Problem: Background: Paul Klee (German: [paUl 'kle:]; 18 December 1879 - 29 June 1940) was a Swiss German artist. His highly individual style was influenced by movements in art that included Expressionism, Cubism, and Surrealism. Klee was a natural draftsman who experimented with and eventually deeply explored color theory, writing about it extensively; his lectures Writings on Form and Design Theory (Schriften zur Form und Gestaltungslehre), published in English as the Paul Klee Notebooks, are held to be as important for modern art as Leonardo da Vinci's A Treatise on Painting for the Renaissance. He and his colleague, Russian painter Wassily Kandinsky, both taught at the Bauhaus school of art, design and architecture.
Context: During his twelve-day educational trip to Tunis in April 1914 Klee produced with Macke and Moilliet watercolor paintings, which implement the strong light and color stimulus of the North African countryside in the fashion of Paul Cezanne and Robert Delaunays' cubistic form concepts. The aim was not to imitate nature, but to create compositions analogous to nature's formative principle, as in the works In den Hausern von Saint-Germain (In the Houses of Saint-Germain) and Strassencafe (Streetcafe). Klee conveyed the scenery in a grid, so that it dissolves into colored harmony. He also created abstract works in that period such as Abstract and Farbige Kreise durch Farbbander verbunden (Colored Circles Tied Through Inked Ribbons). He never abandoned the object; a permanent segregation never took place. It took over ten years that Klee worked on experiments and analysis of the color, resulting to an independent artificial work, whereby his design ideas were based on the colorful oriental world. Fohn im Marc'schen Garten (Foehn at Marc's Garden) was made after the Turin trip. It indicates the relations between color and the stimulus of Macke and Delaunay. Although elements of the garden are clearly visible, a further steering towards abstraction is noticeable. In his diary Klee wrote the following note at that time: In the large molding pit are lying ruins, on which one partially hangs. They provide the material for the abstraction. [...] The terrible the world, the abstract the art, while a happy world produces secularistic art. Under the impression of his military service he created the painting Trauerblumen (Velvetbells) in 1917, which, with its graphical signs, vegetal and phantastic shapes, is a forerunner of his future works, harmonically combining graphic, color and object. For the first time birds appear in the pictures, such as in Blumenmythos (Flower Myth) from 1918, mirroring the flying and falling planes he saw in Gersthofen, and the photographed plane crashes. In the 1918 watercolor painting Einst dem Grau der Nacht enttaucht, a compositional implemented poem, possible written by Klee, he incorporated letters in small, in terms of color separated squares, cutting off the first verse from the second one with silver paper. At the top of the cardboard, which carries the picture, the verses are inscribed in manuscript form. Here, Klee did not lean on Delaunay's colors, but on Marc's, although the picture content of both painters does not correspond with each other. Herwarth Walden, Klee's art dealer, saw in them a "Wachablosung" (changing of the guard) of his art. Since 1919 he often used oil colors, with which he combined watercolors and colored pencil. The Villa R (Kunstmuseum Basel) from 1919 unites visible realities such as sun, moon, mountains, trees and architectures, as well as surreal pledges and sentiment readings.
Question: What was his inspiration?
Answer:

Problem: Background: Juan Ponce de Leon (Spanish pronunciation: ['xwan 'ponthe de le'on]; 1474 - July 1521) was a Spanish explorer and conquistador born in Santervas de Campos, Valladolid, Spain in 1474. Though little is known about his family, he was of noble birth and served in the Spanish military from a young age. He first came to the Americas as a "gentlemen volunteer" with Christopher Columbus's second expedition in 1493. By the early 1500s, Ponce de Leon was a top military official in the colonial government of Hispaniola, where he helped crush a rebellion of the native Taino people.
Context: In 1502 the newly appointed governor, Nicolas de Ovando, arrived in Hispaniola. The Spanish Crown expected Ovando to bring order to a colony in disarray. Ovando interpreted this as authorizing subjugation of the native Tainos. Thus, Ovando authorized the Jaragua Massacre in November 1503. In 1504, when Tainos overran a small Spanish garrison in Higuey on the island's eastern side, Ovando assigned Ponce de Leon to crush the rebellion. Ponce de Leon was actively involved in the Higuey massacre, about which friar Bartolome de las Casas attempted to notify Spanish authorities. Ovando rewarded his victorious commander by appointing him frontier governor of the newly conquered province, then named Higuey also. Ponce de Leon received a substantial land grant which authorized sufficient Indian slave labor to farm his new estate. Ponce de Leon prospered in this new role. He found a ready market for his farm produce and livestock at nearby Boca de Yuma where Spanish ships stocked supplies before the long voyage back to Spain. In 1505 Ovando authorized Ponce de Leon to establish a new town in Higuey, which he named Salvaleon. In 1508 King Ferdinand (Queen Isabella having opposed the exploitation of natives but dying in 1504) authorized Ponce de Leon to conquer the remaining Tainos and exploit them in gold mining. Around this time, Ponce de Leon married Leonora, an innkeeper's daughter. They had three daughters (Juana, Isabel and Maria) and one son (Luis). The large stone house Ponce de Leon ordered built for his growing family still stands today near the city of Salvaleon de Higuey.
Question: Did he bring order to the colony?
Answer:
Ovando authorized the Jaragua Massacre in November 1503.