, A discussion by Professor Mike Tooby

You may wish to read Mike’s obituary on Bert Irvin in the Guardian here.

‘Paul Klee and Musical Symbiosis’, Art Talk, February ArtBar, Upstairs at The Raven, Bath

Next ARTBAR: Tuesday 18th February 7.30-8.00 pm, Upstairs at The Raven, Bath.

Jim Dickinson, Senior Lecturer at Bath Spa University, talks about the influence of music on the work of Paul Klee and the reciprocal impact of Klee’s paintings on selected composers.

Paul Klee-‘Making Visible’ continues at Tate Modern, London. Click here.

Quintet in the studio of painting and drawing school Heinrich Knirr in Munich, 1900
Paul Klee (far right) is photographed with the violin. He is accompanied by (l-r) Walther Siegrist (second violin), Fritz Stubenvollstrasse (viola), Franz Schmidt, a student of classical philology (first cello) and Julius Labba (second cello). This is the only photo held in the Zentrum Paul Klee archive of the artist playing an instrument.
Zentrum Paul Klee, Bern, Schenkung Familie Klee
© Klee-Nachlassverwaltung, Bern (Klee Estate, Berne)

Paul Klee ‘Embrace’ 1939
Pamela Kort observed: “Klee’s 1933 drawings present their beholder with an unparalleled opportunity to glimpse a central aspect of his aesthetics that has remained largely unappreciated: his lifelong concern with the possibilities of parody and wit. Herein lies their real significance, particularly for an audience unaware that Klee’s art has political dimensions.”