In the early 1920s, Klee painted a series of ghost chambers with eerie lines of perspective that reduce everything to skeletal transparency. As Klee rarely used perspective, he applied it in these works—always interiors—solely to show its delusive effects, a theory he relayed to his students in his Bauhaus lectures on the subject in November 1921. He demonstrates that perspective can be playful in this watercolor of an orange room cluttered with black wire utensils and with a tall violet door from which seemingly radiate the black perspectival lines.

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