Full moon, 1919, Stangel Gallery, Munich Paul Klee (1879-1940)

The composition presents a fragmented nocturnal landscape rendered in a predominantly dark palette punctuated by bursts of red and yellow. A large, circular form dominates the upper center of the canvas; its luminosity suggests a celestial body, likely intended as a moon. This central element is surrounded by an array of geometric shapes – rectangles, triangles, and trapezoids – arranged in a seemingly chaotic yet carefully considered manner.
The artist employed a cubist approach to deconstruct recognizable forms, reducing them to angular planes that overlap and intersect. These fractured elements create a sense of spatial ambiguity; depth is not conveyed through traditional perspective but rather through the shifting relationships between shapes and their varying degrees of saturation. The dark background contributes to this effect, absorbing light and intensifying the visual impact of the brighter areas.
Several small, stylized plant forms are scattered throughout the composition. These appear as simplified representations of foliage, adding a touch of organic life to the otherwise abstract scene. Their placement seems deliberate, acting as visual anchors within the complex arrangement of geometric shapes. The red circles, positioned at various points in the canvas, function as focal points, drawing the viewers eye across the surface and contributing to the overall dynamism of the work.
The painting evokes a mood of introspection and perhaps even melancholy. The darkness suggests a sense of mystery or hidden meaning, while the fragmented forms imply a disruption of order or harmony. It is possible that the artist intended to convey a feeling of disorientation or alienation, reflecting a psychological state rather than a literal depiction of a landscape. The moon, traditionally associated with cycles, transformation, and the subconscious, reinforces this interpretation. Ultimately, the work resists easy categorization, inviting viewers to engage in their own subjective interpretations of its symbolic content.