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.

Using a quote from the above article, answer the following question: What other painters were famous during this period?
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Answer: in the fashion of Paul Cezanne and Robert Delaunays' cubistic form concepts.


Question: Asa Gray (November 18, 1810 - January 30, 1888) is considered the most important American botanist of the 19th century. His Darwiniana was considered an important explanation of how religion and science were not necessarily mutually exclusive. Gray was adamant that a genetic connection must exist between all members of a species. He was also strongly opposed to the ideas of hybridization within one generation and special creation in the sense of its not allowing for evolution, as he felt evolution was guided by a Creator.

Prior to 1840, besides what he had discovered during his trip to Europe, Gray's knowledge of the flora of the American West was limited to what he could learn from Edwin James, who had been on the expedition to the West of Major Stephen Harriman Long, and from Thomas Nuttall, who had been on an expedition to the Pacific coast with Nathaniel Jarvis Wyeth. In the latter half of 1840, Gray met the German-American botanist and physician George Engelmann in New York City. Engelmann took frequent trips to explore the American West and northern Mexico. The two remained close friends and botanical collaborators. Engelmann would send specimens to Gray, who would classify them and act as a sales agent. Their collaborations greatly enhanced botanical knowledge of those areas. Another German-American botanist, Ferdinand Lindheimer, collaborated with both Engelmann and Gray, focusing on collecting plants in Texas, hoping to find specimens with "no Latin names". Another long-term and productive collaboration was with Charles Wright, who collected in Texas and New Mexico on two separate expeditions in 1849 and 1851-1852. These trips resulted in publication of the two-volume Plantae Wrightianae in 1852-1853.  Gray traveled to the American West on two separate occasions, the first in 1872 by train, and then again with Joseph Dalton Hooker, son of William Hooker, in 1877. His wife accompanied him on both trips. Both times his goal was botanical research, and he avidly collected plant specimens to bring back with him to Harvard. On his second trip through the American West, he and Hooker reportedly collected over 1,000 specimens. Gray's and Hooker's research was reported in their joint 1880 publication, "The Vegetation of the Rocky Mountain Region and a Comparison with that of Other Parts of the World," which appeared in volume six of Hayden's Bulletin of the United States Geological and Geophysical Survey of the Territories.  On both trips he climbed Grays Peak, one of Colorado's many fourteeners. His wife climbed Grays Peak with him in 1872. This mountain was named after Gray by the botanist and explorer of the Rocky Mountains Charles Christopher Parry.  Prior to the 1870s, collecting in the western part of the country required slow horses, wagons, and often military escorts. But by this time, permanent settlements and railroads resulted in so many specimens coming in that Gray alone could not keep up with them. One of the post-war collectors who worked extensively with Gray was John Gill Lemmon, husband of fellow botanist Sara Plummer Lemmon. Gray named a new genus Plummera, now called Hymenoxys, in Sara's honor.

Using a quote from the above article, answer the following question: Did Gray and Hooker work on any other projects?
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Answer: