In April 1914 Paul Klee, August Macke, and Louis Moilliet went to Tunisia together. The three painted the Arab quarter and the harbour of Tunis. They travelled to their host's country estate in St. Germain. Then they travelled to Sidi-Bou-Said and Carthage and then took the train to Hammamet to Kairouan. It was here Klee had a breakthrough about his painting. The colors he saw from the sun, sand,and the cities "possessed" him. He returned early. It is evident that the three artsits had an influence on each other. Paul painted more abstract using geometric shapes with watercolor which would create a gradients. He would layer the colors.
On his return to Germany he continued to paint in the abstract using geometric shape s and symbols with colors. The first World War began and both Franz Marc and August Macke volunteered and perished in the war. Klee remained in Munich and continued to paint. Politics was underlying every day life. And it is expresssed in Klee's painting. He uses metaphors and allegory. His success was based on his influence on the public due to his style change and the fact that there was more money around due to the production of weapons. People needed to invest in something so why not art?
It wasn't until 1920 that there was a retrospecive was held at Galerie by Hans Goltz in Munich. There were 326 paintings. Schopterische Konfession was published and Paul Klee was appointed to the faculty of the Bauhaus.The Bauhaus was founded in Weimer 1919. It was a state sponsored school of art, architecture and design. It was organized on the principle that crafts were united with the arts on an equal as in medieval times on a guild system of workshop training under tutelage of "masters" and on ideas concerning the relationship of art to society developed by the German industrial design association Deutscher Werkbund which influenced arts and crafts in England, Austria and the Netherlands. The utopian aims raising the quality of everyday life through the production of buildings, design objects, artwork according to aesthetic of modernity and universality. There was a shift from Expressionism towards functional, technological based aesthetic of Constructionism and DeStijl.