The artist may have been mocking the Nazi idea of a perfect future man based on Nazi characteristics. The portrait in the figure seems to have one arm raised in a salute.
The colors used in the painting are reminiscent of those which would be seen in a military setting.
The torso is held stiffly as if at attention. The legs take up most of the lower half of the painting and command each corner of the surface.
The background has a lot of texture to it and for some may almost distract from the figure in the foreground, since it has so much detail. Perhaps this is the artist's intention. He may not think the Future Man has very far to go or warrants notice.
Klee may not always have been the kindest artist. His early life is riddled with examples of seemingly thoughtless cruelty. Klee stated in his memoirs that he repeatedly pushed a little girl who wore braces down.
He did that just to see what would happen. The childlike curiosity coupled with no limits or boundaries is seen to an extent in The Future Man. Lines curve outward seeking to grasp as much space as possible. There is not repetition of shape and each area of space can be studied uniquely.
Certainly, Klee's work does not typically involve warm colors or passion. He is not a Romantic artist. He does not appeal so much to emotions in his work as the Renaissance artists did.
His lack of empathy or limits on expression may make his work a little different from one who focuses more on emotion in their work. However, fans of Klee and his Expressionist style may be drawn to how he looks at ideas.
Klee's mockery of Nazi Germany is made through the abstract form in a way that is peculiar to him. This work was completed in 1933, at a time when there was a lot for artists to speak out about in political and social life. This is one of the artist's Late Works. Completed in watercolor, it is one of the examples of male-portraits done by Klee.