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Translators Abstract: This document gathers together and translates Heideggers notes
on Paul Klee that have been published up to now.
Translators Introduction:
This document gathers together and translates Heideggers notes on Paul Klee (composed
sometime between Summer 1957 and Autumn 19582) that have been published up to
now. We have arranged the notes according to the order in which they appear in Gnter
Seubolds Heideggers nachgelassene Klee-Notizen, supplementing them, as
appropriate, with the notes in the third chapter of Seubolds Kunst als Enteignis
(henceforth KE) and in Otto Pggelers Bild und Technik (henceforth BT).3 We have
included Seubolds commentary only where it seemed necessary, as this can be found in
complete form in the translations of his texts provided in this issue of Philosophy Today.
Single words or short phrases cited by Seubold have not always been included either. The
first nine notes are excerpts Heidegger took from Klees writings. Where no translator is
specified, it means the translation is ours. The next two notes are Heideggers
paraphrases of Klee. All endnotes and bracketed interpolations are our own.
1
The translators would like to thank Heideggers grandson Arnulf Heidegger for allowing us to reproduce
and translate the Notizen zu Klee Martin Heidegger Estate, as well as Dennis Schmidt for his helpful
comments on the translation.
2
Otto Pggeler, Bild und Technik: Heidegger, Klee und die moderne Kunst (Munich: Fink, 2002), 123;
Otto Pggeler, Heidegger und Klee: berlegungen zur Kunst, Studia Phaenomenologica 3 (Special
Issue) (2003): 200.
3
Gnter Seubold, Heideggers nachgelassene Klee-Notizen, Heidegger Studies 9 (1993): 5-12. Gnter
Seubold, Urbildliches und Ereignis: Die Klee-Interpretation, in Kunst als Enteignis, 2nd ed. (Bonn:
DenkMal Verlag, 2005), 123-41; first published with Bouvier Verlag (Bonn 1996), 119-35. Pggeler, Bild
und Technik, op. cit.
4
From Paul Klees review of Die Ausstellung des Modernen Bundes im Kunsthaus Zrich, in Die Alpen.
Monatsschrift fr schweizerische und allgemeine Kultur 12 (August 1912): 697-704.
5
Paul Klee: Katalog der 60. Ausstellung der Galerie Neue Kunst, Hans Goltz, Mai-Juni 1920 (Der Ararat,
Sonderheft 2) (Munich: Goltzverlag, 1920), 20.
6
Our translation. An alternate translation of the first two lines, which can be found on Klees tombstone, is
available in The Diaries of Klee 1898-1818, ed. Felix Klee (Berkeley: University of California Press,
1964), 419: I cannot be grasped in the here and now. For I live just as well with the dead as with the
unborn. Somewhat closer to the heart of creation than usual but far from close enough.
7
Paul Klee, Schpferische Konfession, now in Paul Klee, Das bildnerische Denken, 2nd ed. (Basel:
Schwabe, 1964), 76.
8
Paul Klee, Creative Credo, in The Inward Vision: WatercolorsDrawingsWritings, trans. Norbert
Guterman (New York: Harry N. Abrams, 1958), 5.
9
Klee, Schpferische Konfession, 78f.
10
Klee, Creative Credo, 8 (translation modified).
11
Klee, Schpferische Konfession, 79.
12
Klee, Creative Credo, 9 (translation modified).
13
Klee, Schpferische Konfession, 80.
14
Klee, Creative Credo, 10 (translation modified).
15
Klee, Schpferische Konfession, 78.
16
Klee, Creative Credo, 6.
17
Paul Klee, ber die moderne Kunst (Bern: Benteli, 1954), 47.
18
Paul Klee, On Modern Art, trans. Paul Findlay (London: Faber and Faber, 1948), 49 (translation
modified).
19
Klee, ber die moderne Kunst, 45.
20
Klee, On Modern Art, 47 (translation modified).
21
Cf. Klee, ber die moderne Kunst, 45/47; Klee, Schpferische Konfession, 78.
22
Cf. Klee, On Modern Art, 45/47; Klee, Creative Credo, 6-7.
23
Or more literally: measure-giving.
24
Cf. Klee, ber die moderne Kunst, 47; Paul Klee: Katalog der 60. Ausstellung der Galerie Neue Kunst,
Hans Goltz, Mai-Juni 1920 (Der Ararat, Sonderheft 2).
25
Cf. Klee, On Modern Art, 49; Paul Klee: Katalog der 60. Ausstellung der Galerie Neue Kunst, Hans
Goltz, Mai-Juni 1920 (Der Ararat, Sonderheft 2).
26
Pggeler suggests the possibility that what Seubold deciphers as gegenstandlose Kunst (objectless art)
in Heideggers notes could actually be read as gegenstndliche Kunst (objective art). See Pggeler, Bild
und Technik, 149-50. This, it should be noted, is also how Heinrich Wiegand Petzet summarizes
Heideggers note in Auf einen Stern zugehen. Begegnungen und Gesprche mit Martin Heidegger 1929-
1976 (Frankfurt: Societts-Verlag, 1983), 154: Dennso notierte Heidegger einmaldie ganze heutige
Kunst, ob surrealistisch, abstrakt oder gegenstndlich, sei metaphysischen Wesens. Translated by Parvis
Emad and Kenneth Maly as Encounters and Dialogues with Martin Heidegger 1929-1976 (Chicago:
University of Chicago Press, 1993), 146: For, as Heidegger once noted, all of todays artwhether
surrealistic, abstract, or objectiveis essentially metaphysical.
27
See the previous endnote.
28
Heideggers sketch is reproduced in the second edition of Seubolds Kunst als Enteignis on page 133.
29
Cf. Dennis J. Schmidts rendering and further transcription of this note in Between Word and Image:
Heidegger, Klee, and Gadamer on Gesture and Genesis (Bloomington: Indiana University Press, 2012),
92: with reference to Heilige aus einem Fenster . . . Heidegger comments: When one does away with
[auslscht] the image-characterwhat is seen. What ones [sic] sees is production [Hervorbringen].
The transformation of art that one finds in Klees work is a transformation of positing [Setzens] into a
different bringing forth [Her-vor-bringen].
30
Heideggers sketch is reproduced in the second edition of Seubolds Kunst als Enteignis on page 133.
31
Cf. Schmidt, Between Word and Image, 95, quoting Heidegger: not imagesrather states [Zustnde].
No more mere eidos, and nothing present, no object.
32
Anblick, translated here as onlook, can also mean view or perspective. It shares the same root as
Erblicken, rendered as glimpsing below.
33
Seubolds interpolation in KE.
34
Seubolds interpolation.
35
As Seubold writes: Hier fehlt das sinngebende Wort.
36
As Seubold writes: Here the word that would make sense of the line is missing.