Benin City; by descent to Òvá»�Ì�nránmwẹ̀ (r. 1889–97); removed from the Royal Palace by Sir Ralph Moor – , 1897; Sir Ralph Moor and his wife, Adrienne Moor, London, 1897–1909; John Sparks, London, 1909; Prof
City; by descent to Òv��nránmwẹ̀ (r. 1889–97); removed from the Royal Palace by Sir Ralph Moor
https://www.metmuseum.org/Collections/search-the-collections/318622
Benin City; by descent to Òvá»�Ì�nránmwẹ̀ (r. 1889–97); removed from the Royal Palace by Sir Ralph Moor – , 1897; Sir Ralph Moor and his wife, Adrienne Moor, London, 1897–1909; John Sparks, London, 1909; Prof
City; by descent to Òv��nránmwẹ̀ (r. 1889–97); removed from the Royal Palace by Sir Ralph Moor
https://www.metmuseum.org/essays/paul-klee-1879-1940
The limpid light of North Africa awakened [Paul Klee’s] sense of color. During his stay, Klee gradually detached color from physical description and used it independently, which gave him the final needed push toward abstraction.
Abstract Trio Paul Klee 1923 Static-Dynamic Gradation Paul Klee 1923 Ventriloquist and Crier in the Moor
