In the works of 1933, the year Klee left Germany, a new technique stands out (starting with no. 259 in his list of works of that year, no. 6305 in vol.6 of the catalogue raisonné). He used a thick paint, mixed with library paste and sometimes adding whiting to make it even thicker, into which he worked shapes and lines with a palette knife. The desired result is a certain degree of three-dimensionality. Common to all of Klee's works, independent of their themes and motifs, is a particular sense of rhythm that enhances their liveliness. Klee's artistic use of rhythm was carefully trained and deliberate and he taught it in the Bauhaus. In order to perceive something as rhythmic, a balance has to be set up between a regular element and irregularities, or, as Klee put it, between 'norm' and 'a-norm', between a 'major' dominant and 'minor' variants. Only through this tension can a repetitive structure be perceived as rhythmic, 'when the eye brushes past line after line'.