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PHOTOGRAPH BY BURSTEIN COLLECTION/CORBIS his art tools ranged from Rigoletto, a nod to his love of opera, to the darker Judas, the traitor. At home, Klee also rediscovered some of his favorite childhood artworks; he held them in esteem, and a childlike sensibility informed many of his pieces to come. He made etchings, which he photographed himself, then developed the flm, and he experimented with glass, scratching drawings into blackened panes, making reverse-glass paintings and using photographic plates to make objects. He studied anatomy to inform his life drawings. In 1906, Klee fnally married Lily, and the couple settled in Munich. In an arrangement no doubt shocking at the time, Lily supported them by teaching piano. When their son, Felix, was born in 1907, Klee became something of a stay-at-home dad. While Lily worked, he bonded intensely with Felix, did the housework, and cooked for the family. Turning the kitchen into a studio, Klee continued to approach art-making with the mind-set of a scientist in a laboratory, with a spirit of rigorous experimentation. Looking through his opera glasses, he would observe people at a distance, drawing them in a reductive style. Other times, he would almost fnish a drawing only to fip it upside down to complete it. He played with light and shadow and, still befuddled by color, made "black watercolors." He steered clear of oils. Munich gave him the opportunity to see more art; he walked away from one show besotted with Cézanne and from another dazzled by Matisse's fawless use of color. In 1910, already thirty, Klee had his frst solo show. Composed of ffty-six works, it opened in his hometown of Bern and traveled to Zurich, Winterthur, and Basel. Slowly but surely, his art began to sell. The new interest prompted Klee to begin