Question: Paul Klee (German: [paUl 'kle:]; 18 December 1879 - 29 June 1940) was a Swiss German artist. His highly individual style was influenced by movements in art that included Expressionism, Cubism, and Surrealism. Klee was a natural draftsman who experimented with and eventually deeply explored color theory, writing about it extensively; his lectures Writings on Form and Design Theory (Schriften zur Form und Gestaltungslehre), published in English as the Paul Klee Notebooks, are held to be as important for modern art as Leonardo da Vinci's A Treatise on Painting for the Renaissance. He and his colleague, Russian painter Wassily Kandinsky, both taught at the Bauhaus school of art, design and architecture.

During his twelve-day educational trip to Tunis in April 1914 Klee produced with Macke and Moilliet watercolor paintings, which implement the strong light and color stimulus of the North African countryside in the fashion of Paul Cezanne and Robert Delaunays' cubistic form concepts. The aim was not to imitate nature, but to create compositions analogous to nature's formative principle, as in the works In den Hausern von Saint-Germain (In the Houses of Saint-Germain) and Strassencafe (Streetcafe). Klee conveyed the scenery in a grid, so that it dissolves into colored harmony. He also created abstract works in that period such as Abstract and Farbige Kreise durch Farbbander verbunden (Colored Circles Tied Through Inked Ribbons). He never abandoned the object; a permanent segregation never took place. It took over ten years that Klee worked on experiments and analysis of the color, resulting to an independent artificial work, whereby his design ideas were based on the colorful oriental world.  Fohn im Marc'schen Garten (Foehn at Marc's Garden) was made after the Turin trip. It indicates the relations between color and the stimulus of Macke and Delaunay. Although elements of the garden are clearly visible, a further steering towards abstraction is noticeable. In his diary Klee wrote the following note at that time:  In the large molding pit are lying ruins, on which one partially hangs. They provide the material for the abstraction. [...] The terrible the world, the abstract the art, while a happy world produces secularistic art.  Under the impression of his military service he created the painting Trauerblumen (Velvetbells) in 1917, which, with its graphical signs, vegetal and phantastic shapes, is a forerunner of his future works, harmonically combining graphic, color and object. For the first time birds appear in the pictures, such as in Blumenmythos (Flower Myth) from 1918, mirroring the flying and falling planes he saw in Gersthofen, and the photographed plane crashes.  In the 1918 watercolor painting Einst dem Grau der Nacht enttaucht, a compositional implemented poem, possible written by Klee, he incorporated letters in small, in terms of color separated squares, cutting off the first verse from the second one with silver paper. At the top of the cardboard, which carries the picture, the verses are inscribed in manuscript form. Here, Klee did not lean on Delaunay's colors, but on Marc's, although the picture content of both painters does not correspond with each other. Herwarth Walden, Klee's art dealer, saw in them a "Wachablosung" (changing of the guard) of his art. Since 1919 he often used oil colors, with which he combined watercolors and colored pencil. The Villa R (Kunstmuseum Basel) from 1919 unites visible realities such as sun, moon, mountains, trees and architectures, as well as surreal pledges and sentiment readings.

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Question: Feeder are a Welsh rock band formed in Newport, Wales. They have released ten studio albums, twelve compilations, four EPs, and 40 singles. They have spent a total of 182 weeks on the singles and albums charts combined as of 2017, and have accumulated 25 top 75 singles between 1997 and 2012. At their peak of commercial success, Feeder won two Kerrang!

At the age of 14, singer and guitarist Grant Nicholas joined a band called 'Sweet Leaf', named after a song by Black Sabbath, who were the first band he had seen play live. At this time Japanese bassist Taka Hirose and drummer Jon Lee were playing in different covers bands, but did not know each other. While playing in different bands on the Newport gig circuit, Grant and Jon became friends. They formed an electronic duo called 'Temper Temper' after Jon left Newport band The Darling Buds. Shortly thereafter, they formed a band called Raindancer. Both of these bands failed to win a recording contract, with the sound of the latter once being compared by Grant with that of The Waterboys. On 20 June 1991, Raindancer were invited to appear on Stage One, a late night television show on ITV Central, showcasing up and coming bands. The gig was filmed at The Town and Country Club, London without an audience present.  Going back to the drawing board, Raindancer reformed as three-piece band called 'Reel' after John Canham departed. Their bass player Simon Blight later departed from the band and the music business, before changing their name to 'Real'. During this time in 1994 they recruited Taka Hirose via an advert in Loot, which Taka placed himself. The band then changed their name to Feeder, named after Grant's pet goldfish. They won their recording contract with Echo after sending a demo tape, and then completed the deal after an employee from the label witnessed one of the band's gigs. A track called "Don't Bring Me Down", which featured on the demo appeared as a b-side on the "Day In Day Out" single, albeit a different version to the demo recording. After signing with The Echo Label in 1994, the group toured with Scarborough band B.l.o.w. who at the time, recently formed from the ashes of Little Angels. It was this tour where Feeder met Mark Richardson for the first time.  Feeder's first official release was a two-track EP entitled Two Colours, released in 1995 which was only available at the band's early gigs. It was limited to 1,500 CDs and 1,000 7" vinyls. In 1996, the band released their first commercially available release, being the EP Swim and received a 4/5 review in Kerrang! magazine (KKKK). Swim was later re-released in July 2001 with extra tracks, being a selection of b-sides from their earlier singles, alongside the videos for the Polythene singles "Crash" and "Cement". Overall unit sales for Swim stand at 40,000 as of February 2005.  Shortly before the release of Swim, a cassette tape titled Two Tracker was given away free with the magazines Kerrang! and Edge and contained the tracks "Sweet 16" and "Waterfall". The latter was described on the inlay card, as one of the tracks that would be on their forthcoming debut album proper, with the working title Here in the Bubble (whose name was soon changed to Polythene). The photography for the inlay of Swim was produced by Grant himself, while Chris Sheldon produced the recordings. The band released "Stereo World" as a single after appearing at the Reading festival.

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