Carnival in the Snow | Cleveland Museum of Art

In this watercolor, acrobats and circus jugglers emerge from a complex pattern of shapes and colors. Two jugglers share a face and torso. A member of Der Blaue Reiter group in Munich, Paul Klee believed that the elements of color and shape alone could carry connotations of emotions, moods, and subjective feelings. His method was to begin painting without a subject, only settling upon something that could be recognized after layering colored form upon colored form.

Familiesalon in het kasteel van Saint-Cloud, Ernest Eléonor Pierre Lamy, ca. 1860 - in of voor 1870 - Rijksmuseum

Scholar Reclining and Watching Rising Clouds, Poem by Wang Wei | Cleveland Museum of Art

Poem and painting, once mounted together as one fan, exemplify the collaboration between imperial patron and court painter. Emperor Lizong’s calligraphy cites a verse from Wang Wei’s (701–761) poem, <em>Walking to where the water ends, I sit and watch when clouds arise</em>.<br><br>Ma Lin’s response is this painting. At the water’s edge, a scholar reclines by a large rock. The view leads across the empty middle ground to a distant mountain. With sparse ink and subtly graded washes, Ma Lin visualizes the poetic verse. The painting suggests the impact of Chan aesthetics through interaction between the palace, literati-officials, and monasteries around Hangzhou.

Energy Paths Of Color And Light by Jeremy Aiyadurai

Energy Paths Of Color And Light by Jeremy Aiyadurai

Eventstructure Research Group (ERG), cloud, Pieter Boersma, 1970 - Rijksmuseum

Twee figuren in een stortbui, Jean Emile Laboureur, 1932 - Rijksmuseum

Zicht op het kasteel van Saint-Cloud in het park van Saint-Cloud, Louis-Julien Jacottet, 1838 - Rijksmuseum

Zon en regen, Daniel Sudermann, naar Matthäus Merian (I), 1624 - Rijksmuseum