In the final years of his life, Paul Klee produced some of his most compelling and politically charged work, reflecting his deep anguish over the rise of war and authoritarianism. Born in Switzerland in 1879 and later a German citizen, Klee’s artistic trajectory took a marked turn after he was dismissed from his teaching position in Germany when the Nazi regime condemned his art as degenerate. Forced into exile, Klee’s later pieces present a stark departure from his earlier playful and ironic style, evolving into bolder compositions imbued with a profound sense of despair.

Klee’s later works often feature fragmented faces and body parts, drifting untethered across canvases, symbolizing both his personal battle with illness and the broader devastation wrought by the looming conflict. His deteriorating health from an autoimmune disease paralleled a growing political disillusionment as the world around him descended into chaos.

Though Klee is frequently recognized as a pioneer of abstract art, many of his drawings and paintings retain figurative elements. Political themes, often subtle in his oeuvre, are more directly discernible in the post-1933 works now on display at the Jewish Museum in New York. One example, a 1931 drawing titled “Stammtischler,” depicts a recognizable portrait of Adolf Hitler. The title refers to a loud, boorish figure prone to ignorant outbursts, underscoring Klee’s critical view of the rising dictator. Another work from 1940, “The Game Is Getting Out of Hand,” depicts children juggling balls, but instead of innocent play, a sense of conflict pervades—interpreted as an expression of concern about the indoctrination of youth under the Nazi regime.

While some pieces in the exhibition convey clear political commentary, others are more ambiguous, reflecting the complexity of Klee’s response to the turmoil of his time. “Klee’s politics are not always obvious,” observers note, highlighting the challenge in deciphering comments embedded within his abstract imagery.

One of the exhibition’s most iconic works is the 1920 drawing “Angelus Novus.” Though not among Klee’s technically strongest pieces, its historical significance has rendered it a symbol of resilience. The German-Jewish philosopher Walter Benjamin, who acquired the drawing in 1921, famously described it as an angel poised to be blown backward into the future while witnessing the destruction of the past. The drawing survived World War II, while Benjamin, a victim of Nazi persecution, did not. This haunting image continues to evoke the enduring impact of history’s darkest chapters.

“Paul Klee: Other Possible Worlds,” on view at the Jewish Museum in New York City through July 26, offers a comprehensive look at the multifaceted nature of Klee’s late work—works shaped by personal suffering, political upheaval, and an unyielding engagement with the crises of his era.