German painter, born in Düsseldorf, where he studied at the Academy, 1954–8. He made his reputation with simplified, smoothly painted representations of utility objects such as typewriters, telephones, and so on. These are sometimes seen from a low angle to give them a degree of architectural portentousness recalling the drawings of Sant'Elia (see Futurism). In the catalogue of the exhibition ‘German Art in the 20th Century’ (Royal Academy, London, 1985), it is said that ‘Far from simply reproducing his motifs he introduces idiosyncratic and technically absurd modifications whose interpretative significance is often clinched by the title he gives his pictures’; an example is The Logic of Women (1965, Louisiana Museum, Humlebaek), which depicts a mysterious-looking sewing machine. Klapheck's work has been seen as both a late flowering of Surrealism (André Breton agreed with this) and as a forerunner of Superrealism. In 1979 he became a professor at the Düsseldorf Academy.