Klee has put the “meal” at the base of the composition, close to the viewer. It is easy to read the composition as a table with all sorts of strange things going on. There are companions. The guest at the left – who shows surprise and wonder at the lively atmosphere – could have been constructed out of objects seen during the daytime. There is conversation, with two telephone handsets sending out warm and cool audio streams. And balancing between them is the mysterious figure of a cat – her ears like cathedral towers, her face a tribal mask, her whiskers delicate, her body diminutive and fleshy, up on the table for all of us to see.
DOES every instance of beauty in nature and beauty as the artist presents it have something unrestricted, unexpected, uncontrolled? — and does this beautiful thing in nature or beautiful thing coming from the artist's mind have, too, something accurate, sensible, logically justifiable, which can be called order?
Paul Klee is a master of line, and in this work, done in the combined media of oil and watercolor, outline and interior line give a sense of precision and careful thought ordering this wild and merry scene. The black background is sensible and logically justifiable, yielding to the brightly hued objects while anchoring them. At the same time the black is bold and in motion.
Every object finds its echo in another, through theme or shape or color. Every object in its distinctiveness is free to be more itself through relation. This is so different from the order that the Nazis wanted to impose, making artists and citizens into what it wanted them to be. And it is different from the freedom I wanted to have, where I saw needing other people as a blow to my ego and where I hid my thoughts and feelings. This has changed. I am grateful to Eli Siegel and Aesthetic Realism for teaching me that my life can have the purpose that art has.