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: Why was the Mystical-abstract period special?
Answer: strong light and color stimulus

Background: Norquist grew up in Weston, Massachusetts. He is the son of Carol (nee Lutz) and Warren Elliott Norquist (a vice president of Polaroid Corporation), and is of Swedish ancestry. His brother, David Norquist has served in senior posts in Republican administrations at both the United States Department of Defense and the United States Department of Homeland Security. Norquist became involved with politics at an early age when he volunteered for the 1968 Nixon campaign, assisting with get out the vote efforts.
Context: Prior to the November 2012 election, 238 of 242 House Republicans and 41 out of 47 Senate Republicans had signed ATR's "Taxpayer Protection Pledge", in which the pledger promises to "oppose any and all efforts to increase the marginal income tax rate for individuals and business; and to oppose any net reduction or elimination of deductions and credits, unless matched dollar for dollar by further reducing tax rates." The November 6, 2012 elections resulted in a decline in the number of Taxpayer Protection Pledge signatories in both the upper and lower houses of the 113th Congress: from 41 to 39 in the Senate, and from 238 to "fewer than ... 218" in the House of Representatives. According to journalist Alex Seitz-Wald, losses in the election by Norquist supporters and the "fiscal cliff" have emboldened and made more vocal critics of Norquist. In November 2011, Senate Majority leader Harry Reid (D-NV) blamed Norquist's influence for the Joint Select Committee on Deficit Reduction's lack of progress, claiming that Congressional Republicans "are being led like puppets by Grover Norquist. They're giving speeches that we should compromise on our deficit, but never do they compromise on Grover Norquist. He is their leader." Since Norquist's pledge binds signatories to opposing deficit reduction agreements that include any element of increased tax revenue, some Republican deficit hawks now retired from office have stated that Norquist has become an obstacle to deficit reduction. Former Republican Senator Alan Simpson (R-WY), co-chairman of the National Commission on Fiscal Responsibility and Reform, has been particularly critical, describing Norquist's position as "[n]o taxes, under any situation, even if your country goes to hell."
Question: Was there anything else significant about the pledge?
Answer:
Senate Majority leader Harry Reid (D-NV) blamed Norquist's influence for the Joint Select Committee on Deficit Reduction's lack of progress,